The "Superman Superstars" initiative kicks off with a bang, courtesy of writer Jason Aaron and artist John Timms’ debut story featuring Superman vs. Bizarro. Aaron’s take on Bizarro isn’t just a goofy, backwards version of Superman. This new version of Bizarro has powers fueled by a source of power that truly makes him the mirror opposite of Superman and presents a whole new threat level. Unfortuantely, it’s dealt with rather quickly in the story but the cliffhanger ending indicates there may be more than meets the eye. Timms's art is phenomenal. He brings Metropolis to life with vibrant detail and dynamic action sequences. His Bizarro is monstrous and expressive, while Superman retains his iconic look that’s both classic and modern. This was a great read that felt like a timeless Superman story even if it wasn’t groundbreaking.

The second chapter of the “Live Bizarro or Die” story was a letdown for me. I struggled to care about a scenario that has been down before (Metropolis falling under a Bizarro spell) and whose execution left a ton of plot holes. We got way too many pages of exposition telling us about all the opposite actions happening across the city. We get it. Everyone is infected and acting as their mirror self, but “opposite” didn’t always feel the same for individuals and everyone wanting to die felt like an overkill. I enjoyed the scenes that focused on Superman’s own struggles with the Bizarro virus. It felt pertinent to a larger narrative but it felt like it was minimized to focus more on the grand scale of the virus’ impact. I think that was a miss. The twist at the end could make for some really interesting storytelling if it’s given a chance, but I worry it’s going to come and go too quickly based on how long Aaron is getting on this story. We’ll see though! Aside from the story, John Timms and Rex Lokus partner for a really great looking comic. There’s an awesome 90s nostalgia to the artwork which I really enjoyed. The panels featuring the utter chaos of a Bizarro-infested Metropolis were a great to look at even if their story was a bore. Overall, if you’ll likely enjoy this story if you really love Bizarro. If not, you might be left wanting more.

We dive deep inside Superman's mind as he faces off against Bizarro for one last time in Jason Aaron’s three-issue run as part of DC’s “Superman Superstars” initiative. This twist on the classic conflict between two adversaries kept things fresh, transporting us to a mindscape where the usual rules don't apply and Superman is forced to face off against one of his biggest weaknesses…magic. Aaron’s script throws everything at our hero, forcing Superman to overcome Bizarro's warped mental landscape. Heavy metaphorical punches are landed which cause Superman to question his ability to overcome the situation, while a Bizarro-version of Joker assists him from the real world. While the initial novelty of the mind-battle is engaging, it goes on for a bit too long and begins to feel repetitive before there’s a change in the status quo. However, John Timms’ fight choreography is a spectacle to behold. His classic comic book aesthetic perfectly captures the larger-than-life feel of a classic Superman story. Timms excels at depicting movement, with each punch and jab imbued with a sense of power and dynamism. You feel like you’re watching two heavyweight boxers go at it. One of the most captivating aspects of Timms' artwork is his way of showcasing scale. He effortlessly conveys Bizarro’s transformation from a tiny threat to a gigantic problem. There’s also a spread where Superman is pummeled through the Sydney Opera House that looks amazing. Action Comics #1063 might not be the most groundbreaking Superman story, but it delivers a thrilling, action-packed experience in all the right ways. This is a comic that feels like a love letter to the classic Superman tales, with epic clashes and larger-than-life stakes brought to life by phenomenal artwork. While the story could have benefited from a tighter focus, the unique landscape and Timms' exceptional art make this a worthwhile conclusion to Aaron’s first Superman story.

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

Anyone interested in this story should definitely pick up DC Pride: Through the Years from back in June in order to understand what’s happening in-world for this new Alan Scott story from Tim Sheridan. Aside from those additional details, you really don’t need to know much more than who Alan Scott is, his relationship to the Justice Society of America, and an understanding of where LGBTQ+ culture was back in the first half of the 20th century (not that it’s evolved much unfortunately). With those three things under your belt, it’d be hard not to appreciate Sheridan’s deeply human story about a superhero struggling with their very real everyday life issues. Cian Tormey’s art and Matt Herms’s colors are a perfect fit for a series celebrating an old-school comic book hero, with linework and palettes that evoke the best styles from the Golden and Silver Ages of comics. While this was a strong issue in isolation, it failed to leave a mark as the debut of a six-issue limited series meant to get readers interested in a longer-term story. Hopefully Sheridan is able to build that interest in the next issue to keep readers hooked.

Whoa. I wasn’t ready for this rollercoaster, gut-punch of an issue. It made me happy, sad, angry, and frustrated all within the span of 20-something pages. Things pick up seamlessly from the captivating first issue, delving deeper into the past and present of Alan Scott, the Golden Age Green Lantern. Tim Sheridan continues to weave an emotionally gripping narrative that blends grippingly complex character exploration with what can only be called psychological horror for anyone in the LGBTQ+ community. Sheridan masterfully showcases Alan's struggles as he grapples with the weight of his past and the threats of the present. The issue delves into Alan's experiences in Arkham Asylum, highlighting the prejudices and discrimination faced by gay men in the 1930s (and unfortunately still today). This exploration of Alan's identity adds a layer of depth and resonance to his character, making him even more of a tragically sympathetic figure. The design by Cian Tormey and colors by Matt Herms are a gorgeous marriage of visual artistry. The panels are visually striking, capturing the emotional intensity of the story and the vibrant world of the Golden Age. Tormey's expressive linework and Herms' rich colors bring Alan's world to life in both of the story’s timelines, immersing readers in the two experiences. Alan Scott: The Green Lantern #2 is a masterful continuation of Sheridan's captivating story. The issue delves deeper into Alan's past, revealing the traumatic experiences that shaped him and continue to influence his actions. Sheridan's exploration of Alan's identity is both poignant and thought-provoking, adding depth and layers to the character. It also holds a mirror up to today’s world and shows just how little has changed in many regards when it comes to LGBTQ individuals who face their own inner demons accepting who they are for fear of persecution, hatred, violence, or excommunication from society or those who are meant to be their safe spaces.

The issue continues the investigation into the mysterious murders plaguing Alan’s past. It also continues to takes a step back from the standard superhero spectacle, opting for a noir-infused detective story (featuring another Golden Age hero) that delves deeper into Alan's psyche and explores the emotional weight he’s been carrying for years. Cian Tormey's depiction of the Spectre is stunning, capturing the character's imposing and ethereal presence. Throughout the issue, the art brings the city's dark corners and rain-slicked streets to life, creating a brooding backdrop for Alan's investigation. The use of shadows and muted colors emphasizes the noir influence, adding a layer of mystery and intrigue to the story. While Tim Sheridan’s focus on character development might leave some action-hungry readers wanting more, it rewards those seeking a deeper dive into Alan Scott's world and the psychological depths of a legendary hero.

It was bound to happen — we finally hit a small bump in the Fall of X road. That’s not to say that ALPHA FLIGHT #1 was bad by means, it was actually a good comic on it’s own! It’s problem lies in just how consequential other X-titles have been so far in this new arc. The scale and stakes of this issue didn’t match what we’ve seen in X-MEN #25, IMMORTAL X-MEN #14, or X-MEN RED #14 yet this might be exactly what we need in order to keep those stories feeling so important. In this debut issue featuring the Great White North’s premiere team of superheroes, Ed Brisson re-frames political and societal concepts that have shown up in past Alpha Flight titles for the current reality in a post-Hellfire world. Throughout the book, Brisson’s story hits on notes of xenophobia, prejudices, fascism, and self-identity that feel all too similar to our own non-comic book world. The mutant-less lineup of Guardian, Snowbird, Shaman, and Puck are introduced as Canada’s strategic response to keeping the country safe from the mutant threat hysteria fueled by Orchis. It’s revealed that Canada actually has a program to create their own army of sentinels with the help of Roger Bochs Jr. and the Alpha Flight team is merely the face of the program to create a sense of goodwill with the nation’s population. However, the team “fails” their first mission when a team mutant former members of Alpha Flight, Northstar, Aurora, and Nemesis, along with Daken (who now goes by Fang), show up and “save” the rogue mutant. You’ll notice I’m using quotations here as I’m trying to avoid spoiling the surprise twist at the end — you’ll need to read the issue to find out! Brisson’s story also includes a meta-analysis of personal redemption for the core four Alpha Flight members. Throughout the team’s history, Alpha Flight has oscillated between a semi-serious and flat-out farcical group of superheroes depending on what Marvel has needed them to be. The issue sees this foursome making decisions with the goal of redeeming their reputation and it’s all written in a very sincere way. Another touching storyline is realized through the side-plot involving Albert Louis/Feedback dealing with the consequences of trying to hid his mutantdom from himself and how it affects his family and job. Scott Godlewski’s designs, Matt Milla’s colors, and Travis Lanham’s lettering offer a vintage take on the art throughout the book while keeping things modern for the time. In a lot of ways, the costumes and scenery make it appear as though it’s all taking place during the team’s hay-days of the 1980s, but there’s enough technology and context to keep things centered in today’s timeline. Feedback’s display of power and the fight sequence between the two Alpha Flight factions are particularly memorable. While ALPHA FLIGHT #1 may not have been the most revelatory or tense book in recent weeks, it serves a purpose to remind readers that there are problems Orchis for mutants stuck on Earth and that governments have become even more complicit. This is additional world-building for the dire state mutants find themselves in and though it might not be a necessary piece of the puzzle that gets us to the conclusion of Fall of X, the series appears primed to explore topics that are relevant beyond comic book pages. Rating: 7.5/10

This series continues to be one of my favorite of the “Fall of X'“ limited series. Others have been written as lackluster, episodic entries, while Ed Brisson has been focusing on a larger narrative being built issue-by-issue. With the reveal of the new Nemesis, there are added stakes as final issue awaits. I wasn’t expecting to enjoy this series as much as I have, but there’s been quite a nice balance of action and political drama that may not be too complex, but offers something unique at this point in Krakoa’s arc.

Ed Brisson delivers a thrilling climax to one of the better surprises in this the "Fall of X" storyline, leaving no hero unscathed. He balances high-octane action with moments of genuine pathos, culminating in a bittersweet victory that comes with a price. This miniseries didn’t reinvent the wheel or challenge the status quo, but it was an entertaining read and focused on characters who haven’t gotten the spotlight in quite some time. I don't think this will stick with me for very long but I'd be very interested in seeing more Alpha Flight in the future.

To say there’s been criticism about this series over the past few months might be an understatement. From questionable storylines to questionable choices made by characters and everything in between, Zeb Wells was beginning to emerge as a new member of Spider-Man’s rogues gallery in die-hard Spidey fans’ eyes. Whether or not you agreed with each of these past criticisms, it’d be hard to argue that AMAZING SPIDER-MAN #32, which sees two of Spider-Man’s most potent villains teaming up and immediately spelling trouble for everyone’s favorite neighborhood superhero, isn’t a strong issue and a promising sign of things to come. From the start, Wells showcases Kraven and Queen Goblin as legitimate threats who are dealing with some powerful sorcery to achieve their goals. These are characters whose depictions can run the gamut on how they’re written, so it was nice to see a dramatic positioning to set the tone for the issue. Wells mixes in moments of classic Peter Parker awkwardness with some serious conversations between him and Norman Osborn, making the climactic ending of the issue much heavier. Perhaps most importantly for this issue — welcome back, Patrick Gleason! After a long absence on the series, Gleason is back on art for AMAZING SPIDER-MAN #32 and immediately elevates the issue with gorgeous visuals throughout the book. Along with colorist Marcio Menyz, the issue’s art captures the foreboding, dark evolution of the book perfectly. I loved the oranges, reds, and blacks used for the scenes featuring Kraven and Queen Goblin to create a demonic and hedonistic ritual feeling to their actions. The issue’s final page shows Peter in such a sinister way and might be my favorite imagery of the whole book. ASM #32 plays as a great jumping on or jumping back into point for those who may have shied away from the book due to recent story arc failing to land with audiences. While not an official reset, it appears Wells and team are ready to chart a new darker course for the series which is what was initially promised when it debuted back in April 2022. If nothing else, with Gleason back on board, the series looks better than it has in a long time. Rating: 7/10

The previous issue’s cliffhanger saw Kraven attack Spider-Man with a demonically possessed spear and an ominous transformation, originally meant to awake the Green Goblin inside Norman Osborn, began manifesting inside Peter. It was a strong start to this new arc and Zeb Wells continues to rehab the webslinger’s marquee series with a strong follow-up in AMAZING SPIDER-MAN #33. Wells opens the issue with a short time jump and a haunting in look at what’s going on inside Peter’s mind as he wrestles with his new mindset, as well as a look at Norman and Kraven’s own internal conflicts. Wells writes compelling dialogue for all three characters speaking with their own inner demons. You feel like you’re witnessing three characters in the midst of psychotic episodes as they argue within their own minds and struggle to control their own thoughts. Patrick Gleason’s designs and Marcio Menyz’s colors, particularly in the opening Spider-Man scenes, do a lot of work to emphasize the raw emotions with emphatic facial expressions and moody shadowing. Joe Caramanga’s use of two different letterboxes for each scene to highlight the dual voices happening in each characters’ head is simple yet effective. The rest (and majority) of the issue plays out from Kraven’s POV as Peter’s dark Spider-Man turns the tables and hunts him throughout the city. It’s a thrilling game of cat and mouse that reveals just how far Peter has fallen into his new dark persona. The entire creative team builds tangible moments of suspense that keep you wondering what’s about to happen. Wells’ writing even had me feeling sympathy for Kraven at one point. Visually, Gleason switches between white and black gutters as things grow more menacing and it creates a sense of claustrophobia as Peter closes in and Kraven has nowhere else to run. I found it interesting that we see so much from Kraven’s perspective in this issue, but I thought it played wonderfully as we as readers also don’t know what’s happened to Peter or what he might be capable of now. It magnified the unknown and uncertainty coming out of the previous issue and made for a captivating issue here that didn’t answer everything completely but gave a lot of clues as to what’s happening. There was also a hint that the Green Goblin is fighting to come out of Norman which could further complicate things for everyone involved. I’m not sure how that will progress or be explained since Norman wasn’t struck by Kraven’s spear, though we don’t know what else may have happened during the short time jump. I was also surprised we didn’t see any more Queen Goblin as she was the one who put Kraven up to the task of unleashing the Green Goblin in the first place. Ultimately, I really enjoyed this issue. It had a great balance of darkness and suspense in building the stakes for this new arc. The final scene see Peter make one of the darkest decisions I can remember him making. It gave me flashbacks to Dan Slott’s Superior Spider-Man, which will be returning later this year. I don’t know if the previous Amazing Spider-Man arc suffered due to Wells having to shelve his own ideas in order to handle the Kamala Khan story, but it definitely feels like a switch has been flipped for the series and we’re back to a more traditional Spider-Man story. I’m looking forward to seeing how this plays out and just how much darker things will get. Rating: 8/10

I'm loving what Zeb Wells and Patrick Gleason are doing with Peter/Spider-Man completely off the rails in this new arc. Everything is SO dark and twisted and Wells' writing and Gleason's art has completely sold the character turn. This issue had some moments that weren't as crisp and tense as the previous two issues, notably the MJ scenes, but that doesn't mean it still didn't deliver a compelling story and moved the plot along. The scenes with Kraven buried alive could make anyone feel claustrophobic and Gleason & colorist Marcio Menyz really have produced a visual delight in Peter's new black Spider-Man costume. They both use shadowing to great effect throughout the issue, keeping Spider-Man drenched in shadows to build suspense and lean into the horror aspect. The ending left us with some interesting potential next steps and I'm dying to know how this all plays out.

I’ve loved the darker tone of Zeb Wells and Patrick Gleason’s current arc and ASM #35 sees Peter’s possession by Norman’s demons come to an end. Compared to the other issues in this arc, the tension here fell flat with major plot points being rushed. The story could have used another issue or two to give character decisions, and especially the major cliffhanger, more room to breathe on their own. Even with these smaller issues, this has been a successful soft reset of a title which had been floundering for the past few months and I’m looking forward to seeing what’s next for Peter Park for the first time in awhile.

Zeb Wells takes a sharp turn from the previous arc that ended in the last issue, following up on the events from “Dark Web” without any transition. It was a hard pivot that took some easing into, but became a fun and enjoyable ride once it was apparent what was happening. Well’s reintroduces Rek-Rap without making him a complete caricature right off-the bat. I do miss Patrick Gleason’s moody artwork, but Ed McGuinness’s cartoonish style is the perfect fit for this type of story.

Wells continues to ever-so-finely thread the needle with Rek-Rap’s over-the-top personality evident in this issue by the story-within-a-story approach to filling in missing details from Rek-Rap’s perspective. At times I found myself agreeing with Peter’s in-story desire to forego the silliness and cut to the chase, but Wells used just enough restraint to make it so the entire issue didn’t become a complete tongue-in-cheek entry. This continues to be a very hard pivot away from the prior story arc and the interlude (this time VERY clearly labeled an interlude compared to the previous issue) are not so subtly only being used to prep readers for the upcoming “Gang War” crossover event.

Spider-Man and Rek-Rap’s team-up adventure concludes here as the Gang War crossover event awaits us and this was another fun and exciting entry from Zeb Wells, even if it was more silly than serious. Rek-Rap Storytime Adventures were a fun plot tool used throughout this arc and I loved the Insidious Six’s desire to rid themselves of Rek-Rap’s stories even if it meant helping the good guys. Just a great bit of fun all around, including the interactins between Rek-Rap and Peter Parker as they made their escape by crawling through Re-Po’s insides. The Gang War backstories continue to feel completely out of place within these issues, but perhaps we’ll be looking back on them as helpful set up once we get into the main crux of the event itself.

While the interlude scenes of the Gang War arc in previous ASM issues left something to be desired, I’m really enjoying the event more than I expected so far! ASM #39 picks up the pace and helps set the stage for most of the heroes who will be involved in the event. Zeb Wells throws Spidey and his allies into the thick of battle against various gangs across New York City, keeping the energy high throughout the issue even with so many moving pieces. Including various Gang leaders also present, the sheer number of characters involved in the issue can be overwhelming at times, but Wells takes some time to explore character motivations, providing readers with a glimpse into their world and why they're acting in certain ways. This adds a touch of humanity to the story and helps readers connect with the characters on a deeper level. John Romita Jr.'s art is a perfect fit for this action-heavy issue, which will surely please longtime Spidey fans. His dynamic layouts and detailed panels capture the chaos and energy of the action effectively. The fight scenes are particularly well-drawn, with each panel conveying the intensity of the action. Marcio Menyz's vibrant colors complement Romita Jr.'s art perfectly, making the visuals pop off the page.

Zeb Wells delivers another fun and chaotic ride that delivers plenty of action and twists. While it suffers from some characters being underdeveloped (e.g. Beetle’s continued path toward the dark side), there is a large enough cast of strong supporting characters to keep readers engaged in the story and on the seat of the pants. Madame Masque and Tombstone get some great story, with Spider-Man taking a backseat for the issue. Some may argue that’s a detraction from the comic but I don’t mind since he’s ben showing up across the various Gang War stories in different capacities. The final cliffhanger seals the deal and makes this another strong entry into the Webslinger’s surprisingly enjoyable crossover event.

We pick up right where the previous issue left off, with New York's underworld in the midst of a turf war and Spider-Man, She-Hulk, and Tombstone rendezvousing with the newly returned Kingpin & Typhoid Mary (without any explanation to how Mary got here between the finale of Realm of X and this). In a separate storyline, we the Rose and Beetle battling it out for control of uptown Manhattan. The former is a fun superhero romp, while I continue to struggle caring about Janice’s motives and fight in the latter. Zeb Wells wrote some great dialogue between Tombstone and Kingpin, basically making Spidey a background character in his own book and that’s not the first time this happened recently. Some will likely argue that its sacrilegious to do so, but I have to say its a breath of fresh air getting to see other characters take center stage for an issue or two. John Romita Jr.'s art is classic and timeless on this title. He brings the action to life with dynamic layouts and expressive characters. His Spider-Man look is iconic, and his villains are suitably menacing. Gang War continues to impress.

Is the Gang War event starting to go on too long? We’ve had a bumpy road over the past few issues in the event across the various titles and that trends seems to have also hit this week’s Amazing Spider-Man. We see what Wilson Fisk had planned for The Rose and Beetle, which was basically to just extract his son from the violence. Felt like a major copout after the cliffhanger from the previous issue. Spider-Man continues to serve as a minor character in his own series and this is the first issue where it felt like a detriment. I’m not invested enough in Beetle or Madame Masque enough to care about an issue where their face-to-face meeting is the main plot. We’ve still got a month and change worth of issues left in the Gang War event and we need some fresh angles to the storyline or these last few weeks are going to feel like a slog.

The dust finally settles on the Gang War arc. Wells' story wraps up the conflict between Madame Masque, Tombstone and Spider-Man, leaving a trail of destruction & a new normal for NYC's gangs. While the action is well-paced, I found the conclusion underwhelming. Spider-Man has felt sidelined throughout the majority of Gang War & the final twist hinged more on Tombstone than anyone else. John Romita Jr. brings his signature dynamic style to the large fight sequences, effectively conveying the chaos and brutality of it all. Was ASM the right title to headline this event? In terms of generating sales, yes. But it probably would have been best served as a standalone mini as it was really meant to continue Tombstone's narrative. Wells' overarching ASM narrative has been bouncing around ideas for quite some time now and this only added to the lack of direction accusations many have thrown at the series.

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.

I was hesitant about this event after the less-than-inspiring interludes that have been appearing in ASM, but this was an exceptional one-shot start and sets the stage for what has the potential for an epic and captivating event. I really enjoyed how the situation felt dire but also tangible. There’s definitely a “realness” to the stakes that gives this an intriguing grounding and I’m currently very invested.

As a kid, I thought Iceman was one of the coolest mutants around. When I got back into comics as a young adult coming into my own sexuality, I empathized with the character when he was forced to come out in way that afforded him no control over his own story even if it didn’t match my own experience. I’m a fan of Iceman content even when writers haven’t done the character justice or have used him in ways that downplay his Omega-level status. But since his controversial outing, I especially love when a writer allows Bobby Drake, the person behind the ice, to define himself and embrace his queerness on his own terms. Needless to say, I was pumped to see that Steve Orlando would be getting an opportunity to write the character when this series was announced. However, I wasn’t sure how this would play out after Nimrod killed Iceman in X-Men Hellfire Gala 2023 #1. Leave it to Orlando to calm my fears and not only provide a compelling explanation for Bobby Drake’s Five-less reincarnation, but also use ASTONISHING ICEMAN #1 to set up this five-part limited series with a wonderful balance of heart and action. Orlando balances Bobby’s charms and flaws, from his deep loyalty to those he loves to his cringe-worthy, ice-related dad jokes. We see his powers on full display as he heroically saves the day after he foils an ORCHIS plan to lure him out of hiding. Best of all, Orlando lets Bobby be queer without relying on cheap tropes or patronizing references. The true heart of this issue is the tender moment when Bobby’s boyfriend Romeo explains what it took to bring Bobby back to life and the limit of his powers as a result of the situation. In a metaphor for our current society where the far-right has an endless agenda against any group of people that don’t look/love/pray/etc. like they do, Romeo sees the potential for the dangerous anti-mutant vitriol of ORCHIS to expand to even more groups, including his fellow Inhumans. The art by Vincenzo Carratu and the colors by Java Tartaglia are also standouts in this debut issue. I love their new design for Bobby’s Iceman form, including what appears to be a harness as part of his new costume, creating a fresh and modern queer costume for a character that has had plenty of looks over the years. Carratu’s attention to details in the background are present in the scenes involving San Francisco and Bobby’s new ice palace. Tartaglia skillfully uses a mix of blues and whites to bring elements of ice to life and create depth to the environment. If I had one disappoint about this issue, it’s that we’re only going to get 4 more issues. Orlando’s care in writing Iceman is very refreshing and I’m excited to see how he fleshes out the relationship between Bobby and Romeo. It will be interesting to see if/how the conclusion of this limited series plays into the other Fall of X storylines. Rating: 8/10

PUBLISHER’S PITCH HOME IS WHERE THE HEARTBREAK IS! The bait is set for BOBBY DRAKE as the ELEMENTS OF DOOM target his hometown! Terrorizing the town that raised ICEMAN - but to what end? They say you can't go home again, but if Iceman can't save the day, he might not have a home to return to! REVIEW It feels like Orlando is trying to write a version of Bobby that he’s yearned to see in comics while still maintaining Bobby’s established character arc within the Krakoan era. His script attempts to thread the line between Bobby’s fun and carefree personality with the emotional weight of childhood trauma and Orchis attacking his mother and hometown, but it fails to land either. At times Bobby comes across disassociated from others around him and unable to empathize without turning to a joke. Bobby easily saves his mother from Orchis’ attack and the two have a conversation addressing Bobby’s childhood and how his mother failed him. It’s meant to be the emotional hook of the issue but it’s one-sided from his mother’s perspective and we see little-to-no reflection from Bobby. His interactions with Romeo are equally as underdeveloped. While Romeo’s feelings for Bobby are clear, Bobby appears to only be able to express their relationship in innuendos or double entendres.Maybe we’ll see that it was intentional due to an inability to show emotion after being reanimated, but right now there’s a real lack of emotional depth to Bobby on display. The serialized nature of Iceman dealing with random Orchis goons is also off-putting. Nothing feels like a struggle for Bobby and it’s coming across as if Orchis is putting their D-List plans in place to defeat the Omega-level mutant. I don’t buy it. Vincenzo Carratú and Java Tartaglia elevate the mediocre plot with their art. The action sequences are the star of the show, especially Bobby’s fight against Helium. I’m loving how the two are depicting ice and snow in various situations. FINAL VERDICT I’m finding it hard to get invested in this series. There doesn’t appear to be a strong narrative connecting the first and second issue together other than Orchis is hunting Iceman, but they’re hunting every mutant. Orlando hasn’t shown me why Iceman needed his own series yet. The first issue also gave hope that we might get a more nuanced look at Bobby & Romeo’s relationship since Romeo is how Bobby was brought back to life, but it still feels hollow after the second issue. RATING: 6/10

It’s gotten to the point where every issue in this series feels forced and repetitive. I feel like I’m reading the same dialogue each month with different names and locations sprinkled throughout. Romeo is concerned with Bobby pushing himself too hard. Bobby pushes himself even harder while delivering one-liners that fall flat. Random Orchis villain plans an attack and tries to draw Bobby ouy. Bobby saves the day. Wash. Rinse. Repeat. I see no vision for what Orlando is building towards other than having fun writing a queer mutant. There’s nothing wrong with that, but Orlando’s execution is failing his main character. What saves the day is Vincenzo Carratù’s captivating artwork which captures Iceman’s powers in some of the most vivid and imaginative ways in recent memory.

We wrap up Bobby Drake’s mini-series with a whimper, not an icy blast. The issue suffers from predictable resolutions, uninspired action, and plot holes that could melt even the chilliest reader's enthusiasm. Bobby deserves better than the what he got in this series. His internal struggles are barely explored, his character development feels stagnant, and the allusion to his new resurrection power raises more questions than it answers. This was a forgettable finale to a series that started with promise but quickly failed to deliver. One of the book’s saving grace is the great artwork by Vincenzo Carratù, who consistently made Bobby’s powers look fantastic and this issue might have been the best visuals of the miniseries.

After a successful debut issue, Avengers #2 cuts back on character development but gives us a better grasp on the trials and tribulations our new team will face in the coming arc. The issue is written by Jed MacKay, with art by C.F. Villa, and hit shelves today. The issue picks up where the previous issue ended, with Captain Marvel returning from the null-time with a dying Kang in her arms. The rest of the issue takes readers in between two different timelines, one during the conversation in the null-time that we missed out on between Captain Marvel & Kang before she returned with his body and another during the present where we see individual Avengers stopping mass casualty events from happening. We learn the two timelines are related when Kang offers Captain Marvel a bribe — information on how to prevent 1,000 civilian deaths in 24 hours in exchange for the Avengers help in stopping the evil forces who left him in the state he’s in and have plans for far worse for far more people. Villa does an amazing job telling a visual story with the art, especially for the scenes where we see Avengers saving lives in different settings. Each scene gives the hero involved a “moment” that highlights their abilities, be it strength (Thor), stealth (Black Panther), or humanity (Captain America). My only criticism would be that some of the character’s faces can seem too undefined in certain panels due to inconsistent lines depending on the angle or if a character is in the background. So far MacKay has done a decent job in sharing the pages amongst the full team, though this issue was a tad light on Iron Man and Vision. It’s never easy to give everyone the same amount of work to do in any given issue with a team full of this many A-listers, but I’m hopeful we’ll continue to at least get a line or two from everyone. Overall, I think this issue suffered for me personally because I read it after I read Ultimate Invasion #1 which oozed with suspense and kept me at the edge of my seat. The stakes felt a lot less in this issue and I’m worried that may continue into the next few issues as the two series run concurrently. There are some of the same characters across both titles and Ultimate Invasion has been hyped as setting the stakes for a major game-changer across the entire Marvel Universe giving it an air of gravitas that I’m not yet sure I feel for Avengers.

AVENGERS #4 is packed with action from start to finish as Earth’s Mightiest Heroes try to stop the Ashen Combine from enacting their plans to destroy the planet. We’re only four issues into Jed MacKay’s run and the new team is already facing a challenge that may be too much for them to handle! I’ve appreciate how much MacKay is able to give multiple heroes a moment to shine in each issue so far, even when one or two of them take center stage in any given issue. AVENGERS #4 is a true ensemble book as MacKay picks up where he left off in the previous issue with the Avengers splitting up to stop members of the Ashen Combine who are attacking different cities across the globe. Readers witness four different battles occurring simultaneously and none of them appear to be going our heroes’ way. While MacKay’s dialogue between characters in each scene is distinct and intriguing, team of C.F. Villa on art, Federico Blee on colors, and Cory Petit handling lettering take this issue to the next level. The trio create epic visuals for each individual battle, ranging from a heavenly clash between Thor and Idol Alabaster in Vatican City to a magical hellscape in Sydney where Scarlet Witch faces The Dead. It is such a wide-range of approaches and yet it all works together to create one of the most visually pleasing sequences of comic book action in recent memory. The only drawback to the issue is that the individual confrontations begin to feel formulaic and repetitive as they all follow the same flow: the Avenger involved thinks they have the upper hand only to be surprised when the Ashen Combine member reveals the extent of their powers. That doesn’t take away from the visuals at all, but I do wish MacKay had varied the pacing up a bit for each one. The Ashen Combine already feel like a monumental threat to the Avengers and Earth, and that says a lot about the work this creative team has done to build them up in just a handful of issues. It’s clear this new team of Avengers have met their match and I’m not sure where they go from here. There are some team members who have yet to join the fight, but will they be enough? We’ll have to stay tuned! Rating: 8/10

Set up in the final issue of his Wasp miniseries earlier this year, Al Ewing is back with Janet Van Dyne in AVENGERS INC. #1 and is joined by Leonard Kirk on art, Alex Sinclair providing colors, and Cory Petit handling lettering. PUBLISHER’S PITCH ACTION! MYSTERY! ADVENTURE! Her name is Janet Van Dyne. She's a hero. She's a celebrity. She's hunting a killer. His name is Victor Shade. He's a villain. He's an enigma. He just got killed. And together, they're out to solve every mystery in the Marvel Universe...starting with their own. AL EWING and LEONARD KIRK bring you a whole new style of Avenging - from a whole new style of Avengers... REVIEW Things open up where Wasp #4 left off with Whirlwind’s death while inside his prison cell, who ends up being just one of six villains murdered almost simultaneously within a few cells of each other. Amidst the dead bodies and flippant comments made by the prison guard supervising the situation, Janet set up the thesis for the series by asking with a name like the Avengers, just who are the avenged? It’s a question that doesn’t get explored enough when a victim or group of victims aren’t completely innocent and I’ll be very intrigued to see if it continues to get further explored in this series. The first half or so of the book plays out like a classic crime noir from the likes of Dashiell Hammett and Raymond Chandler. Janet searches for answers to how six prisoners could be murdered without a clue, leading her to a meeting with Mayor Luke Cage who pushes her to take up the case in a more formal manner. However, due to the anti-masked superhero fervor still being strong, she’ll have to investigate the matter inconspicuously. Ewing’s dialogue during this scene is a great back and forth between the two characters, with Janet doubting herself and Luke giving her the motivation to do the job she knows she needs to do. When Janet heads back to the morgue to gather further clues, the situation quickly grows dire as five of the dead villains begin to reanimate and to say they’re not happy to see Janet would be an understatement. They’re not entirely themselves and have no recollection of how they ended up on cadaver tables. Whirlwind’s body is the only one not to reanimate immediately. Though when he does we see he’s now going by Victor Shade, one of Vision’s aliases, and helps Janet subdue the others. Janet is bewildered at this development and is able to convince the prison’s warden to let her take Victor under her supervision, setting up this series’ new organization, Avengers Inc. The issue ends with a surprise reveal that I wasn’t expecting and almost wish it hadn’t been included so we could get a more classic whodunnit-style story. Those who didn’t read Ewing’s Wasp miniseries might be a bit lost on Janet’s connection to Whirlwind and her interest in his death. I wouldn’t blame them as the issue doesn’t allude to it other than an editor’s note referencing the work. However, if it wasn’t apparent in that miniseries, it’s obvious here that Ewing has a soft spot for Janet Van Dyne. He continues his deeply introspective character writing, using what Janet views as inequitable treatment for the victims (because of their past) to highlight her unyielding commitment to justice for all — even if she needed some encouragement from Luke Cage. I was expecting a visual style more akin to the character designs found in Daniel Acuna’s main cover art. However, Kirk utilizes heavy lines throughout the issue which didn’t match the crime noir tone of the book, but other than the tonal mismatch I thought the art was fine — nothing overly spectacular or unique. Sinclair employs a color palette that is heavily influenced by two specific hues: a blue tint permeates scenes inside the prison morgue, and a red/orange tint exists throughout scenes outside the morgue. Such consistent palettes without any real pops of color made the full book a bit of a bland visual experience. What did stand out was Petit’s lettering work, which isn’t a shock as he’s one of the best letterers in the business. The story plays out in the past tense with Janet’s narration happening from the present day and Petit’s yellow letterbox for this text looks great and clearly stands on the page as it’s the only pop of color you’ll find. FINAL VERDICT The pacing can be slow, there isn’t a lot of excitement even with some action, and the issue asks more questions than it answers. I’m not going to doubt Ewing’s ability to craft a compelling story when all is said and done though I wouldn’t say this was my favorite debut. I hope he leans more into the noir genre as the story progresses as that’s something I haven’t seen him do. If you’re a fan of Ewing’s previous Wasp series or Ewing’s other Marvel work, I’d recommend giving the series a shot but I can’t totally see this type of story being for everyone. RATING: 6/10

This was ok? You know you’re always going to get a well-written script from anything Chip Zdarsky touches but this debut issue failed to make me think this is anything other than an “Old-Man X” type of story that we’ve seen played out for other Marvel heroes. None of it felt new, compelling, or interesting to make it standout against other alternate-ending type stories already told. I appreciated the effort from Daniel Acuña’s futuristic approach to art even though it felt like a disparate feel from Zdarsky’s story about a senior Steve Rogers. I get that it was likely meant to evoke a sense of Cap being lost in his new surroundings, but I found it to be distracting. This is one story I may end up finishing in trades rather than picking up issue by issue.

I'll admit that I'm a bit biased when it comes to the Barbaric universe. Michael Moreci's creation has been one of my favorite projects since it debuted in 2021, and I've loved every entry so far. But trust me when I say that this week’s Barbaric: Born in Blood #1 is another absolute banger! The duo of Owen & Axe have basically become comfort characters for me at this point. Their relationship is pure comedy gold, and I can't get enough of seeing these two together. The issue’s cold open "recap" was a hilarious way to bring readers up to speed on where the story left off and the awesomeness doesn't end there. Moreci continues to perfectly balance his satirical writing w/ classic elements of the sword & sorcery genre. Axe is as blood-thirsty as ever (he may actually need help), Owen is his miserable, disgruntled, yet heart-of-gold self, Soren's one-liners are hilarious, & Steel rounds out the core four-some with outlandish buffoonery. But it's not all jokes. Moreci also lays the groundwork for an intriguing plot w/ a new side-quest that will seemingly bring Owen face-to-face with his Barbarian past. As expected, Nathan Gooden's art continues to be a bloody good time (sorry, had to go there!) & his approach has truly become a calling card of the Barbaric universe. His illustrations bring the world to life and Fabiana Marques’ colors make them pop in all their blood-spattering beauty. Overall, I'm so happy to have more Barbaric in my life & I'm totally along for the ride! At this point just pump any new Barbaric story into my veins & call it a day.

The Gotham War kicked off on a rather uninspiring note in last week’s Battle Lines prologue and lines are further drawn in this week’s BATMAN #137 by Chip Zdarsky and Jorge Jimenez. TL;DR After a nearly 3-month break since the last issue in the Dark Knight’s own series, we see more concern from the Bat Family over Bruce’s current worldview and the role he believes he’s meant to play for the people of Gotham now that he’s aware of Catwoman’s plans for the city’s former henchpeople. He goes on a spree rounding up Selina’s “rehabilitated” criminals, leading to Catwoman and the rest of the Bat Family, save for Damian Wayne, working together to try and stop him. Damian shows up to save his father, who makes a retreat before discovering someone has threatened his ability to protect Gotham by purchasing Wayne Manor from under his nose. Review Zdarsky’s script for this book is much tighter than the haphazard writing he and Tini Howard combined for in the Battle Lines, even if Batman’s current personality seems off. In the most recent issue of the series before the “Knight Terrors” event paused everything, Zdarsky set Batman up as damaged goods thanks to his previous dealings, including Batman of Zur-En-Arrh and Failsafe. Batman had to deal with coming to terms with the new state of Gotham while he’s been kept busy elsewhere, and I can’t imagine his most recent dealings with Insomnia or his 8-week slumber revealed in Battle Lines did anything to help his fragile psyche. The presence of Zur-En-Arrh as Batman is stewing in the Batcave near the end of the book does a lot of work to help explain his current actions so far in this event. I also appreciated how quickly the rest of the Bat Family coalesced around the need to contain Batman. There was some hesitancy in Battle Lines, but the downside to Batman’s actions are now apparent — violent crime is now about to go back up as evident by members of Batman’s rogues gallery starting a new alliance. They don’t try to rationalize Catwoman’s plans. They lay out the pros and cons of each and weigh what does “do the most good” mean in a world where there aren’t absolutes. Of all the Bat Family, I particularly enjoyed Zdarsky’s writing for Jason in this issue. When written at his best, Jason has always been one of the more interesting members of the family given his anti-hero status and it really shows here. The writing for these characters all felt off in Battle Lines and I think a lot of that had to do with how rushed the plot development in that issue felt. I found Jorge Jimenez’s art really captivating in this issue, even more so after not seeing him on this series during the “Knight Terrors”-caused hiatus. There was something off about the Batman art in Battle Lines and Jimenez brought things right back to feeling normal. He has an uncanny ability to convey motion which shown bright during the major battle between Batman and the Bat Family. I also love the detail he brings to each costumed character. Everyone looks intimidating and ready for battle. Tomeu Morey’s colors and Clayton Cowles’ lettering also continue to lend extra life and depth to the visual tone throughout the book. Final Verdict I thought this was a major step in the right direction for the event after Battle Lines. It gave depth to Bruce’s mindset and every character’s actions felt more earned that they did in the event’s prologue. If Zdarsky continues shining a light on Bruce’s psychological trauma and coming to terms with his own mortality, I think this event can lead to some really intriguing long-term ramifications for Batman and Gotham-at-large. The surprise reveal of Vandal Savage at the end was a true surprise as I was fully expecting it to be Selina or the new alliance of Batman’s rogues. It will be interesting to see how this impacts the Gotham War, which continues in Tini Howard’s Catwoman #57 out on September 19th, and if it’s what ends up causing fences to be mended between Bruce and Selina. Rating: 8/10

I will fully admit that I have started to disconnect individual issues from the atrocious “Gotham War” storyline in my own mind. That plot has reached the point of being nonsensical, so I’m choosing to disassociate from it and judge individual titles on an issue by issue basis. Jorge Jiménez steals the show flexing his artistic muscles (I wish his very real life ones too, seriously he is gorgeous ripped) in this issue, with heart-pounding action sequences featuring various members of the Bat Family. Chip Zdarsky continues to pull back layers which reveal Bruce’s actions are the result of Batman of Zur-En-Arrh being control. What first appeared as a step too far for the Caped Crusader is becoming more understandable and, frankly, it makes sense. Bruce has been through a sh!t ton lately and it’s completely believable that his mental fortitude wouldn’t be in peak condition. The development and set up for Vandal Savage to be a long-term threat throughout Gotham was also done well enough to make readers want to know more.

With the dreadful “Gotham War” crossover event mercifully over, the issue marks the beginning of Batman’s “Mind Bomb” arc from Chip Zdarsky and Jorge Jimenez. Zdarsky’s depiction of Bruce’s struggles with elements of mental illness related to the lingering presence of Zur En Arrh has been a fascinating read. Add in the complexities of The Joker wanting to face Zur for an ultimate showdown and you have the making for a captivating plot which highlights Zdarsky’s strengths as a Caped Crusader scribe. Jorge Jimenez’s art is another highlight of this current run and this issue he goes full psychological thriller with his designs. It’s perfectly jarring for the tone of Zdarsky’s script and really brings things to life.

Chip Zdarsky’s story tries to dive deep into the fractured psyche of Bruce Wayne but the end result is a fractured story that never really knows what it wants to be. There are a lot of interesting elements sprinkled throughout the issue, but together they feel like multiple “previously on” segments taped together with the loosest of plots. We don’t really learn anything new and The Joker’s role comes off more as a plot device than a meaningful development. Even Jorge Jimenez’s usual stellar art felt off here, but Tomeu Morey’s colors were definitely the standout. The cliffhanger gives me pause on where this is going and if we’re just getting Failsafe 2.0.

The finale to “Failsafe 2.0,” errr I mean “Mindbomb” is essentially one extended chase sequence, with Batman desperately seeking a way to shut down the rogue AI now controlled by Zur-En-Arrh before it can fulfill its objective - the complete and utter replacement of Bruce Wayne as Batman. Stop me if this sounds like Zdarsk’y first “Failsafe” arc. The story is just barely saved the awesome work of Jorge Jiménez’s art and Zdarsky’s backup story which introduces the only new plot element to this arc. However, that appears to be taking a backseat starting with the “Joker: Year One” arc where we’ll finally get to see more of the Joker’s origin story .

It’s going to be hard to judge this story as a whole until we see the entire plot unfold, but c’mon DC, what’s the need for this story? Let alone dropping it smack dab in the middle of another ongoing plot (Zur-En-Arrh aka Failsafe 2.0) that isn’t even that great itself. It’s a really jarring momentum killer that feels like a random event instead of part of a holistic story arc. At least from this first part, the story isn’t even a true “Year One” story as the issue goes in and out of several timelines, including the present one with Batman’s POV. The parts that are told in the past come off more like half-handed retelling than thought-provoking or revelatory new beats. The art in the issue was a big meh from me, especially considering we’re missing out on issues that could have been drawn by Jorge Jimenez. Hopefully things pick up some, but this initial entry in this now weekly narrative was a major bore.

The second part of Joker: Year One showed some improvements over the previous issue, notably with better pacing between the dual timelines. Joker’s (newly revealed) multiple personalities is a nice juxtaposition to the struggles Batman faces with Zur-En-Arrh. My main criticism is there are still no points of differentiation when the story jumps between them. Context clues and a change in art are all the readers have to know they’re jumping between points in time. I think there is going to be a big divide between people who appreciate the new twist on the three Joker story and those who hate it because of their connection to the influential Geoff Johns story. For me, the Three Jokers was really well done but never made much sense in the traditional DC universe. I’m totally fine if it ends up living as an alt-universe or one-off story after this. That’s not to say this explanation from Zdarsky is fool-proof or a tightly-structured retcon. There are still plenty of holes you could poke here. The art in the issue was haunting, particularly the future timeline panels by @andreasorrentinoar. They me goosebumps with their hyper-realistic take on an emaciated Joker emerging from a pool of water. Overall, I can start to understand a bit more of why this Joker story is being told at this point in Zdarsky’s run. It’s not without its flaws, but with more pieces revealed it’s getting space to breath and giving us some interesting personality examinations even if you need to squint to see it make sense.

The 3-part “Joker: Year One” arc wraps up in this issue and I’m left wondering what it was all for? Now that it’s done, it seems all we got was a flashback meant to retcon “Three Jokers” and a flash-forward meant to remind us Batman and Joker enjoy one of the most sadistic, symbiotic relationships in pop culture. As a standalone issue, the flashback story focused on Gordon had a lot to like: suspense, action, and great character moments. But as a third act it did little to payoff what we learned about Joker’s past in the last issue in a satisfactory way. The future story never felt fully realized and came off as a lame mashup of last year’s Knight Terrors and this year’s Beast Wars events. I thought Zdarsky could have done a lot more with this story but failed to deliver. “Joker: Year One” failed to live up to DC’s own hype and makes their decision to put the titles’ main plot on hold for this even more questionable than when it was first announced. Hopefully some elements of this mini arc impact the next phase of the Zur En Arrh story or it may look even worse.

Part 1 of "Dark Prisons" picks up the story right where we paused for "Joker: Year One" a few issues ago. Batman finds himself imprisoned alongside the Joker in Blackgate, while the hybrid Zur-En-Arrh/Failsafe implements a series of harsh measures to eradicate crime, essentially turning Gotham into an authoritarian police state under the eyes of this new Batman. We also see the reactions of various Batfamily members grappling with the new reality and trying to figure out if this is really their Bruce. Damian seems the most willing to believe things, setting up a potential fracture amongst the family very similar to the Gotham War. Which is just another rehash along with this second Failsafe story. Zur-En-Arrh/Failsafe running Gotham is another version of an overused trope in Batman where one of Batman's rouges rules the city with an iron fist. Dark Prisons adds a wrinkle given the fact the city believes this is all happening under their previous Dark Knight protector. Part of me actually wonders if this is the type of approach that needs to be taken in order to restore order to the city. We have yet (keyword: YET) to see Failsafe implement his methods on anyone who didn't deserve them nor have we seen him kill anyone. He even took Riddler in, so part of me does wonder how far he is pushing the boundary. @jorge_jimenez_art makes every Batman book look amazing & there's nothing different here. Failsafe's new design looks freaking awesome and I loved how we visualized the image of Bruce Wayne's face on Failsafe's screen. Jimenez's attention to detail in the facial expressions for every character in the book really sells the mood. Overall, the story feels redundant to a lot of Zdarsky's recent work but the art makes up for things. It's not bad writing, it's just a bit boring. Unless there's a major twist coming, you can kinda see how this is all going to play out.

This issue, written by Chip Zdarsky w/ art by Jorge Jiménez, was pretty middle-of-the-road issue that neither wowed nor disappointed. Part 3 of the Dark Prisons arc dove deeper into Failsafe’s long-term plans & sets up his interactions w/ Amanda Waller, which will play a bigger role in Mark Waid’s Absolute Power event. We also see a much more positive Bruce, who gets a surprise visit from Tim Drake. While Zdarsky’s script is engaging & moves things along, it lacks a punch to elevate this arc. Jiménez’s artwork is, as always, a highlight. His dark & moody style perfectly captures the tone of the Batman universe, & his action sequences are fluid & dynamic. Tomeu Morey’s colors & Clayton Cowles’ lettering complement his art, creating a visually appealing package. Overall, this issue’s pacing is well-balanced, with a mix of action, plot development, & character moments. However, it all feels somewhat predictable. I’m actually more intrigued with Failsafe’s arc than I am Bruce’s, & I can’t tell if I’m meant to feel that way or it’s just that Bruce’s story is milquetoast.

If you’ve ever wondered how to make a battle between Batman and Catwoman boring, I’d suggest reading this week’s BATMAN/CATWOMAN: THE GOTHAM WAR — BATTLE LINES #1. This opening salvo failed to deliver on an interesting societal dilemma meant to set up DC’s next cross-over event after “Knight Terrors” (which ended this week and had it’s own warts). The event’s prologue, written by Tini Howard and Chip Zdarsky, opens up with an attempt to set the stage by revealing Batman has been…asleep. Yes, Bruce Wayne fell asleep for 8 weeks. Perhaps he was worn out from having to read the Knight Terrors event (in-story they explain the event itself took so much from him) or maybe Howard and Zdarsky just needed to fast forward some time and have an excuse to explain what Catwoman’s been up to this whole time? Either way, it felt like quite a stretch. During those 8 weeks, Catwoman has given up her past life and created a training program to rehabilitate other criminals. Instead of committing violent crimes, she’s working with them to focus only on stealing from the 1% and distributing the profits. Violent crime is now nearly non-existent in Gotham begging the question of whether Batman is even needed anymore? She calls for a meeting with the entire Bat Family, including Batman, to discuss the situation and request they leave her alone to continue her work. Ever the champion of the working class, Batman throws a fit which includes him complaining that his rich parents would have been targeted in this new scheme! How dare Selina even think this was a good idea?!? Honestly, his tirade sounds like an attack ad from the GOP against some contrived form of socialism. His own warped view of his value to society makes him unable to even consider the fact that this tradeoff may actually benefit the most amount of people in Gotham. I also couldn’t get over the fact that this was a revelation to the Bat Family. For a group of people trained by one of the world’s greatest detectives, they didn’t realize what was happening in Gotham under their noses? That made no sense and felt like a lazy plot device to emphasize their reactions and keep the title of the issue & the event itself intact. We see the Bat Family split on whose views are right, with Jason Todd unsurprisingly siding with Catwoman. Mike Hawthorne and Adriano Di Benedetto’s art didn’t add anything to the issue for me. Much like Howard & Zdarsky’s story, the design approach felt rushed and messy at times. The character designs during the meeting between Catwoman the Bat Family were particularly off-putting. The color palette from Romulo Fajardo Jr. was probably the best addition to the book as it spanned quite the spectrum from dark reds, purples, and pinks in higher tension scenes to blues, greens, and other muted colors during less critical moments. Overall, a disagreement between Batman and Catwoman is nothing new but the reason for the current disagreement was an interesting moral quandary that I was excited to see explored. However, it seems like we’re getting opposing views from two caricatures, especially the way Batman is depicted. I’m hopeful this was the symptom of having to introduce this concept during the tail end of Knight Terrors (and in a joint comic no less) and that Zdarsky will be able to right the ship for the caped crusader once the storyline shifts back to his own title. Rating: 4/10

How did DC follow-up the poorly executed “Knight Terrors” summer event? With a Gotham-wide event that was equally poorly planned! None of the cross-over issues across the “Gotham War” ever really landed due to a multitude of issues and it was all laid bare in this punchless attempt to conclude this wildly contrived story of tension amongst the Bat-Family. The parts of the sum haven’t all bad though, Chip Zdarsky’s standalone Batman issues have given the character an interesting psychological undertone which was brought up in this issue in the most surface-level way possible. Tini Howard’s Catwoman sections are some of the lowest points of the issue and it really felt like Selina’s additions were an afterthought this entire event. The visual look of the issue matched the mundane plot, with generic looking character designs overwhelming panels to the point where a maskless male character could have been Bruce, Jason, Dick, or Tim. Given how the story wraps up, much of what happened throughout this event is undone and we’re brought back to the status quo from several months ago. less

This was a delightful holiday surprise, blending the gritty world of Gotham City with the whimsical magic of Christmas in an immensely fun miniseries debut. Jeff Parker and Michele Bandini create a campy, captivating story that is both thrilling and festive. Parker's writing is witty and sharp. He expertly balances the dark and dire elements of the Batman-style plot with the lightheartedness and wonder of Christmas lore. The dialogue is full of humorous exchanges, especially once Santa enters the picture, providing plenty of laughs while also setting up the story for the long haul. Parker’s introduction of Santa to the larger DC Universe makes it seem like this was planned for decades and didn’t feel forced at all (which it could have VERY easily been). OF COURSE Santa is a secret superhero! I found myself smiling throughout the majority of the issue because it was just so fun.

Writer Jeff Parker and artist Michele Bandini craft a story that seamlessly blends the Caped Crusader and Santa Claus better than I could have ever imagined — if I even were to imagine it! Picking up where the first issue left off, Batman and Santa Claus face off against the monstrous Krampus and his horde of Yuletide nightmares.The action is exhilarating, the mythology is surprisingly engaging, and the Christmas spirit is thick enough to cut with a candy cane. Bandini's art shines in these action sequences, knowing just when to push the envelop and when to reign it back in.

I haven’t been able to keep up with Mark Waid’s series as much as I’d like to, but I decided to jump back in with BATMAN/SUPER WORLD’S FINEST #18 as it was teased to retell the story of the first meeting between DC’s iconic duo. Throughout this series, Waid has consistently shown the ability to take moments of these two characters’ lives we’re all familiar with and add in a new layer that keeps them fresh and entertaining and he does so again with what may be one of the most consequential moments in DC Comic history. Unlike many of the storylines that have revisited this first meeting between the Caped Crusader and the Man of Steel, Waid doesn’t spend too much time with a detective story where the two are trying to find out each other’s identity. It’s revealed pretty quickly and in a clever way that pays homage to each character’s typical behavior from past meetings without belaboring things. Throughout their first mission together, Waid gives us some fun dialogue between the two that’s equal parts macho masculinity and mutual respect/admiration. Travis Moore takes over from Dan Mora on art on this issue (and will also be handling art duties for the conclusion in the next issue) and does a phenomenal job paying respect to Golden Age themes while keeping the characters looking crisp and modern. This may be a weird compliment to give, but I really like the way Moore draws faces. There is a human quality to the expressions and emotions on the page that you don’t always get in comics. It was extra-apparent in his Riddler designs where he had to convey a sense of distress that is palpable due to the facial cues. Tamra Bonvillain on colors and Steve Wands on lettering add a beautiful bow to the wonderful package Waid and Moore created with their writing and drawings. Bonvillain’s colors pop of the page and there’s a slight hue to them that makes it feel like you’re picking up an old comic book that’s aged a bit since you last read it. A Batman and Superman story wouldn’t be complete without sound effects popping up during moments of action and Wands’ style works superbly. Overall, this was a thoroughly enjoyable read and the artwork is top-notch. The big bad reveal was a legitimate surprise and I’m excited to see how Waid concludes the story in the next chapter given this issue’s cliffhanger. It’s a testament to the full creative team’s talents how well the concept of returning to past moments has lived up this long into the series’ run and it shows no signs of slowing down. Rating: 10/10

Mark Waid’s latest arc brings us back to the world of his own 1996 Elseworld’s story, Kingdom Come. I could feel Waid’s own self-reflection happening in real time as Batman and Superman come to understand the realities of Earth-22. The story contains equal parts fulfilling homages and interesting new developments. The context of Boy Thunder being found via Flash mapping the multiverse was a great touch and a plot tool that could be explored even further. There were also great moments of levity (Batman being taken aback by the “Creped Crusader” menu item) that allowed the issue to breath during moments of heightened tension. Dan Mora’s art and Tamra Bonvillain’s colors lift the issue up ever beyond what Waid’s masterful writing does. It’s such a treat to see an entire creative team working together at the top of their games and to see it executed on the retelling of such a classic story is just icing on the cake.

PUBLISHER’S PITCH Father and son. Bruce and Damian. Batman and Robin. From Batman vs. Robin to Knight Terrors, a lot has happened to the Dynamic Duo, but now they are back together and ready to fight crime in Gotham--just in time for Batman's most monstrous rogues to team up to turn the city into an urban jungle! A new villain watches from the shadows, intent on revenge, with a plot to turn one of Batman's greatest assets against him! Can Damian help his father solve the case before it's too late? A brand-new fun and exciting father-and-son adventure begins, from DC Comics architect Joshua Williamson and superstar artist Simone Di Meo! RECAP Damian moves into his father’s new brownstone and the two go through the growing pains of living together with someone for the first time. While Bruce would prefer his son to experience elements of a normal teenage, including going to high school. Damian is uninterested and would prefer to continue honing his crime fighting skills and highlights his new detective skills by discovering a lead from the previous night’s encounter. The duo goes to investigate but walk into a trap set by the mysterious new villain who turns Batman’s namesake winged creatures against him. REVIEW This book has been getting hyped by other DC creators for several months now and I finally got to see why. In addition to a great story from Joshua Williamson, Simone Di Meo made BATMAN AND ROBIN #1 into a visually stunning book with the approach to art and colors. It’s jumps from the page like a colorful, realistic manga come to life. Characters are expressive without looking cartoonish, lines are well drawn and clean, various forms of light are used to add depth to scenes, panels are presented at different angles to emphasize scale, motion is effectively captured during action scenes. It’s all SO well done. One of my favorite pages is a full page where we see Damian’s sketchpad revealing what appears to be a fictionalized story/comic about his own upbringing. There’s nothing particularly groundbreaking about the page, yet it’s a fun tongue-in-cheek homage to the comic book medium. Another favorite is a panel where some of Damian’s toughest moments fill a shadow of costumed Robin as it falls behind out-of-costume Damian. The approach to both of these are so simple, yet the level of execution is sublime. If I had one complaint it would be that different angles are used so often, the final battle sequence felt a tad crowded and I almost missed one of the most important panels as it was surrounded by others. But that’s really just nitpicking. Getting back to Williamson’s story, I was curious to see how the events of this series lined up with the “Dawn of DC” timeline, specifically with the Gotham War arc and Bruce and Damian’s role in those titles. It was a pleasant surprised to see Williamson align their realities with the plotlines of Battle Lines and Batman #137. Bruce and Damian are on the outs with the rest of the Bat Family due to, as Bruce puts it, “everything going on with Selina.” It’s such a small though on-point way for Bruce to describe the situation given his current mindset— not even taking the slightest amount of accountability. In that vein, it came across like we were witnessing someone with a split personality speaking any time Bruce started monologuing. He was talking about everyday things as if nothing else was happening to him. I don’t know if Williamson intended it to come across in this manner but that’s how I interpreted it and it was so unsettlingly enjoyable. The writing for Damian was a standout for me. His appearances so far in Gotham War have shown him as a one-note character holding his father up as an infallible figure. Here, Williamson dives deeper into Damian as an individual and pulls back the curtain on how he’s processing the events around him. The aforementioned sketchpad page indicates he views Bruce and Selina as absent parents and you can’t really blame him for thinking that. The one part of this issue that didn’t work for me is the new villain’s plan. How intimidating can they be if the first step of their plans was to turn bats against Batman? Sure, a giant flock of bats attacking you can’t be fun, but came across as lame and I hope they worse things up their sleeves if we’re really to believe they’re a viable foe. FINAL VERDICT While there was a decent amount of action to bookend this issue, the heaviest life was in Williamson exploring the the parent/child dynamics in Bruce and Damian’s relationship. There were glaring hints that their roles are on the verge of shifting much like any situation between a parent who is aging and a child coming into their own. It was also nice to see none of the usual Batman rogues suspects in this issue, with some minor names appearing as a distraction to the mysterious new nemesis. My biggest concern going forward is how this new villain is built up, but that won’t spoil how much I enjoyed this debut issue. Rating: 8.5/10

I could understand this story happening during the same time as the Gotham War storyline if I looked at it sideways and squinted after the first issue went out of its way to connect the two together. Gotham War has pushed Bruce so far to the extreme under the influence of Batman of Zur-En-Arrh that it’s nearly impossible to watch Bruce/Batman in this series and believe they’re both happening in the same universe. Elements that made the first issue interesting, namely the deeper look at the father/son dynamic between Bruce and Damian, take a back seat so Joshua Williamson can introduce Shush, the new villain who has a vendetta against Bruce. Its implied that she isn’t working alone, could it be so obvious that she’s work for Thomas Elliot, a.k.a. Hush? I’m not buying this….yet. Simone Di Meo’s art continues to be the bright spot for the book, though are a few panels that look like replicas from the first issue with a few slight modifications. I’m hoping this book picks up soon or the juice isn’t going to be worth the squeeze.

While they’re tones are completely different, I couldn’t help but compare/contrast Christian Ward’s Batman: City of Madness to Rafael Grampá’s Batman: Gargoyle of Gotham. They’re both Batman comics from creators better known for their art than their writing and they both pull elements of established Batman lore to tell new stories. Where Grampá’s story never felt like it was ready or willing to introduce a new twist or layer to the Batman franchise, the first book in Ward’s story three-book tale sets itself apart with an entirely new world full of fantastical monstrosities below Gotham ready to wreck havoc on the city. Ward packs a ton of story into this first entry without ever making the book seem bloated. Batman, Alfred, Two-Face, the Court of Owls, and a new young boy all receive ample development over the course of the issue, with Alfred’s scenes being the emotional anchor to the book. The core plot of the book revolves around the Court of Owls’ knowledge of what’s waiting beneath Gotham and a sinister plan they’re about to enact. Ward does an amazing job setting the stakes and building tension within the Court themselves. We don’t necessarily know who is in power, but we know it can’t be good. My favorite moments of the book were the scenes involving Two-Face. Ward adds new wrinkles of complexity to the character, casting a diabolic, yet sympathetic shadow over the villain’s inner conflict with his own demons. Ward implies that Two-Face’s situation is somehow tied to the larger story but we’ll have to wait and see what comes of it. Hands down, this is one of the most beautiful books of 2023. Every page was a visual feast, with Ward’s art adding to the twisted and uneven tone of the book in the best ways possible. I could gush over so many different aspects, but Ward’s depiction of Harvey Dent/Two-Face is so unique and draws attention to the duality the character represents. The Batman from Below looks freaking AWESOME. I loved the blue/green color palette used for most of the book and the different shades of reds, pinks, oranges, and yellows used for details or to strike a moment of importance. He’s one of the best in the business, but I’d be remiss not to also acknowledge to herculean work of Hassan Otsmane-Elhaou on lettering. He makes Ward’s exposition read like poetry on the page with some of it living outside letter boxes/bubbles and flowing free-form against the beautiful illustrations. Batman: City of Madness Book One was a tour de force of imaginative storytelling from start to finish. Ward uses every aspect of the book to invent a new, nightmarish take on Gotham that immediately captivates the reader and immerses them in this twisted tale. Rating: 10/10

A wild, mind-bending trip into the depths of Gotham's depravity. Writer and artist Christian Ward throws caution to the wind, crafting a narrative that's as unsettling as it is visually stunning. This is Batman like you've never seen him before, forced to confront the very fabric of reality itself. Ward's art perfectly captures this descent into chaos. It's a visual feast for the senses, but one that will leave you feeling slightly off-kilter, in the best way possible. We glimpse the origins of the Under-Gotham, its connection to the Court of Owls, and the horrifying price Gotham must pay for its existence. But City of Madness #2 is more than just a psychedelic trip. It's a story about confronting the darkness within ourselves, both literal and metaphorical. Batman, the symbol of order and control, is forced to grapple with a reality that defies his logic. It's a reminder that even the Dark Knight can't always punch his way out of every problem, and sometimes the only way to win is to embrace the madness, at least a little bit. Overall, this second entry into Ward's trilogy is psychedelic plunge into the heart of Gotham's madness, beautifully rendered and brilliantly written. This is Batman like you've never seen him before, and it's absolutely glorious.

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.

REVIEW The first thing that stands out in Gargoyle of Gotham #1 is Rafael Grampá’s unique style of dark and twisted illustrations. From the opening panel to the closing “to be continued” box, the visual tone of this book is unabashedly Grampá. As a Dark Knight story about a serial killer, the art is gratuitous and Grampá doesn’t hold back with plenty of blood spilled. On one page, Batman pokes the eyes out of a henchman in gory fashion. The killer Batman is hunting has an unhealthy obsession with an older cartoon with a dark past and one of the more interesting visual representations in this first issue is a scene involving said killer watching old reels of the cartoon as he waits for Batman to find him. Grampá employs a black and white palette for these panels to great effect. The killer himself is always shown entirely in black with pops of white to highlight his eyes and his penchant for crying on cue. It’s a captivating look that isn’t matched by equally compelling character. The cartoon obsession allows for an interesting visual yet it doesn’t do anything to create much in terms of complexity for the character. The final page reveals that he has a connection to Bruce from long ago, which was both highly predictable and entirely uninspiring. This type of motivation or explanation for villains’ fixation on Bruce Wayne/Batman is overdone and lazy. This new villain is a microcosm for my main problem with this issue (and my worry for the rest of this miniseries) — it all looked great yet nothing in the story felt like it was breaking new ground, exploring new depths of Batman’s psyche, or providing a new wrinkle to the Dark Knight lore. Batman wants to become a darker version of the Dark Knight and eliminate the public life of Bruce Wayne so he can achieve it? That’s a tough story to tell when it’s already been done in the iconic work of Frank Miller. It’s all been done before so any writer looking to attempt a story about it needs something to establish their story as a worthy addition to the Dark Knight pantheon. There’s a random monologue from Batman about the ills of Gotham being perpetrated by the city’s wealthy elite. In theory, it’s not a concept I disagree with. However, it’s quite the u-turn from Batman’s recent defense of Gotham’s aristocracy from Catwoman’s plans in Battle Lines. These two stories aren’t happening in the same universe but it was still a weird argument for Batman to make when that opinion didn’t come back to mean anything in the context of this issue. Another random scene that fell flat involved Alfred posing as “the biggest collector” of the artist who created the villain’s cartoon obsession. Batman puts him up to the task of paying a visit to the artist’s widow hoping to learn more about the cartoon and it’s blatantly obvious that Alfred is in over his head. The widow calls out several inconsistencies with Alfred’s story and yet doesn’t feel any cause for concern as to a strange man in her house? Not of it made any sense. FINAL VERDICT There are three issues left for Grampá to establish his own perspective, but, as the review’s title implies, this story came off as Dark Knight Rises fanfic. And mediocre fanfic at that. When the pitch said the limited series was Grampá’s “twisted vision of the Dark Knight,” I didn’t realize how much this would echo Miller’s Dark Knight stories, including Batman planning to fake the death of Bruce Wayne. Such strong connections to those iconic tales make it hard not to compare the two and, unfortunately, Gargoyle of Gotham can’t stand up to Miller’s work. I worry that we are treading into the territory of DC wanting a really cool visual and being ok with whatever story was paired with it. Rating: 5/10

Someone at DC must have been thinking, "gee...how do we make Jason Aaron's return to DC seem special?" To which someone else shouted, "A Batman miniseries! But make it in space!" And thus, Batman: Off-World was born. This debut issue lacked a punch or a reason for existence, other than to give Jason Aaron's return some extra pomp and circumstances. I never really felt like I was being informed why this was being written. Aaron's exposition carried most of the issue, trying to will a reason into existence. But what new idea around Batman's character is this telling us? Nothing, as of yet. The new characters came off as hollow and nothing more than plot devices to move things along. Doug Mahnke's art was fine. It felt like a traditional Batman comic, with little to make this standout out from the countless other Batman stories DC has put out. Overall, the book was fine. Nothing was terrible, but it didn't wow me. It was better than the debut of one of the other current Batman miniseries, Gargoyle of Gotham, but paled in comparison to yet one of the other current Batman miniseries, City of Madness.

Jason Aaron’s Batman-in-space story didn’t look back after sending the Dark Knight straight into a galactic prison cell in the first issue. This story isn’t taking itself too seriously and isn’t really setting any rules for what happens in this. We’re just getting Batman beating the crap out of aliens. Does it make sense? Not really. Is it pure fun once you embrace the absurdity? Absolutely. Pencil work by Doug Mahnke, inks by Jaime Mendoza, and colors by David Baron bring it all to life with a vibrancy befitting the out-of-this-world story. The alien races look create and there are several pages worthy of pausing for a few minutes to appreciate, including the final page setting us up for the next chapter.

The second issue picks up where the shocking first issue left off, plunging readers deeper into the bizarre and darkly humorous world of Woodbrook. Writer and artist Patrick Horvath continues to weave a captivating story, this time with a focus on the unexpected consequences of secrets and the dangers of unchecked ambition. The twist of Sam, the serial killer main character, becoming a quasi-investigator was a fun twist that I didn’t see coming. Horvath's artwork is once again a highlight of the issue. His expressive character designs and detailed backgrounds bring the world of Woodbrook to life, capturing the creepy charm of the town and the sinister nature of its inhabitants. The use of color is particularly effective, with muted tones creating a sense of unease and vibrant hues highlighting key moments of action and tension.

Kelly Thompson makes her highly-anticipated DC Universe debut and reunites with her Hawkeye creative team of Leo Romero on art and Jordie Bellaire on colors to kick off a new series with this week’s BIRDS OF PREY #1. TL;DR The issue focuses on Dinah Lance/Black Canary rounding up some of the most fearsome fighters in the DC Universe to help save her sister, Sin, from an ominous fate in Themyscira. She convinces Cassandra Cain, Big Bard, Zealot, and (unfortunately) Harley Quinn to join the team and the fivesome come together to learn about their mission. REVIEW If I went into this book without knowing the name of it, and thus the history of the team known as Birds of Prey, I probably would have liked this a lot better. And if Harley Quinn wasn’t on the roster, I might have been able to enjoy the other characters. Unfortunately, I couldn’t move past the fact that this didn’t feel anything like a Birds of Prey book and Harley Quinn sucked up all the oxygen in the room whenever she was present and left nothing for anyone else. I didn’t understand Dinah’s reasons for why Barbara Gordon couldn’t know about what she was up to in forming this new team. Was it Kelly Thompson’s way of letting reads know to not expect Oracle to show up in the series? Or is it the basis of a future plot point? At least Babs gets mentioned. We only see Huntress, another iconic Birds of Prey staple and someone with a connection to Sin, in a panel where her name is crossed off as Dinah reviews her list of potential teammates. Why did Dinah think she wasn’t the right choice? I understand the desire to offer a fresh team roster, but it was an odd choice to include past members in such a forced manner, especially since Cassandra and Big Barda have previously served on the team and the only real net new members are Zealot and Harley. That leads me to my biggest complaint about the issue, which actually takes shape in two ways. The first is the way Dinah is “convinced” by Cassandra to consider Harley for the team. Are we really supposed to believe Harley could take Cassandra in a fight? And are we really supposed to believe Dinah would trust Harley with her own sister’s fate because of one encounter Cassandra had? Again, this choice felt forced. The second complaint about Harley is probably the most obvious one — once she showed up this basically could have been called Harley Quinn & the Birds of Prey. It was all Harley, all the time. And the bad kind of Harley. They Harley that has no self-reflection or filter. DC is using Harley as much as they can across various media and her inclusion here felt like a means of getting sales for this book more than anything else. Aside from these team construction complaints, I actually thought Thompson writing showed a ton of promise, save for Harley. Big Barda constantly using some version of “Small Bat/Little Bat” to address Cassandra? Hilarious! Zealot being completely nonchalant about everything? Perfect! I wanted more of these characters and so much less of Harley. As expected, Leo Romero’s art is gorgeous. Every action sequence is so fluid and natural that you feel like you’re watching pages in motion. His designs for each of the characters is distinct and he’s able to capture the more dramatic moments well with descriptive facial expressions. It’s going to take some time getting used to the color palette used by Bellaire for the main story. It has an overexposed approach to it, or what you’d expect a comic book from the 70s or 80s to look like now after decades in a longbox. There were moments it worked and then moments it felt really jarring. However, I LOVED the color palette for the flashback scene when Cassandra talks about her fight with Harley. The pinks, purples, and dark yellows look so good together and I’d love to see an entire Cassandra story in that look. FINAL VERDICT I’ve been so excited for this series when it was announced months ago. Then Harley Quinn was revealed as part of the roster and my worries crept up and, unfortunately, those became realized now that we’ve seen the debut issue. I would never bet against Kelly Thompson though, so if she can tone down the use of Harley Quinn and focus on the rest of the team that’s actually present, I will be right back anxiously awaiting this series every issue. Rating: 5/10

It felt like I was in the minority in my criticisms of Kelly Thompson’s DC debut in the previous issue, but I was happy to see that some of the things that I didn’t care for were a one-issue instance. Thompson starts to answer a few of the lingering questions, most notably why there’s tension with the Amazons and why Wonder Woman isn’t available to thaw it out. Leo Romero’s designs continue to be the best part of this book and I’m also coming around to Jordie Bellaire’s approach to colors, which I think are really a feat of artistry. While Thompson’s script is strong and her vision becomes more realized, there’s still a bit too much Harley Quinn for what I’d like to see. Her usage is causing Cassandra, Big Barda, and Zealot of feel like guest-stars rather than full-fledge members of the team.

As I mentioned in my review of the debut issue, this series continues to have a Harley Quinn problem. She sucks up so much oxygen throughout every issue that it’s difficult to look past her constant presence and enjoy anything else about this book. Without Harley, this could be an habitual 10/10 series because everything else about it has been amazing — the side characters (including any Bird of Prey not named Harley Quinn), the writing, the art. But nothing else gets a chance to shine because every single conversation comes back to Harley. If she is the one to somehow defeat/reason with Wonder Woman to save the team, I may not be able to continue with this series.

With minimal Harley Quinn one-liners (don’t worry, there are still a few there), this might be the best issue in Kelly Thompson’s run yet. The Birds’ battle against the army of Themyscira ups the action and we get significant plot development related to Sin & the reason for Dinah’s plan in the first place. It’s the payoff we’ve been hoping for since the first issue and it’s well worth the wait. Leo Romero's designs and Jordie Bellaire’s colors are just insanely gorgeous. It took an issue or two to warm up to this visual identity but I am SO bought in now. This due nails every scene — action, drama, close-ups, wide-angles, characters, backgrounds, everything. I find myself eager to view this series’ pages in the days leading up to new issues and that’s the best feeling you can have.

Birds of Prey #5 continues the team's fight against Megaera, a monstrous entity threatening Themyscira and beyond. The issue primarily focuses on Black Canary and Sin attempting to defeat Megaera from within its own form, while the rest of the Birds (Harley Quinn, Cassandra Cain, Barda, and Zealot) face off against the Amazons guarding the way to the creature's core. Kelly Thompson's writing in this issue is a mixed bag. The character interactions, particularly between Dinah and Sin, are well-written and emotionally charged. However, the plot takes some perplexing turns, especially regarding Megaera's dialogue and motivations. The villain, initially presented as a menacing force, ends up speaking like a Zillennial, undermining any sense of genuine threat. I will also die on the hill that Harley Quinn is over-utilized in this book. I’ve seen a lot of people attacking guest artist Arist Deyn's approach to the issue, so much so that Thompson has had to defend Deyn and note the issue is meant to be viewed from the perspective of the Megaera, which is why it is such a stark departure from Leo Romero’s work. It’s definitely a completely aesthetic, but I thought it worked and still fit with the tone of Thompson’s script.

First and foremost, I have to give major kudos and love to the art team of @leo_romero11 & #jordoebellaire who have defined this young series’ visual identity in such a unique and impressive way. It took an issue or two for me to get used to it, but my love for their style became apparent when they both received a break from the last issue and we had guest artists. The artwork in this issue is absolutely gorgeous and these two artists deserve so many accolades for how much a swing they took with this approach to the art. The art does save this story in the issue which I felt was a mixed bag. On the one hand, I enjoyed seeing more of Barda, Zealot, and Cassie, but on the other hand I found the final battle with Megaera to be poorly paced and a rushed conclusion. I really loved what @1979semifinalist did in the scenes after the battle was finished, tying up many of the loose ends from the first issue which angry social media fans unfairly criticized her for before she even had a chance to tell her first arc. It ended with an intriguing cliffhanger that sets up the next arc in exciting fashion, though I’m sad this may mean the end for some of the Birds we’ve come to love in these first six issues (except Harley Quinn, who I hope gets some much needed time off 😉).

On the one hand, this issue delivers the things that make the BoP such a compelling concept: a fantastically diverse cast of women and the long-awaited return of Barbara Gordon to the fold. Seeing Black Canary reunite with a Babs felt like a true homecoming for the title, finally capturing the spirit of the classic BoP dynamic. However, the plot itself felt riddled with holes. The jump to a new conspiracy, especially after the unevenness of the first arc, was jarring. This new investigation felt rushed, with leaps of logic that are hard to swallow given Meridian could be using future tech to help figure out who is out to kill Babs. This is all topped off by an ending that leaves you scratching your head more than cheering. Vixen parading the BoP in lingerie? Why?? @1979semifinalist is such an amazing writer, but it has felt like she's gone for a cheap laugh or gag joke one too many times in this series' short run so far. Despite the narrative stumbles, this is still a visually stunning book. @javierpinacomic's art is expressive and dynamic, perfectly capturing action and interpersonal dynamics. There's a noticeable shift from Leo Romero's usual linework without being a completely new approach. This shift is helped by the true star of the show, which are the colors by #jordiebellaire. Her palette & style sets this book apart from anything else on the shelves today. Its bold and inventive, adding depth to every panel and something I've come to look forward to every issue she's on. The next issue will be the conclusion to this mini-arc, but I do hope it doesn't mean Babs gets rotated out again. This series has the potential to be truly great (and has shown it can be), and w/ a little more focus, it can be one of the best current comics.

I’m a big fan of Jeff Lemire and I’ve heard so many people raving about the Black Hammer saga, so it caught my attention when I saw this series announced. However, I’ve never read any of the Black Hammer series so I was a bit nervous to jump at this point, knowing how much mythos has already been established. This is a universe he’s been envisioning since 2005 and was first published in print in 2015. BLACK HAMMER: THE END #1 marks the beginning of Phase 3 for the universe, which will be the final phase of this saga. Lemire combined sharing background information without providing a strict recap and setting up new storylines that kept me from feeling completely lost while simultaneously getting me interested in what’s to come. He’s built a world you experience through the myriad of character interactions rather than being given a ton of exposition. There was a strong pacing to the issue, catching readers up on two different storylines. Scenes between the two stories cut back-and-forth over the course of the book and each scene felt well constructed. Even though I was glad the characters filled in my knowledge gaps through their dialogue, I didn’t feel a strong connection to any character. From my POV, there was minimal character development being done in the issue though they all felt as though they were previously established in past series. There are definitely characters I’ll need to read up on to make sure the rest of the series makes sense. Malachi Ward’s art brought the book to life with clean lines and expressive character designs that made each scene’s emotional moments palpable. Characters, especially those within the off-Earth storyline, are unique with distinct looks that make them memorable. Paired with Bryce Davidson’s colors and Nate Piekos’ lettering, reads will enjoy the visual journey of the book that complements Lemire’s plot well. Overall, I’m not sure this is an ideal jumping on point for readers who haven’t read up on some background as to what the Black Hammer series is about. I don’t think you would need to read every issue written, but a quick search of the general plot would do someone well to ground themselves in how the story has gotten to where it is. With that, readers will get to thoroughly enjoy Lemire’s effortless story. It achieved in making me interested enough to continue reading up on the Black Hammer universe and would definitely continue reading with the final five issues of this six-issue miniseries. Rating: 6.5/10

After reading the debut issue as my first experience with the Black Hammer franchise, the second issue provide more context and world-building that filled in some gaps. Jeff Lemire and Malachi Ward and providing such a smart meta-commentary on the superhero/multiverse trope that is undeniably enjoyable and such an easy read to jump into for new fans.

Self-discovery is the name of the game in Black Panther #1 on shelves today from the creative team of Eve L. Ewing writing, Chris Allen penciling, and Jesus Aburtov on colors. It’s a powerful and moving introduction to a series that seeks to explore the legacy of T'Challa, the meaning of the Black Panther title, and the future of Wakanda. Picking up after the events of the previous Black Panther run, the issue starts with T’Challa in exile from Wakanda by order of the new Prime Minister after the country shifted from a monarchy to parliamentary democracy to avoid a civil war. After spending time away, including rehabilitating his relationship with the Avengers, and failing to feel part of any other society he was amongst, T’Challa returns to Wakanda, the only place that ever felt like home, to truly discover who he is as a person. Ewing's writing is sharp and insightful, and she brings a fresh perspective to T’Challa without completely changing who he has always been. Some of my favorite superhero (and villain) story arcs focus on the why of a character’s actions and based on what Ewing is doing with this first issue, it appears that will be at the core of her time with the character. I’m excited to see how she evolves T’Challa into a more confident person compared to his current state, which will only make his role as Black Panther and what that means for himself and the people of Wakanda more impactful. The artistic combo of Allen & Aburtov do an amazing and important job world-building the city of Birnin T'Chaka, the area of Wakanda where the majority of the issue takes place. Unlike the futuristic, technologically advanced capital we’re used to seeing, Birnin T’Chaka is rougher around the edges and its inhabitants live a more humble life. The backgrounds and colors of the city show a sense of imperfection, while still evoking vibrancy and culture that many depictions of these types of areas can often rely on. Yes there may be more nefarious things happening here, yes there may be more shady individuals walking around, but that doesn’t mean the area is devoid of community. Ewing is careful to avoid traditional tropes and ensures the reader understands how this compares to underserved areas of US cities by having T’Challa note: Wakanda provides for its people. There is nothing of the struggle I saw in my day in New York, for instance. All are housed. Fed. Clothed. But my father used to say that it is many days’ walk between necessities and abundance. Birnin Zana is a land of abundance. Birnin T’Chaka is a land of necessities. The artistic work also shines where it may be recognized most — T’Challa’s new Black Panther costume. The new suit is sleek without being gaudy, simple without being boring, and unique without being gimmicky. While more may be explained in future issues, it felt as though T’Challa was deep in his thoughts exploring the connection between the mantle of Black Panther and the nation of Wakanda when he made these design updates. Overall, this was an impressive debut issue that had a tall task in distancing itself from some of the more controversial decisions made by the previous series’ creative team. Without disregarding or overlooking what they were left with, Ewing has seemingly picked up the pieces and is dedicated to restoring Black Panther, both the character and series, to a level of sophistication it deserves. I’m invested in how she will continue give T’Challa the space to find himself and I’m excited to continue exploring the world of Wakanda that Allan and Aburtov create.

After a successful team-up in the six-issue miniseries Blue Beetle: Graduation Day, writer Josh Trujillo, artist Adrian Gutiérrez, colorist Wil Quintana, and letterer Lucas Gattoni reunite for the next chapter of Jaime Reyes’ adventures as the titular character in this week’s BLUE BEETLE #1, which comes in both an English and Spanish edition to celebrate Jaime’s heritage. TL;DR Jaime (on the ground) and Ted Kord (directing Jaime from above) are handling an attack from The Madmen when Dynastes and Nitida, two new Beetles characters introduced during Graduation Day, show up to lend support. Together, the group of Beetles save the day but not after causing some considerable collateral damage, including Ted’s bugship. Before he can celebrate, Jaime is called to a diner where members of The Horizon are facing the ire of angry humans who aren’t happy with aliens living among them. Jaime diffuses the situation, but not before The Horizon reveal their frustration with being limited to how much of Earth they can explore and how hostile Earth’s inhabitants can be. The issue ends with Ted being attacked by an unknown entity who blows up the lab and critically injures Ted. Review For all the excitement around a new “Dawn of DC” ongoing series for Jaime Reyes’ Blue Beetle, this debut issue felt like it was lacking Jaime’s presence. Trujillo’s script gave a lot of time to multiple characters, without really letting any of them get an adequate introduction or a chance to show development from what we’ve seen in the past. Perhaps the most important new insight we get into any of the characters is a three-panel sequence featuring Roma (Nitida) and Xiomara (Dynastes), where we see Roma expressing a disinterest in being a Beetle and protecting The Horizon. Structurally, I thought this issue was a bit all over the place. The opening battle never really felt tense, with the two new Beetles randomly showing up and the Madmen never getting much background or putting up a fight. Ted does get to give Jaime a nice pep talk after we see the team has left a path of destruction in their wake and that seems like it’ll be the main thesis for at least the first arc in this series. You can see there is a strong bond between the two and Jaime looks up to Ted as a mentor and friend. The attack on Ted is likely to leave Jaime in a vulnerable state, in both his own mental state and having a more tenured person keeping the Beetles together. Hopefully the development Trujillo gave Jaime in Graduation Day isn’t thrown to the wayside and some of his newfound confidence shows up. This debut looks great thanks to Gutierrez’s animation-approach to the designs. Characters’ expressions are ever-present, whether their in their Beetle armor or relaxing in swimsuits at the beach. The villain revealed at the end also looks awesom! Really excited to see more of this character in battle. Complementing Gutierrez’s art is Quintana on colors and I love the different tones for each of the Beetle’s uniforms. Ted’s Blue Beetle uniform has a blue palettes that’s distinct from Jaime’s uniform. Gattoni’s lettering takes some swings and ends up hitting more than missing. With so many characters, it’s not shock that Gattoni would need to incorporate several different text box techniques to keep things separate, but there are a few pages where things feel cluttered. However the text boxes for The Horizon look wonderfully sci-fi. Final Verdict After being pleasantly surprised by the Blue Beetle film, I had high hopes for more Jaime Reyes in this new series and was a bit disappointed. It seemed like Trujillo was trying to do too much in this first issue and I hope he’s able to rein things in some as the series progresses as he’s shown he can handle the character with grace in Graduation Day. Jaime Reyes is massively popular right now and another strong comic series could cement him as core player in the “Dawn of DC” phase. Rating: 6/10

Josh Trujillo made a smart choice to focus this issue on a more straightforward plot after the debut issue felt overstuffed with so many pieces of foundation being laid down for the series. The seemingly throwaway scene in the first issue where Roma and Xiomara question their roles as Beetles is magnified here and I find it so fascinating. However, Jaime’s development continues to be overshadowed by others. He feels like an ancillary part of the story so far, but perhaps things will be changing soon based on the cliffhanger. I’m falling in love with Adrián Gutiérrez’s art in this book. It looks like street art come to life and the action sequences look gorgeous. It’s all aided by Wil Quintana’s beautiful colors that really jump off the page throughout the book.

Things were going a little slow after two issues but Josh Trujillo kicks things into high gear in this issue as Jaime meets up with Traci 13 and we start learning more about the Blood Scarab’s origins. Jaime and Traci have amazing chemistry together and Trujillo’s provides much needed exposition in an interesting and story-appropriate way via Madame Xanadu. Adrián Gutiérrez and Will Quintana continue to provide some truly impressive art in this series. Between Starfire’s ethereal and badass look, Madame Xanadu’s tarot cards highlighting the history of the Blue Beetle, and the final battle between Jaime and Traci vs the Blood Scarab, there’s an abundance of gorgeous panels to enjoy throughout the issue.

Josh Trujillo's writing is strong, but the combined story feels disjointed and lacking in focus considering the events of the previous issue. It was really jarring to see the Blood Scarab’s page randomly thrown in and then immediately passed over. Overall it was a really oddly paced issue, partially due to so many characters getting moments and none of the scenes feeling like they have enough space to breath, especially Jaime’s. Adrian Gutiérrez's artwork is held back by the story he’s asked to draw, but his character designs continue to be top-notch. Gutiérrez, colorists Will Quintana and Nick Filardi, and letterer Lucas Gattoni are creating one of the best looking books that perfectly match the titular character’s personality.

Jaime’s newest miniseries continues to be a visual feast for the eyes thanks to the creative team of Adrián Gutiérrez (art), Will Quintana (colors), and Lucas Gattoni (lettering). The art by Gutiérrez is so uniquely done, you don’t see this style of linework in many Big 2 books and its a very refreshing look and perfect for Jaime’s world in Palmera City. Quintana’s colors leap of the page at every turn and his color palette for the various scarab-powered heroes is a joy to look at it. Gattoni’s lettering for the various scarab-entities is just perfection. There are few people handling lettering these days who can make the lettering feel as though it’s a part of the art itself the way Gattoni has done in Blue Beetle. The trio shine with this issue’s focus on the Blood Scarab and Josh Trujillo’s script finally gives us a look at the character’s terrifying plans for Jaime. This was one of the miniseries’ best issues, setting us up for an epic finale that’s not to be missed!

Now this is how you close out an arc! The creative team takes us on a rip-roaring, action-packed adventure to put a cap on the wonderfully entertaining series’ debut story. Even though it bears his superhero identity, this series has been as much of an ensemble story as it has been one about Jaime Reyes/Blue Beetle. That’s no different here with a handful of characters getting a chance to shine in the climactic finale. However, it’s the final few moments when Jaime realizes what Khaji is planning to do to stop the Blood Scarab where the emotional crescendo of the entire first six issues takes place. It’s a true turning point in the relationship between Jaime and Khaji that I’m excited to see explored in future arcs. The art in this series has always been spectacular but the creative team knocked it completely out of the park and then some in this issue. Everything looked SO GOOD. Every Beetle’s design, Starfire’s gorgeous hair, the silhouette design of Victoria’s fight, and the impressive depiction of motion through the entire book are just some of the highlights. And of course the Herculean lettering work of Lucas Gattoni was the cherry on top. The lettering of Jaime’s final “KHAJI!” plead left me haunted. Overall this was such a great first arc from Josh Trujillo and co. I was not expecting to love this book as much as I have but it is easily one of my favorite books in the Dawn of DC. I’m so glad it’s getting more issues and I’m really excited to see where things go as it looks like the next arc will revisit one of the lingering plots from this run’s early days.

Josh Trujillo writes a heartfelt tribute to the late legend Keith Giffen, cleverly disguised as a plot-advancing transition issue between the Scarab War arc & Jaime's next adventures. Jaime goes on a whirlwind adventure through the DC Universe's past, present, & future, all thanks to the affable Booster Gold's wonky time travel tech. This journey serves a dual purpose. It allows Jaime to connect with elements of the Universe Giffen helped create, while also laying the groundwork for what's to come. While he could have easily turned this into a collection of separate mini-stories to honor Giffen, Trujillo deftly crafts an engaging linear story that doesn't feel clunky or misguided. What truly elevates the issue is the way it celebrates Giffen's work via the art. A variety of artists, each w/ their own unique style, depict the different eras Jaime visits. This stylistic shift beautifully mirrors the time travel aspect & pays homage to Giffen's artistic collaborators throughout his career. Series artist @adriangutierrezart bookends these sequences w/ his usual beautiful artwork. One of Giffen's trademarks was his ability to blend humor w/ genuine emotional moments. Blue Beetle #7 captures this wonderfully. We see lighthearted banter between Jaime & Booster Gold, but also a touching scene where Jaime encounters his mother. These moments add depth & heart to the issue, reminding us why we love these characters. This was a tribute comic, a plot-advancing issue, & a celebration of DC history all rolled into one. The story is engaging, the artwork is fantastic, & the emotional core shines through. This is a must-read for any Blue Beetle fan or Keith Giffen fan!

Writer Mattson Tomlin and artist by Rebekah Isaacs, take readers on a thrilling and action-packed journey through the past of B, the immortal berserker warrior. This captivating special one-shot in the BRZRKR saga immerses readers in a world of ancient battles, political intrigue, and the relentless pursuit of B’s true purpose. From the very first page, BRZRKR: FALLEN EMPIRE #1 grabs readers with its relentless pace and visceral action sequences. Tomlin’s narrative weaves together historical elements with fantastical concepts, creating a unique and engaging setting for B’s exploits. The battle scenes are particularly impressive, showcasing B’s unmatched strength and ferocity as he faces off against hordes of enemies. Isaacs’ artwork really brings the story to life with a combination of dynamic layouts, detailed linework, and vibrant colors. She captures the energy and brutality of the battle scenes, while also conveying the subtle emotions and motivations of the characters. Her depiction of B is particularly striking, emphasizing his physical prowess and inner turmoil.

When Marvel first announced this mini, I thought it was a bit out of left-field given where we are in the Fall of X timeline. Cable’s adventures in Children of the Vault were a fun side-quest and I wasn’t expecting there to be much more to his story. In came Fabian Nicieza to prove me wrong. While the story still feels like a side-quest to everything else going on in the Fall/Rise event, Nicieza crafts a fun, 90’s-style nostalgia continuation to Nathan/Cable’s Vault story. I loved the dynamic between Nathan & Nate Summers and Nicieza wrote some great dialogue between the two of them. The art trio of Scot Eaton on pencils and Cam Smith with Victor Nava on inks, along with Java Tartaglia on colors, really bring the story to life with some awesome panels, especially action sequences. The opening scene of Nathan/Cable taking on a Stark Sentinel looked amazing and was made even better thanks to the onomatopoeia lettering work of Joe Sabino. Part of me wishes this was combined with Children of the Vault into one, longer miniseries which would have allowed us to see some of the events that happened before this issue takes place. The issue covers off on things via exposition so nothing comes out of left field, but I’d love to have actually seen some of the events described. Even with this being only tangentially related to the ongoing fight between Orchis and the X-Men, this was a fun read in the hands of a very capable creative team.

This read like a celebratory one-shot rather than the launch of a new series. We get a recap of a lot of Cap's greatest hits and by the end of the book I really had no idea where it's going. The best parts of the book are part of Steve playing the role of a costume-less Captain America in everyday life, saving the tenants of his building from eviction by a greedy landlord. It's a great character moment, but is that a good thing if it's the best scene in a debut issue? The dual timelines didn't help. I found the scenes of a young Steve to be pretty boring and provided few points of interest beyond the exploration of Steve's relationship with his parents. But again, I don't know if that is what you want the takeaway to be. With both parents long dead, it's not like we're getting this type of interaction every issue. I didn't care for Jesus Saiz's character designs for Steve Rogers either. He could be "blonde guy x" on any panel and you'd never know. It's a very bland approach that leaves more to be desired. The action scenes, while done well, feel like the Disney version of a "thrill ride" — toned down to be more palatable to those who don't like to push things too far. I was so bored, I found myself breezing through pages towards the end just to finish the book.

The majority of Captain Marvel #50 takes place during a party for Carol, thrown by Jessica Drew/Spider-Woman, to help her cope with the loss of Binary. A who’s who of Marvel characters from Carol’s past attend, including a fun scene with Monica Rambeau/Photon and a very much alive Kamala Khan/Ms. Marvel in a nice nod to the upcoming The Marvels movie. After avoiding the crowds to grieve on her own, Jessica surprises Carol with a trip, courtesy of Doctor Strange, to explore her emotions. There is a touching scene between Carol and her vision of Wanda Maximoff/Scarlet Witch, where we see two women discussing what it means to hold immense power. Ultimately, Carol realizes that her powers are a gift and she gets to decide what her legacy becomes. Seeds of what that legacy may be are planted earlier in the issue during a conversation between Carol and Tony Stark centered on what the “old guard” Avengers will leave behind for the next generation of superheroes. It’s a moment of self-reflection combined with empathetic forward-thinking that highlights how much Carol has grown from when Thompson first inherited the character. Her interactions with Kamala and Jennifer Takeda/Hazmat serve to remind us that Carol won’t just fight for anyone, she’ll be there to mentor them as well. Four years ago, Kelly Thompson was tasked with rehabilitating Captain Marvel after the events of Civil War II, while simultaneously protecting her against a directed smear campaign by online bigots & misogynists angry at the female-centric Captain Marvel movie. Not a small task. Fifty issues later, we’re at a point where Thompson’s Captain Marvel is now THE defining Captain Marvel series for the character due not only to it being the longest ongoing run for a solo Captain Marvel story, or making it cool to root for Captain Marvel again, but also for the work Thompson did exploring the woman who dons the costume, Carol Danvers.

Alyssa Wong’s first foray with Carol Danvers had me thinking I was reading a compendium to next month’s The Marvels based on what we know of that movie’s plots so far. Things start to diverge as Wong gets into the thick of things and introduces two new characters who appear to offer a lot of potential for future storytelling. Carol’s new costume may be the best thing about the new series. It’s something that feels wholly unique from other superhero outfits, yet it immediately feels perfectly appropriate for the titular character. Jan Bazaldua’s art ensure it looked great on it’s own and in action sequences — never once looking like it would impede or get in the way. After this debut issue, the creative team showed they’re more than up to the task of taking over from the reigns for Earth’s Mightiest Hero, but they still have a long way to go to match Kelly Thompson’s historic 50-issue prior run.

This was a fun, if unnecessary, story involving Captain Marvel swooping in to save the day when Hulkling and Wiccan’s celebration of Unification Day is broken up by the Supreme Intelligence. Anthony Oliveira’s script is quick and witty, with fun dialogue between the three heroes. I wish Hulkling and Wiccan got a chance to show their strengths. Eleonora Carlini’s art had a cute, whimsical feel to it that you wouldn’t associate with Captain Marvel yet I thought it was a nice approach for this one-off story. My only complaint was how prominent and pointed characters’ noses were throughout the book to the point where they look like Whos from The Grinch. Not to take anything away from this story, but I’m really scratching my head over Marvel’s decision to overload the release calendar with multiple Captain Marvel stories in between runs of her ongoing series. I get that they’re trying to keep her top of mind ahead of November’s The Marvels, but this and the practically unreadable Captain Marvel: Dark Tempest feel like underwhelming amuse-bouches between main courses.

Between the perfect conclusion to Kelly Thompson’s historic run, the announcement of a new ongoing series debuting this Fall, and a successful launch leading the new Avengers team, Captain Marvel is having a moment. Then came CAPTAIN MARVEL DARK TEMPEST #1. Did you know that Captain Marvel is strong? Or that she’s a woman? That’s part of what the first handful of pages of this debut issue of Ann Nocenti’s 5-part limited series spends time emphasizing. The tone of the book never felt right, from the aforementioned early commentary on Captain Marvel’s strength to the dialogue between Captain Marvel and Spider-Woman when they team up to deal with the main conflict introduced in the issue. I also didn’t quite understand why an anti-technology mindset was chosen as the villains’ main motivations. Perhaps it’s commentary on the current buzz around AI and what it could mean for humanity? But I couldn’t help but think of all the villains AND heroes who have used technology to achieve their goals. It all just felt overly contrived and hard to follow or relate to, unless you’re used to donning a tinfoil hat. Paolo Villanelli’s linework was decent enough throughout the book, though I didn’t care for Carol’s design in her “normal” clothes during the scenes in Maine. No matter which outfit she was wearing, the facial designs didn’t always look like Carol aside from her blonde hair. Java Tartaglia’s colorings were a bright spot though, with interesting color palettes throughout the book. Between this week’s title and the past two issues of the current STORM limited series, I’m not sure what is happening with Nocenti’s writing. For someone who wrote some of the first truly feminist character arcs in comics history, these two titles feel like major steps backwards. I understand that she’s stuck between a rock and a hard place writing self-contained limited series between these characters other major storylines, but these are just additional poor entries into the long list of underwhelming stories for Ororo & Carol. I wouldn’t be shocked to find these two titles at the bottom of Marvel’s sales lists for 2023 and for good reason. They haven’t added any depth to the characters (I’d argue they’ve negated some recent retribution both characters have received in recent runs) nor have they been particularly entertaining. At this point, I could have done without them. Rating: 3/10

I was intrigued when it was announced this new Carnage run from Torunn Grønbekk was receiving a Parental Advisory warning, and the initial setup of the issue asking who would worship a god like Carnage offered a fascinating thesis. However, the issue fails to adequately begin answering that question and instead focuses on the gruesomeness of Carnage’s murderous march to godhood. Some of the most obscene panels veered towards Saw-style torture porn that was off-putting. Pepe Pérez art felt like a traditional Spider-Man comic, but Erck Arciniega’s color palette was too subtle and washed-out to match the tone of the book. There’s plenty of room to craft an interesting story here if the creative team can come together and focus on telling us an interesting story rather than trying to shock us with showing the limitless bounds to Carnage’s brutality.

Wrapping up the “Carnage Reigns” crossover event that spanned Miles Morales: Spider-Man, Red Goblin, and Carnage, Carnage Reigns: Omega hits shelves today and was written by Cory Ziglar, with Julius Ohta and Rogê Antônio on art, Erick Arciniega on colors, and Cory Petit doing the lettering. The issue covers the final battle with Cletus Kasady and Kenneth Neely on one side, and Miles Morales, Iron Man, the rag tag team of unlikely heroes (Agent Gao, Scorpion, Hightail, and Red Goblin) on the other. As the story begins, we’re immediately dropped into battle with a brilliant double-page spread featuring Miles, in his new Iron Spider suit, and Tony Stark, in his anti-symbiote suit, swinging/flying through the city sky. This visual is pure money — it is definitely my favorite panel of the issue and might be one of my favorite panels in a Marvel book this year. The artistic details on both suits is epic and Arciniega’s coloring for Iron Man’s boosters is top notch. I’ve never seen Miles look more badass than in this suit and Tony’s new suit is an homage to dragon-fighting knights with an Iron Man motif. It’s all immediately captivating and gets the reader ready for the non-stop action that takes place throughout the majority of the issue. Beyond their brilliant designs, the two heroes have great chemistry together throughout the issue and Ziglar does a fine job highlighting Miles’ ability to co-lead a mission, even if Tony has other ideas. It’s obvious Tony respects Miles, though he admits it’s hard for him to admit as much, and I appreciated Miles acting as if he belongs in the middle of things. It was a really well constructed relationship in the overall story arc that came together quickly and felt natural. Another highlight for me was the design of Kasady’s followers who emerge as some type of symbiote/Iron Man hybrid that look like they’re straight out of a zombie horror movie. They aren’t featured extensively, but they look extra creepy when they appear on page. I definitely got goosebumps the first time they appeared to rise from the dead. Petit’s lettering shines throughout the issue as the sound effect text does a fun job of adding depth to the endless action scenes. You can tell Petit was having fun working with this assignment. There are two panels featuring Hightail in action that were particular standouts for me where Petit included multiple variations of “thwump” to great effect. If I had two small complaints on this issue, it would be that it ends up being a bit too dependent on Iron Man, a character whose own title wasn’t even included in the crossover event, and that some of the panels featuring close-ups of Kasady’s evolved Extrembiote felt like they were being reused from previous panels. I think it might have been due to the lack of different facial expressions used for those specific panels — it always seemed like it was depicted as a dead-eye, mouth agape visual looking back at you. With Web of Carnage #1 right around the corner, the ending “reveal” that the Carnage symbiote is still around, even if it isn’t currently attached to Kasady, felt a tad flat. Overall, “Carnage Reigns” has been a fun, if inconsequential run for it’s main characters as they are all about to get new story arcs within their respective titles. Carnage Reigns: Omega was a fitting conclusion worthy of the entire of the run. Rating: 8/10

What the heck was this? Catwoman lived through the end of Gotham War, which itself isn’t surprising but the way it was handled in this issue (i.e. full-speed ahead without more than a passing reference to Vandal Savage) makes it seem like the DC Editors realized how bad the event was and wanted to distance themselves from it as fast as possible. Not that the start to Selina’s next arc was much better. Howard’s set up for this new story was extremely rushed with pieces being taped together when a reasoning was needed for a specific part of the plot. Nothing made sense, from the literal cat burglary to Selina’s new scars. A chaotic start to a series that badly needs a strong arc to recalibrate things sooner rather than later.

Serafina and the rest of the Children of the Vault have served as a peripheral existential threat for nearly the entirety of the Krakoan Era, including an appearance in Jonathan Hickman’s X-MEN #1 back in 2019. Though they’ve played a supporting role during that time, the Fall of X wouldn’t be complete without the Children getting a chance to make an impression. And that they did in Deniz Camp’s CHILDREN OF THE VAULT #1. Camp opens the new limited series with a quick retelling of what happened to Forge’s Project Blackbox after Krakoa fell. While it didn’t happen right away, the system’s failsafe mechanisms eventually stopped working leaving an open door for Serafina, Capitan, Perro, Prisa, Luz, and Atomo to leave their prison. Instead of immediately annihilating humans as they were previously programmed by the City to do, we see a more benevolent approach that has the Children becoming global celebrity heroes who help to eradicate large-scale societal issues like homelessness, hunger, and war. It seems like the same humans who turned their backs on mutants with a similar promise are ready for new saviors and popular opinion forces entire governments to completely submit to the Children. Camp does a great job building a world that feels eerily brainwashed by these new de-facto gods. You may not have expected, but the Children aren’t actually the main characters of their self-titled series. Cable and Bishop act as the protagonists as begrudgingly team up to uncover how the Children were able to infiltrate society so easily. To get these two characters together after the ORCHIS attack, Camp shows us how a kidnapped Cable was able to resist torture and was broken out of captivity by Bishop. Via the effective use of a data page, Camp also informs us how Bishop has been taking out strategic targets and learned where Cable was being held as part of his larger plan to wipe out ORCHIS. Camp shows his knowledge of the pair’s complicated past throughout their time-traveling histories. These are two men who aren’t on each other’s holiday card mailing list and Camp doesn’t shy away from building tension between the two. This isn’t a buddy-cop adventure comic by any means, but Camp also finds way to showcase each character’s strengths and why they make a great team when they’re able to put their prior issues behind them. Art by Luca Maresca and colors by Carlos Lopez offer a wide-range of skill, complementing Camp’s script well. Action-heavy scenes, such as when Bishop is breaking Cable out of the ORCHIS facility, move effortlessly from panel to panel allowing you to feel like you’re in the thick of things. One highlight for me was the color work Lopez does during an early scene in the book depicting a lithium field that is poisoning a local Chilean village but provides one of the only source of water for thirsty villagers. With intriguing plot development, gorgeous artwork, and fan-favorite characters leading the way, CHILDREN OF THE VAULT #1 succeeds in further depicting a world turned upside-down after the Hellfire Gala. Not only does it keep your attention from start-to-finish, Camp is offering the type of social commentary that has always been the staple of a great comic book. Rating: 8.5/10

Deniz Camp and Luca Maresca are back with CHILDREN OF THE VAULT #2, marking the halfway point of the four-part miniseries showing a unique angle of the Fall of X era. PUBLISHER’S PITCH WELCOME TO THE TOMORROWTOWNS! The Children of the Vault will bring this world into the future - kicking and screaming! In the wake of the fall of Krakoa, the Children emerge as humankind's greatest and only saviors, defending Earth from Shi'ar attacks and supernatural sightings alike. And humanity LOVES it. Only Bishop and Cable can see through the Children's impossible promises - but can these two old enemies work together long enough to stop them? The explosive series continues as mutantkind's boldest soldiers prepare for war! REVIEW The second issue shows a new view of the Children’s continued propaganda efforts through active defense of the planet from a number of different threats. We also see how much humanity eats it up, which was fascinating and horrifying to see. It makes sense that the world would be excited for a savior to solve their social ills and the Children are doing everything they can to play that role, but just how quickly societies and governments were ready to entirely cede control and submit to a new, non-human group of individuals (after just running mutants off the planet) continues to be a scary reminder of how delicate our own political institutions may be. Perhaps the most fascinating aspect of this issue is the reveal of splintering schools of thought within the Children of the Vault. Camp provides dense data pages inform us what these warring viewpoints are — one side wants to kill off humanity and end the charade of coexistence, while another side wants to give humanity a chance to prove themselves. It all plays out in a tense verbal showdown between Serafina and Capitán. Cable and Bishop split off on individual tasks in the issue and it’s an uneven dispersement of attention. Cable’s storyline sucks up a lot of oxygen as his interrogation of Martillo leads to him discovering the location of the Children’s base. It’s an interesting reminder of Cable’s psychic capabilites that aren’t always highlighted. Bishop is tasked with infiltrating the Orchis’ controlled X Mansion to retrieve Cable’s weapons cache. I loved how Camp exposition during the scene explained Bishop’s powers in an interesting and James-Bond style spy story. Maresca and colorist Carlos Lopez really lean into the sci-fi aspect of this book with designs and color palettes that match the tone well. The visuals for the Children and their world continue to be awesome, but I thought the interpretation of Martillo’s mindscape was bland and uninspired. FINAL VERDICT Even with some interesting themes, the pacing for the issue was uneven, with too much time given to Cable’s interrogation of Martillo compared to Bishop’s mission to secure the weapons cache and not enough exploration of the tension within the Children. The ending sets up what appears to be an high octane back half of the miniseries and I’m interested to see it play out. RATING: 6/10

This is what we’ve been waiting for! It finally feels like we're witnessing the full potential of what this series initially offered. Issue #3 of Deniz Camp’s limited series was the best entry yet in what’s turning into unassuming socio-political commentary. The frenemy interactions between Bishop and Cable are sublime, but Serafina’s journey of revelation steals the show as she comes to terms with how hard it is to be part of the group in power. Camp has given Serafina much needed layers of complexity which make her a more sympathetic figure. The juxtaposition between Serafina’s vision for a shared state and Capitán’s nihilistic views of humanity couldn’t be more clear and evoke a more timley throwback to the classic differences between Charles Xavier and Magneto. Luca Maresca’s art ties it all together brilliantly with stunning visuals, especially those involving the giant army of Sentinels attacking The City.

As I mentioned in my review for Duke #1, the Joe franchise was a blackhole for me until recently. I’ve been doing more research ever since the Energon Universe was announced and have been thoroughly enjoying Josh Williamson’s stories, as well Larry Hama’s latest run on G.I. Joe: A Real American Hero. And while I can’t use first-hand experience of how past stories landed, I’ve read enough background and synopses to get a sense for characters’ backgrounds and histories. So for me, it’s been a really fun time to jump on board with all this new content coming out at once. That’s especially true after the debut issue of Duke wowed me, and now Williamson followed it up with another slam dunk of a debut issue in Cobra Commander #1. From what I can tell, its a unique and fresh take on the iconic G.I. Joe villain. And as a n00b it came across authentic and menacing to see a kind of table-setting for Cobra Commander’s worldview and modus operandi. Watching Cobra Commander be sacrificed, nursed back to health, and then marked for death to teach him a lesson was a gut punch and shouldn’t have induced as much sympathy it did! Its begs an interesting philosophical question around the impact of nature vs. nurture on some of the worst threats to society. We know what he will become, but could things have been avoided if event from his past had gone a different way? We’ll never know and we’re reminded by his present day actions that he’s fully entrenched in his bloodthirsty, world-domination mindset. And the surprise reveal towards the end of the book was a major “OMG” moment — something I hope stays secret for readers until they see it on the page for themselves. Well done to the entire team for keeping that under wraps for so long! At first I was a little apprehensive about Andrea Milana’s art as it came off a bit too…fun? Don’t get me wrong, I love this style and Milana nails it. For a story about a murderous villain the designs were almost too pleasant to the eye, with a post-modern, sketch-book style approach. There is a heavy dose of dark shadowing along with some interesting usage of angles in the linework for characters and environments in certain panels. Other panels have some extremely complex and detailed linework. I won’t spoil anything but one of the sequences shows a medical procedure involving a three-headed snake — yikes! As I sat with the issue and want back to it for this review, I couldn’t help but appreciate the art for what it was. Milana’s art is complemented by a vibrant color palette from Annalisa Leoni. Leoni brings each page to life with a wide array of colors but always keeping a slightly darker shadow ever present. And of course the lettering work by Rus Wooton is sublime, with onomatopoeias allowing readers to fully immerse themselves in what’s happening on the page. I’m simply in awe at how much Williamson has made me feel fully invested in these characters in my first real exposure to them. It’s an ode to his own fandom for the G.I. Joe franchise and the respect he has for the decades worth of work that has come before him. Not to keep lumping the two together, but I can’t think of a better way for these Duke and Cobra Commander series to have kicked off and all roads lead back to Williamson and the amazing team of artists who have joined forces with him. The Energon Universe is one of the most exciting developments in comics in a very long time (it also looks to be quite the financial behemoth which is great to see), and Cobra Commander #1 is a wonderful addition to it.

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!

Marvel’s latest installment of their Halloween special featuring 5 mini one-shots was an enjoyable, but ultimately inconsequential read for the spooky season. Unlike his Astonishing Iceman issue out this week, Orlando’s “Brick By Brick” entry was one of the standouts for the issue as it follows the timeline within his current Scarlet Witch run. In what might be the most meaningful moment of the entire anthology, the story sets up a new villain who will show back up in Wanda’s main series. Declan Shalvey’s “ Without Fear” is another standout with its look at what it means to be a true monster with a heartfelt tale featuring Daredevil and Man-Thing. Al Ewing’s story featuring Victor Strange as the narrator ties the entire book together nicely for a sweet treat that you shouldn’t need to be tricked into reading.

Elektra, donning the Daredevil mantle, finds herself in the midst of the Gang War chaos. The weight of responsibility for Hell’s Kitchen is evident on her face, the city's desperation mirrored in her steely gaze. While the action is exhilarating, Erica Shultz ensures that the issue isn't just about punching bad guys. We see Elektra wrestling with the burden of the Daredevil role and the promises she made to Matt, questioning her own methods and motivations. The internal conflict adds depth and complexity to the character, making her more than just a masked vigilante. Sergio Davila's art brings the gritty streets of Hell's Kitchen to life. Daredevil's acrobatic combat is rendered with a dynamic clarity, each punch and kick feeling impactful. The fight scenes are brutal and ballet-like at the same time, showcasing Elektra's lethal skill and unwavering resolve.

Erica Schultz’s story may be a low-stakes affair in the grand scheme of Gang War and beyond, but that doesn’t take away from how much I’ve been impressed by her ability to write a well-paced and balanced book. Elektra really gets a chance to show off her non-lethal assassin skills and its all captured beautifully by Segio Dávila’s art. Dávila appears to be growing by leaps and bounds since his work on Captain Marvel. Elektra's battle looks wonderful, though the continued tease of the her main antagonist is a bit of letdown since there are strong indications as to who this person is. It also continues to feel like the stepchild of all the Gang War tie-ins given its loosest of threads to the other ongoing conflicts. Other than those two drawbacks, this was a really fun read that kept me captivated from cover to cover.

This didn't feel like an issue that needed to be printed, but it wasn't necessarily bad. Elektra's obsession with Bellona never made sense, especially since Bellona was never a major part of the larger Gang War story. I'd love to see what the creative team could do with an Elektra-solo book, as Erica Schultz has shown she can really capture Elektra's voice and Sergio Davila drew a gorgeous book. We gotta get the character back to having her own motivations and not just doing things because of what Matt wanted of her.

When solicitations came out for the first wave of Fall of X titles, the premise, lineup, and initial artwork for Dark X-Men immediately grabbed my attention. Honestly, they had me hooked at the mention of Madelyne Pryor. The series finally debuted this week with DARK X-MEN #1 from Steve Foxe and Jonas Scharf. While the first issue showed promise, it felt like the potential for the series wasn’t fully realized yet. For those unfamiliar with the series’ setup, Madelyne Pryor’s role as Limbo Ambassador has given her a front row seat to anti-mutant demonstrations and vitriol. As such, she’s grown tired of “the humans” and decides it’s time for a new team of X-Men. made up of mutants who have sought asylum at the Limbo Embassy, to protect other mutants who remain on the run or in hiding from Orchis — and she plans to help them by any means necessary. Foxe does an interesting job creating a level of complexity for Madelyne that has been sorely lacking in previous story arcs for the characters. Her motivations for forming a new team and having lax rules on what they do in battle are explained and you can understand her thought process. Her interactions with Havok are also great — in one scene she burns the sheets as she gets out of bed to don her classic outfit while Havok cries ”those were Egyptian cotton sheets!” Throughout their scenes together, Havok comes across as a doormat and it’s hilarious. Poor Havok (but not really). There’s even a tongue in cheek backup story from Foxe that details the work Havok took on to get the Limbo Embassy up and running, including interviewing mutant asylum seekers. I’m not sure if we’ll get these type of flashbacks in future issues but it was a fun treat here. I wish Foxe would have spent a bit more time with the rest of the characters that make up the Dark X-Men team as they kind of just show-up together as a team during the issue’s main conflict. Characters such as Emplate, Zero, and Azazel haven’t had a lot of visibility during the Krakoan Era and it would have been nice to get a little bit more story for them. It was also weird to find Gambit, Archangel, and Maggot randomly working together without any explanation on how the trio got together. As much as I love what Foxe did with Madelyne, I’m hoping the rest of the team gets more visibility in future issues. There’s one full page showing various niche mutants around the Limbo Embassy and I just wanted to know more about their lives! Scharf and colorist Frank Martin put the dark in DARK X-MEN #1 with their approach to the main story’s art (the backup Havok story also had colors by Martin but Nelson Dániel was on art duties). The duo utilized a lot of heavy lines and dark shadows throughout the issue and it made it hard to grasp what was happening in certain panels where characters seemed lost in the darkness. In panels that weren’t so heavy on the shading, Martin’s colors were a highlight including panels highlighting Azazel’s teleportation, Gambit’s kinetic energy, and Madelyne’s powers. Scharf’s design for the Mercy Crown, a demon Cerebro that Madelyne had hidden away, was awesome. Clayton Cowles also deserves a ton of credit for the book’s lettering work. There are so many sound effects done in interesting ways that feel organic and naturally blend into the scenery. It’s all very effective throughout the major action sequences. Overall DARK X-MEN #1 had some highs and some lows, though Foxe and team appear to have ample opportunities on where and how they take this story. There are several plot points and character introductions, outside of the main team, that are left dangling by the end of the book which have me intrigued to see how they unfold. Also, Madelyne Pryor. Rating: 6.5/10

I still have no idea how or why this team came together. Maggot is BFFs with Archangel and Gambit? Sure. I'm not loving the rando Orchi goons assigned to each title to act as foils. It feels lazy and forced. As it has been for almost her entire Marvel existence, Madelyne deserves better.

After an encouraging first issue that was by no means perfect, these last two issues of Steve Foxe’s Dark X-Men haven’t lived up to the promise of the debut, nor the excitement I had when the series was first announced. Foxe appears to be succumbing to too many storylines and too many characters to handle within a five-issue limited series that leaves readers with much meat on the bone to enjoy unless you’re a hardcore fan of certain niche characters, in which case you’re ecstatic to see them getting some page-time. It’s a shame that Madelyne is getting the short-end of the stick yet again, though she’s not the only one getting a disservice in the various “Fall of X” limited series.

I had such high hopes for this miniseries but alas, Steve Foxe’s finale extinguishes that flicker, leaving behind a pile of narrative ashes and unfulfilled potential. While the cast, outside of Madelyne, of Dark X-Men themselves boast intriguing backstories and potential, they remained underdeveloped throughout the series and this issue made me wonder why this wasn’t just presented as a Madelyne solo-series. The issue squanders the promising premise of the series, delivering a rushed and unsatisfying conclusion. While individual moments show glimmers of what could have been, the overall experience is one of disappointment, leaving me wondering what might have been if the story had provided more breathing room for character development.

This was VERY different than what I expected going into the debut of this miniseries. I was anticipating a story focused more on events from the X-Men’s past, but this felt squarely focused on revisiting Moira and her past lives which were first introduced all the way back in Hickman’s HoX #2. The setup for how/why these 5 mutants were chosen was handled via data pages and it felt sorta cheap IMO, especially for how we got this point. Xavier and Rachel put the plan together? Ok, but when? I couldn’t stop thinking about that major missing piece throughout the entire issue. And how much more are we going to see Moira turned into a caricature of herself? This is getting out of hand. Having 3 artists on a book is a lot, especially without distinct sections or breaks for each to put their stamp on. With that said, the issue’s art was ok. The action and fights panels looked great, but I don’t love the designs for the main team. They all look pretty bland and boring. Brand’s X-Men and Lockheed’s (!!) Starjammers all looked much better. Overall this was a bit of letdown for me. I didn’t care for Foxe’s writing in DARK X-MEN & I felt similar here. Foxe always has great ideas, but the execution isn’t the best. I’m sure there’ll be X-Men stans who love this issue for certain characters (& the one-liner about why other characters aren’t present), but anyone who tries to defend this story so far is kidding themselves.

Steve Foxe is proving that some dead things may be better off left in their graves. I'm really struggling to see what distinguishes this title other than it was a great opportunity to placate fans and bring back an X-Men lineup that never got to see the light day. Through two issues, Dead X-Men has leaned into the trope of a desperate team sent on a seemingly impossible mission with limited time & resources. While this formula can be effective (superheroes have been doing this for decades!), Dead X-Men has lacked the originality needed to stand out, even in a world where many Fall of X titles aren't great. The team's personalities and abilities aren't being fully utilized. You could replace them with any mutants and this plot would still be the same. I honestly can't even recall Jubilee or Dazzler using their power in this entire issue, unless you count snark as one of Jubilee's. Dead X-Men? More like Dead Weight. The majority of the art in this issue also didn't feel ready for primetime. Sure there were several panels of really cool action, and the flashback courtroom scene looked great, a lot of the closeup character panels looked interchangeable and basic. The hunt for a rogue Moira concept actually sounds really interesting given what else is going on in the Fall & Rise minis. I could see how this mini could have major implications for how the Krakoa Era endgame plays out, but the execution is just not there across the board.

Thank god this is over.

Shang-Chi, now the reluctant leader of the Five Weapons Society, finds himself caught in a web of deceit and manipulation as the Gang War engulfs New York City. He must navigate a treacherous path to protect Chinatown and prevent further bloodshed for the citizens he’s been sworn to protect, but his own followers question his decisions. Greg Pak’s story is fine enough, though there isn’t much bite in this story yet. It follows a predictable narrative and Spider-Man’s cameo paints the webslinger as someone unwilling to budge on his own beliefs. In addition, Caio Majado’s art isn’t the strongest and can verge of lifeless in some panels. His younger version of Shang-Chi was a major wtf moment — Shang-Chi is meant to be an adolescent but looks like a balding 40-year old for some reason? This was an okay issue, but can hopefully take off in the next issue now that the story has been set up.

The issue picks up after the explosion at Orgham Tower in which Batman has sacrificed himself to save countless civilians. We see various members of the Bat Family checking in to provide updates on their individual tasks and then find Batman himself face to face with Arzen, battling underneath the wreckage. After what turns out to be an ill-fated monologue by the Dark Knight, we find out that Batman has been outwitted and the (current) master plan was to create a groundswell of anti-Batman sentiment amongst Gotham’s citizens to take away one of his greatest powers — citizens believing in the need for a Batman. The tension and plot bring up a philosophical debate as to what end Batman truly seeks for Gotham and for what purpose are his actions being done? While an intriguing thought, it’s something that feels redundant from a business perspective (DC isn’t going to let Gotham become free of crime) and a historical one (this has come up before and almost always ends the same way). Ram V continues to show incremental (some may say glacial) movement in the “Gotham Nocturne” arc and I’m not sure if this issue is going to help or hurt in getting us to a resolution. On one hand I could see this issue being the impetus for a somewhat speedy resolution or, on the other hand, it could open up new corners to turn down that continue to draw out the conclusion. One of my biggest complaints about this current story is that it feels like a “one step forward, two step back” approach done ad nauseam. It might be interesting to see Batman be flawed and outsmarted periodically, but this arc has felt like it’s been used too often. The backup story in this issue does shed more background on Arzen’s motivations and why he holds some of the worldviews that he does. It gives the character some much needed complexities to elevate him beyond a generic Batman villain but it ends up becoming a more interesting read than main story. I’ve said it in other reviews and I’ll say it again here, it’s always more entertaining to know why a character is doing something rather than just seeing their plans unfold. Ivan Reis, Goran Sudzuka, Danny Miki, Brad Anderson, Stefano Raffaele, and Lee Loughridge provide beautiful art across the board — from the penciling to the colors, to the lettering — but it is very noticeable when pages jump from artist to artist within the timeline. It can take the reader out of the moment and wonder if they are experiencing a different timeline or story altogether. Rating: 7/10

The first entry into the five-issue “Batman: Outlaw” arc starts off with a bang from Ram V and Jason Shawn Alexander. I can’t imagine DC planned it this way, but it was quite a jarring experience reading this issue juxtaposed to Gotham War — Scorched Earth. Where that story failed in plot and character development, this issue succeeded in spades with Ram V’s script being exceptionally written with each character involved getting various levels of complex development. Catwoman shines in this story (unlike Howard’s version) and starts to assemble a team to break Batman out of his imprisonment. The artwork is also delightfully dark and twisted that provides for the perfect complement. For those who have questioned the pacing of the larger Orgham story, but you’d be hard to deny the operatic feel this arc has started with. The traditional Detective Comics backup stories help to round this issue as a whole and includes a deeper look at some of the characters who were featured in the main storyline. Rating: 9/10

Ram V's Detective Comics run has been a polarizing one, with some praising the writer’s slow-burn, operatic approach and others finding it too meandering and never reaching the climactic heights of past runs. Detective Comics #1078 is likely to not change anyone’s minds with the issue heavily focused on exposition as Catwoman’s plan to save Batman unfolds. On the one hand, the plot moves forward, with Catwoman and her hand-picked team enacting their daring rescue of Batman from the Orghams. It's a suspenseful sequence that sees Selina Kyle using all of her cunning and skill to infiltrate the Orgham’s inner circle, Cassandra Cain displaying the severity of her raw fighting, Mr. Freeze providing pragmatic rationale for his actions, and Azrael pontificating in all his religious grandeur. Major accolades go to V’s writing and Jason Shawn Alexander’s art for building palpable tension throughout the entire sequence. Alexander deserves specific applause for the variety of visual representation used for each individual character above. His use of shadows and darkness ties them all together and is particularly effective in creating a sense of danger and despair. However, the issue is also bogged down by a lot of exposition, as V uses Selina’s inner dialogue to equate their plan with a game of poker . This exposition adds necessary context to the story, but it slows the pace down considerably and the payoff is a predictable cliffhanger. Overall, Detective Comics #1078 is a mixed bag. It's a step forward for the series in terms of plot progression, but it's also hampered by its heavy reliance on explanation. Fans of V's slow-burn approach will likely enjoy this issue, but those looking for more action will likely continue to be disappointed.

Catwoman takes center stage in Detective Comics #1079, the penultimate chapter of the "Batman: Outlaw" arc. Writer Ram V and artist Jason Shawn Alexander continue their thrilling run on the series, delivering a heist story with sharp twists, witty dialogue, and some truly jaw-dropping panels. Alexander's art is phenomenal, bringing Selina's true plan and this version of Gotham to life. Ram V's writing is equally, if not more, sharp, weaving a complex plot reflecting on the previous chapters, with unexpected turns and emotional stakes that take this arc to new heights. While this issue focuses on what was really happening throughout the "failed" heist, it also highlights Selina's meticulous strategic planning. The reveals laid bear throughout the issue are perfectly executed by a master storyteller.

The final chapter of the "Batman: Outlaw" arc, wraps up the thrilling story with a bittersweet blend of action, emotion, and consequences. Ram V’s writing and Jason Shawn Alexander’s art masterfully navigates the aftermath of Selina’s plan and Batman's apparent death. The issue expertly balances introspective character moments with exhilarating action sequences. The escape from Gotham is a pulse-pounding affair, packed with thrilling chase scenes and narrow escapes. However, even amidst the chaos, the focus remains on the characters' inner turmoil and the weight of their decisions. This ending to a fantastic five-part arc is both satisfying and thought-provoking, leaving readers eager to see how Gotham and its inhabitants adapt to a world without Batman.

Batman's psychological journey through Dr. Hurt's trial continues to struggle as standalone issues, though hopefully it will read better as a collected edition. The story itself seems to be wandering for answers just as much as Batman is. @ramvwrites hasn't shown his full hand for this story yet and its a bit frustrating as it feels like we're swirling in this final arc in Ram V's run on 'Tec. The art by @riccardo_federici_art in this portion of the book is some of the best ethereal horror imagery you'll ever see. The visuals of demonic clowns which made up this version of Gotham were creepy as hell! I'm really enjoying the other half of the main story. In this issue, we find The Question teaming up with Cassandra Cain as we see how much Gotham is devolving under the Orghams rule. Cassandra's entry gives readers hope that there is still some form of resistance trying to fight back and I'm excited to see how this unfolds. @stefano.raffaele's art matches the tone of these sequences with a gritty, frenetic style that looks amazing. I loved the use of 9-panel pages mixed in with some bigger splash panels to help establish pacing. The backup story by @danpgwatters had a lot to like and helps build up Dr. Hurt as a truly evil villain who uses mind-control for enjoyment. For a shorter backup, the the pacing was excellent and built up a level of suspense to keep you hooked. The art in this backup was a great homage to classic horror comics and looked awesome. Ratings: 6/10 (main Batman story) 9/10 (The Question + backup stories & all of the art)

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.

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.

The iconic detective is back! I distinctly remember watching the 90s movie & the bright yellow coat when I was a kid but was never really exposed to the character further, so I was pumped to hear Alex Segura & Michael Moreci working on this new project. The writing duo presents a classic origin story while retaining the essence that I’m sure longtime fans will love & new fans, like me, will immediately be drawn into. This fresh take offered something for everyone. I couldn’t help but be drawn in by the gritty, noir-inspired narrative & visuals. I fell down a Wikipedia rabbit hole & was shocked how many references to the OG comics made it into just this first issue. The creative team has struck a perfect balance, crafting a story that’s both nostalgic & accessible. Geraldo Borges’ artwork is a standout, bringing the dark streets to life w/ a level of detail that’s both haunting & beautiful. Mark Englert’s colors perfectly complement the illustrations, adding depth & atmosphere to every panel. The opening diner sequence immediately set the stakes for the book’s visual identity. Segura & Moreci’s script is suspenseful & engaging. As a huge Sam Spade & Philip Marlowe fan, Dick Tracy #1 was everything I could have hoped for in a detective story!

Duke #1 isn't just a comic book revival; it's a revelation. Williamson breathes new life into the G.I. Joe franchise, crafting a story that's both fiercely nostalgic and thrillingly fresh, even for someone who did a lot of reading up on G.I. Joe over the past few months. No matter your familiarity level, Duke #1 will grab you by the shirt and drag you into its world. Williamson's masterful character development makes you care deeply about Duke from page one. Williamson’s writing brilliantly sets Duke up as a bruised & battered figure who has seen better days, but with the resolve to battle through and find better days. The action sequences are pure adrenaline, bursting off the page with Williamson's kinetic script and Tom Reilly's stunning artwork. Reilly's art visual storytelling at its finest, with every panel oozing with energy and detail. There is a specific portion of the issue, containing minimal dialogue, where Reilly’s artwork perfectly captures the tension and intensity of an espionage mission. I sat at the edge of my seat with bated breath as my eyes shifted from panel to panel, guided by Reilly’s wonderous artistic hands. The colors by Jordie Bellaire are a feast for the eyes, adding depth and atmosphere to Reilly’s linework and rounding out the world of Duke. Rus Wooton’s letter work also gives the biggest moments the “wow” factor, with onomatopoeia that makes it seem like you’re listening to the issue inside an IMAX theater. But it's not just the action and thrills that make Duke #1 shine. Williamson weaves in thoughtful themes of loyalty, duty, and the cost of war, giving the story, and Duke himself, surprising emotional heft. This isn't just a mindless, Michael Bay film expressed on pages; it's a storytelling masterpiece that stays with you long after you turn the last page. It's a love letter that simultaneously reinvents a franchise for a new generation. Whether you're a longtime fan or a newcomer like me, this is a book you absolutely can't miss.

After loving the suspense and intrigue of the debut issue, this one took a step back from the high octane thrills and focused on Duke’s run from the government conspiracy. He meets up with Clutch to try and lay low but not before Stalker and Rock N’ Roll catch up to them and take them to the Pit. Even with a cool chase/attempted escape scene, I found this issue to be a bit of a slog with its restrained pacing, but that’s mostly because the first issue got me so amped for more. Williamson is taking his time to lay the groundwork for Duke’s story without needing to rely on overused tropes. It’s an interesting approach to G.I. Joe comic but hopefully we get a few more thrills mixed into with future issues. The art team of Reilly and Bellaire keep things visually pleasing with awesome designs and a bright color palette that makes issue pop. I loved the look of Clutch’s prized vehicle. Makes me think this could have been what he was talking about when I asked him which of his designs he’d hope to see as a @hasbro toy! I’m intrigued to learn just what Hawk is up to keeping Duke and Clutch locked up. Is he keeping them out of the crosshairs of something much more sinister or does he actually believe they’re a threat?? What’s Cobra planning on his villainous throne?? I can’t wait to find out!

There are some nice character moments for Duke, who is dealing with the weight of the world on his shoulders after having witnessed something he still can’t compute. He’s finally pushed by Baroness to a point where he snaps and, while it’s out of character, I thought it was entirely believable given everything he’s been through. It was fascinating to see the dynamic between these two unfold throughout the issue, but the ending made me question if Baroness will continue to develop as a complex character or become a one-note villain. Outside their interactions, I thought the rest of the issue was pretty formulaic for a G.I. Joe comic. Lots of explosions, lots of action, and little movement of the larger plot. Major Bludd appeared to be dealt with in a timely manner, but we still don’t know what Hawk’s motives are or what he had planned for Duke. Right now we just know that Duke is on the run and everyone is out to get him and each issue now feels like a “bad situation of the week” cadence. At least the art continues to impress. Tom Reilly’s designs and Jordie Bellaire’s colors make the comic pop on every page. There are two double-page spreads with two very different use cases that are both very impressive and work wonderfully. Reilly seems like he was born to draw a G.I. Joe book. Rus Wooton caps it all off with perfect lettering that adds an extra layer to every scene. After a super suspenseful and captivating debut issue that felt entirely unique for this genre and franchise, Duke hasn’t lived up to those initial heights in the past two issues and risks falling into the background of the new Energon Universe entirely. It’s overshadowed by Transformers, one of the best comics currently on the market period, and, while it alludes to the connection between the two books, it’s not yet done enough to convince readers why they need to keep reading this title with each issue’s release and not just wait for the trade.

I have a lot of mixed feelings about this issue. On the one hand, it was riveting and really showed the state mutants are in at the hands of Orchis. On the other hand, this should have been what we were getting the entire Fall of X. The latter makes this issue feel unearned and lacking the punch that the first issue of the concluding saga to Krakoa should have carried. This could have come immediately after X-Men #25 and it wouldn’t have like we missed anything. In many ways this issue underscores how weak Fall of X was in showcasing individual story lines (e.g. Astonishing Iceman and Uncanny Spider-Man) in lieu of building on the main narrative. How many times were we told Orchis would kill scores of humans for every mutant who didn’t leave the U.S.? What ever came of that? I’ve been separately rereading the Age of Apocalypse arc, and in a stark contrast, every miniseries in added a necessary piece to the overarching story. Oh, what could have been had we followed that formula. However, I can’t let me frustrations with the handling of this entire arc completely cloud my thoughts on Fall of the House of X #1 as a standalone issue. This is exactly the level of suspense and action we should have been getting for months. It was great seeing so many faces back together again and offers a glimmer of hope for mutantkind now that they are operating cohesively. If this keeps up, we may well get a worthy ending after all.

This issue was an egregious afront to X-Men fans who have stuck by the Krakoan era in its entirety. After bungling the ball throughout Fall of X, they can’t erase past poor storytelling with an issue full of set pieces meant to tie up various loose ends that have been floundering for months. Nothing in this issue felt earned, rather it felt like Duggan was rushing to get to an end. Every character that Duggan writes now sounds the same: bravado mixed with snark and a dash of vulgarity. I’m over it. There is no nuance to be found in Duggan’s scripts and it’s a slap in the face to readers. Worst of all, the art in this issue seemed to mirror Duggan’s mailed in approach. None of the visuals could elevate a weak story even when the gratutous set pieces could have yeast looked good. We were teased by an amazing Pepe Larraz cover and left with a hollow interior. I wish I could find a redeeming aspect to this issue but I’m struggling. If you’re still enjoying this conclusion arc, I’m very happy for you. At this point I’m just ready to be done with it all and to start fresh.

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.

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.

Two former Justice League International members are banished to run a hair salon in Smallville in FIRE & ICE: WELCOME TO SMALLVILLE #1, the debut issue of Joanne Starer and Natacha Bustos’s new “Dawn of DC” miniseries. TL;DR After the incident involving Guy Gardner from Power Girl Special #1 earlier this year, Superman banishes Fire (Beatriz da Costa) and Ice (Tora Olafsdotter) to his hometown of Smallville while the fallout from the situation dies down. They’re tasked with managing the town’s hair salon and fitting in with small-town America. The duo’s friendship is put to the test as Ice takes a liking to the slower pace of life, while Fire is looking to redeem her image and is ready to do whatever it takes to prove her might. REVIEW I was not expecting to like this issue as much as I did, but it may actually have been one of my favorite DC books of the week! Starer’s script is hilarious and really plays into the campy tone Fire & Ice have established throughout their history in the DC Universe — they are comedic relief without being inept or relying slapstick humor. They have faults, which they acknowledge (sometimes against their own will), yet their intentions are right and their reactions to the world around them are entirely relatable. Fire’s reaction to being sent to Smallville could easily have become a caricature but Starer’s writing prevents that from happening. Her fascination with social media is one of my favorite gimmicks from the issue, and the video she makes with L-Ron to attract bad guys to Smallville so she can beat them up was hysterical. It may have only been topped by the interaction between Fire and King Shark, who answers the call. I loved the female-centric presence of this issue. Beyond the main two characters, there are many other women of Smallville who make appearances throughout the book. A cameo by Superman later in the book includes Fire commenting on how she doesn’t need a man to jump in and save herself. It all felt very empowering to see the friendship between two women take center-stage. In addition to writing Fire and Ice with surprising complexity, Starer establishes supporting characters, including L-Ron, Martha Kent, and Tamarind, equally well. These three characters add depth to the story which complements the personalities of Fire and Ice. L-Ron is the affable servant who helped sign the lease and has an affinity for apple pie. His need to address Fire and Ice with a formal title is a running joke throughout the book that never got old. Without Clark around, Martha instantly becomes a mother figure persona for Ice who becomes increasingly frustrated with Fire’s need to make a scene. Tamarind seems to be the level-headed friend that can help to balance out Fire and Ice, if they’d only let her. She’s an experienced stylist who needs the salon to survive so she can make ends meet. At 19, she’s of a different generation than Fire and Ice and provides a Gen Z perspective on the world around them. Bustos’s art and Tamra Bonvillain’s colors are a great fit for the campy story. Characters have a 90’s animation design and color palette that give this the feeling of a Saturday-morning cartoon version of the Odd Couple. There is so much drawn into the environment that brings Smallville to life. I loved Bonvillain’s greens for Fire, especially as she flying through Smallville in her fiery blaze. FINAL VERDICT What a hilariously pleasant surprise this issue was and I can’t wait to see how the rest of this story plays out! It’s not easy to maintain it consistently, but we could be in store for an epic miniseries if Starer can maintain this perfect level of camp. Rating: 8.5/10

After a surprisingly strong debut issue, this second issue didn’t disappoint. It’s a shame more people aren’t hyping this series as it’s a deliciously campy joy ride that I never want to end. Joanne Starer’s script, Natacha Bustos’s art, and Tamra Bonvillain’s colors create such a delightfully entertaining comic that it’s easy to miss all of the meta commentary happening throughout the book, touching on things like friendship, social media, and our country’s obsession with firearms. Even with all of these complex issues being dealt with, I audibly laughed out loud multiple times from both the dialogue and little things happening in the background. This is truly masterful work in an unassuming package.

I’ll never not love the series’ absolute campiness, the further this goes on the more obvious it is that the plot is being held together like a busted drag queen’s wig. The interactions between Bea & Tora seemed to ping-pong all over the place in the issue with a handful of “are they or aren’t they”friends again” moments. I worry the back and forth cheapens their eventual reunion, but there are still plently of laughs and human elements throughout Joanne Starer script to make this an enjoyable read. Not to mention Natacha Bustos continues to provide one of the most visually appealing books on the market.

I can’t hate this series, I just can’t. The loose plot and haphazard pacing should be driving me mad, but Joanne Starer’s writing makes these characters so lovable that I can forgive some of the rushed plot development happening in this penultimate issue to set us up ahead of the finale. Fire & Ice have such a relatable relationship that you can’t help but feel that their friendship is something you go through with your best friend at some point in your life. Natacha Bustos and Tamra Bonvillain bring it all together in some of the most fun visuals you can ask for. I wish this book was an ongoing, but with the plot starting to come apart for this specific arc, its clear that the end is coming just at the right time.

From the first page of Issue #1 this book wasn’t shy in being a campy best friend story which didn’t take itself too seriously. It never lost sight of that mentality over the course of its run and ends here staying true to that same mindset. Was this a deeply philosophical character study? Not in the least. Was it dripping with heart, offering tender character moments while putting its main duo in situations reminiscent of the I Love Lucy episodes? You bet it did! Joanne Starer’s finale ties up the plot nicely (which had gone off the rails in spectacular fashion), bringing the two best friends back together and giving the rest of the background characters, including Martha Kent, a great sendoff. Starer’s ability to create fully fleshed out characters in a story that could easily have evolved into a cast of one-note caricatures has been one of the most impressive feats across this whole series. Natacha Bustos and Tamra Bonvillain have this series an equally joyful book to read with vibrantly bright colors always reminding readers that this was never meant to be a dark and brooding story. The designs and colors always bordered on Saturday morning cartoonery, but never crossed the line into complete outlandishness. It fit the tone of Starer’s script perfectly. I’m so sad to see this book end, but so glad that @dcofficial let it see the light of day. We need more minis like this as part of larger, publisher-wide narratives. Hopefully we get to see Fire & Ice on some fun adventures again soon!

Nine months after David Booher’s All New Firefly series came to a close, the crew of Serenity is back at BOOM! for more adventures in FIREFLY: THE FALL GUYS #1, the debut issue of a new six-issue miniseries by Sam Humphries. From the get-go, the tone of this series already sees a seismic shift away from Booher’s character-examination of Jayne Cobb in the last series. Humphries’ plot feels more like the first episode of a multi-episode arc from the original Firefly series. After an initial stand-off with an opposing crew, the Serenity group, now broke and looking for any work to make ends meet, agree to perform an Ocean’s 11 style heist and split the profits. Things aren’t what they seem though and, as the title of the series alludes to, our crew realizes the heist is just a ruse and they’ve been set up to take the fall for an even bigger crime. Humphries’ writing makes the issue accessible to even the most lapsed or casual Firefly fan and I’d argue that someone who isn’t even familiar with the franchise could find something to enjoy in this script. Each member of the crew gets a mini-introduction and a chance to show their personality at various points throughout the book. As mentioned already, the twist at the end is spoiled by the series’ title so it didn’t really have the payoff that Humphries was likely expecting. But given this cast of characters and how well Humphries plays into their unique and lovable personalities, I’m interested to see how the crew gets themselves out of this mess. Jordí Perez’s designs have a sketchbook feel to them that allows for a nice continuity from prior Firefly comics and plays really well with the space-western genre. The issue is heavy on panels featuring character close-ups and while they can often be simple character close-ups without much background, Perez does a strong job at conveying emotion through facial designs for the most part. There are a few of these panels that could have used more detail though. I also would have liked to see a more angles used to gauge the scope of the environment. There are a few panels wide-shot panels where we get to see things like a dignitary spaceship and the dignitary’s parade route outside the heist and they offer some of the best visual world-building moments of the book. The color palette from Francesco Segala and Gloria Martinelli offers a wide-range of washed out colors that also fit the space-western theme. The approach gives a very retro-vibe to the book that reminded me of the television series, but felt uninspired. The panels when hints of vibrant colors were used popped and I’m intrigued to see how these are used going forward to liven up the pages. Overall I thought this was a fun first entry into the new miniseries and it served the cast of characters well. Now that the main plot has been set up, I’m hopeful we get some unexpected twists and turns along the way as it wouldn’t be an entry into the Firefly universe if things didn’t go as planned. Rating: 7/10

This debut issue was a head-scratcher. Nobody expected Si Spurrier to have to keep the same tone as the previous run, but we went deep into Spurrier’s typical larger-than-life sci-fi/fantasy lore in the blink of an eye. It was an abrupt start to say the least and I for one would have appreciated a bit more stage-setting before things got serious. There were also some heavy moments focused on the home life of the Wests, including an overworked, underslept Linda who Wally dismisses and demeans far too easily. Anyone who has read Spurrier’s work on the X-titles over the past year is far too-familiar with how the writer can introduce and probe fascinating genre-related questions, yet he can err on being too heavy-handed and make the journey so complex and convoluted that it removes the fun from it all. This issue immediately inches close to that line in Spurrier’s Speed Force setup and I worry that we won’t have a moment to get buckled in before we’re in the thick of things. Mike Deodato Jr.’s layouts are fascinating at first, but become repetitive and distracting. Multiple mini-panels are combined to form larger panels throughout, which adds to the overall complex feel of the book. Used sparringly, it may be more effective in creating disjointed and chaotic moments. Trish Mulvihill’s colors and Hassan Otsmane-Elhaou’s lettering are both effective on their own and offer a highlight for the book.

“What in the absolute screaming hell is going on?!” - Wally West in The Flash #2, but, also me after reading The Flash #2. This might be the most Si Spurrier book I’ve read and I feel dumb reading it but I honestly can’t claim to have any idea what is happening, but at least this issue doesn’t make me think Wally is a terrible person the way the first issue did. So, progress? I found some of Mike Deodato Jr.’s linework to be a tad harsh to the eyes during the action sequences in first half of the book when there were so many jarringly angular lines within the same panel. It was hard to know what was going on. The cosmic beings on the hunt for Arc Angels looked pretty gimmicky for such powerful beings. I’d bet they’ll be showing up again soon to help provide more context on Wally’s new multi-dimensional traveling capabilities come into more focus. It’ll be interesting to see how Barry Allen plays into the long-term arc given his appearance at the end of the issue. Are we looking at two different timelines now?

Serpentor-Khan’s bigger plans start to come into focus as a new alliance between he and the AI Revanche faction takes shape. I’m not fully bought in here to be honest. I feel like I need a few more issues to continue grounding myself in this new (to me) world because I still find myself trying to reference who is who when certain heroes aren’t mentioned by name directly. Larry Hama’s story doesn’t bridge the gap for G.I. Joe newbies the way Williamson has done with Duke and Cobra Commander, but hardcore Joe fans will probably love how much this new run leans into the franchise’s best attributes. There is also some wonderful artistry work going on Chris Mooneyham and Francesco Segala. Serpentor-Khan and members from the Revanche look amazing.

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.

Jonathan Hickman & Valerio Schiti’s long-teased series finally hit shelves after weeks of promotion from Marvel and complaints from comic book shops frustrated with an expensive number one without the backing of any major Marvel superhero front-and-center on the cover. I’ll leave the marketing strategy debate for other sites and focus my review solely on the issue itself. And boy did this feel like a meaty Hickman story if there ever was one. Putting aside the glaring fact that these G.O.D.S. are meant to have existed four hundreds, if not thousands, of years yet have been missing in action up until now, this issue read with a level of gravitas that is hard to pull off with a cast of brand new characters and factions. Speaking of the new characters, I found them to be instantly endearing and I was actively interested in their lives and connections by the end of the issue. Hickman did a tremendous job developing Wyn, Dmitri, and Aiko to set them up as believable main characters. That was helped by the sheer number of pages that featured dialogue exclusively between them, but selling these characters may have been THE job Hickman needed to this issue and I thought he did it in spades for these three. I was less sold on the new villain, Cubisk Core, but he was given much less of a backstory in this issue. Hopefully that will be explored more in future issues as readers need to understand, and even potentially sympathize, with some aspects of a villain’s perspective to give them credibility and complexity. Schiti’s art matches Hickman’s elevated writing panel-for-panel. The designs for characters and scenery bring the book to life, with a sense of humanity that grounds readers in this unfamiliar world. Facial, especially those from our new main characters, evoke emotion brilliantly and set the tone for how characters are experiencing the events we’re watching unfold. The breadth of the different types of environments and scenery we see is awe-inspiring and Schiti and colorist Marte Gracia create some truly breath-taking panels that are some of the best work you’ll see this year. Some will say this issue needed to stop readers dead in their tracks with a big WOW moment, but I think the exact opposite. I wanted to convinced why I should care about brand new characters and Hickman and Schiti surpassed any expectations I had. Was it worth the $9.99 cover price? That’s not a question I can answer for everyone. Was it a nearly perfect debut issue for what promises to be a monumental moment in the Marvel universe? Absolutely. Rating: 9/10

Jonathan Hickman and Valerio Schiti’s newest project is one of the most ambitious and enjoyable new entries into the Marvel universe in at least the last decade. This story about characters who are meant to have been around forever without ever appearing in any previous Marvel property could very easily have fallen flat but the two creators have provided a herculean effort to integrate these new characters and lore seamlessly. It’s been helped by employing existing Marvel characters, most notably Dr. Strange, as a conduit between what we know and what we’ve yet to discover. We see a lot more of Aiko, who is quickly becoming a favorite of mine, and we’re introduced to Mia, a college student with a history of unrecognized magic usage, in this issue. The duo are quite dynamic together and I loved Aiko’s approach to revealing just enough information to pique Mia’s interest, while still letting her make her own decisions. The entire issue also looks gorgeous and epic thanks to Schiti’s designs and Marte Gracia’s colors. I’m fully hooked on this new story and I can’t wait to see where it goes.

This new series from Jonathan Hickman continues to blend an amazing balance between character development, intriguing plot threads, and expanding the overall Marvel lore in such intriguing and dynamic ways. I’ve been completely surprised in how much I’ve enjoyed all of the new characters introduced in these three issues so far, which has been a far cry from their initial teases in backup stories earlier this year. This issue specifically moves the story deeper into the complex relationships between gods, humans, and the very fabric of reality, offering both mind-bending ideas and visually stunning visual sequences from a masterful Valerio Schiti. Schiti's art complements Hickman's writing perfectly, with detailed and dynamic panels bringing the vastness and beauty of the cosmic realm to life. This isn’t a fast-paced action comic. It's a slow burn that takes its time to build its world and introduce its characters. However, those who appreciate Hickman's ambitious storytelling and Schiti's stunning artwork will find plenty to enjoy. Everything piece of this book feels momentous in the best way possible. The seeds for future conflicts and character development are planted here, leaving me eager to see where the story will go next.

The conclusion to the two-part story feels like it could have two separate books itself: 1) the conclusion to Geiger/Molotov’s partnership; and 2) a collection of short stories helping to launch future Ghost Machine titles. That doesn’t make this a bad issue, but it does make each part come off a bit rushed and crammed together. Gary Frank’s artwork stole the show over these two issues, reminding readers just how haunting a world this is. At the end of the day, this was a successful reintroduction to the world of Geiger and the pieces seem to be set up nicely for the comic creators collective’s big launch in 2024.

Did the world need this crossover? Probably not. Did Marvel let Benjamin Percy have some fun with two of his best characters? You bet. Did we all benefit from that decision? Hell yeah! WOLVERINE/GHOST RIDER WEAPONS OF VENGEANCE ALPHA #1 is a rip-roaring, bike-riding, thrilling badass adventure featuring two characters from Benjamin Percy’s current going series on the hunt for a demon wreaking havoc. Readers won’t need to be caught up on either character’s solo series to enjoy this isolated event. Percy sets the stage by introducing a gruesome murder scene that brings Wolverine and Ghost Rider together to solve and makes it clear that this isn’t the first time they’ve seen this type of horror. The main plot of the issue follows flashbacks where readers learn about the original murder spree that caused their paths to cross. We get a lot of great character moments during the flashback and witness an epic battle between Wolverine and Ghost Rider before they realize they’re both trying to achieve the same thing. That battle, and the entire book, are brought to life by the immense talents of Geoff Shaw on art, Rain Beredo on colors, and Travis Lanham on lettering. The clash between Wolverine’s adamantium claws and Ghost Rider’s fiery chains is gorgeously visualized and Beredo’s bright orange flames especially pop off the page. Percy has been excellently writing Wolverine and Ghost Rider in their respective solo titles for some time and it’s only fitting to have these two characters, who love to claim that they’re loaners, team up for a mission to deal with a demonic force straight from the pits of hell. I wasn’t expecting to enjoy this duo as much as I did but I’m really looking forward to seeing the rest of this story come to life. Rating: 9/10

Benjamin Percy and Geoff Shaw’s heavy metal adventure featuring Wolverine and Ghost Rider has been quite the ride. Weapons of Vengeance Alpha was as strong start to the mini-event, introducing an intriguing storyline and featuring some really fun art. Ghost Rider #17 came next, filling in backstory with an interesting introspection on it’s titular character and laid the groundwork for a showdown. Then came last week’s Wolverine #36 which sloppily cranked the storyline up several notches in a rushed manner. Unfortunately, the mini-event’s finale, GHOST RIDER/WOLVERINE WEAPONS OF VENGEANCE OMEGA #1, continued that trend and the story fell apart under it’s own weight. Things pick up with Hellverine (the newly possessed Wolverine) enacting his mission to kill off mutants under the order of Father Pike, who we learn is not only working for the United States government (who themselves are in the pockets of Orchis), but also for Mephisto. It turns out Mephisto created the demonic entity that had been inside Bram and was then transferred to Wolverine. It was originally bestowed upon Bram when his parents conceived him during a satanic ritual. It’s A LOT of information to learn in the final issue of this arc and feels too cumbersome this late in the game. So many new details come out one after the other than you don’t even have a chance to process things. They’re disclosed in rapid succession to tie-up loose ends. The final act of the issue unfolds with a number of different events happening without any explanation. Bram wakes up from his own stasis and begs for his demon back, Wolverine is able to break out of Father Pike’s control because he’s asked to kill a mutant child but then relapses and fights Ghost Rider, Wolverine is also able to command the demon after Father Pike pulls it from his body to return to Bram, and then both Wolverine and Ghost Rider are totally fine killing Bram in order to kill the demon. We also get a cliffhanger on the final page teasing that the demon isn’t really dead. For the first time in this story, I wasn’t impressed by the art. I don’t know if it was due to the writing itself in the issue, but Geoff Shaw’s designs and Rain Beredo’s colors added to the feeling of everything being too cluttered. No scene or panel had a chance to breathe or linger before we were moving on to something different. The climactic final battle between Ghost Rider, Wolverine, and the demon was drenched in orange flame to the point where it was hard to make out who was in any given panel. Even the monuments of death that are left behind when the demon claims its prey, which had an eerie horror feel when first introduced, looked like an afterthought in this book. For an event that had such a distinct and bold look early on, it was disappointing for it to fall off in the finale. After those first two issues, I really thought this storyline had potential. Two curmudgeons with badass attitudes teaming up to stop a demonic power from hell? Percy could have written that in his sleep. I think it would have made a lot more sense, and could likely have been structured much better, if Mephisto was the main big bad and introduced much earlier on. As it was, this story could have been told in an oversized annual and didn’t need four full issues. Even with the cliffhanger, I don’t know when we’ll be revisiting this storyline again. Wolverine has the “Sabretooth War” coming up next, yet Ghost Rider’s future solicitations do indicate Mephisto will be playing a role in the near future. Perhaps this becomes a Ghost Rider-specific story with some periodic Wolverine cameos? I guess we’ll find out, but this story will look even worse if the plot featuring Mephisto doesn’t even connect back to this. Rating: 5/10

When creators can put a unique spin on a story that has been told countless times in different capacities and still keep it entertaining without sacrificing the source material, you know they’ve done a great job. That’s exactly the case with GODZILLA: THE WAR FOR HUMANITY #1, the debut issue of a four-part miniseries about one of the world’s most famous fictional monsters. Andrew MacLean’s writing and Jack Smith’s art combine for a story about the reptilian kaiju that has been a part of pop culture since 1954 that pays respect to the character’s roots in Japanese culture, while keeping things current with a main story set in the present day. Godzilla fans will quickly relate to the dynamic between our main character Yuko Honda, who views the monster as a symbol of salvation against more malevolent kaijus, and Phazon Fullchech, a tech-bro billionaire who views Godzilla as a threat as dangerous to humanity as any other kaiju. These opposing views are a staple in nearly every piece of Godzilla content and act as the main point of verbal conflict since the monsters can’t speak. The monsters fight, the humans argue. MacLean’s story adds an interesting extra layer to this dichotomy by opening the book with a flashback to Yuko’s childhood where we see her and her friend being “saved” by Godzilla showing up to defeat a kaiju who could have destroyed them and their village. This encounter set Yuko on a course that saw her become a globally-recognized expert on kaiju studies and an ardent supporter of the titular monster. While MacLean’s writing is able to quickly establish new characters and develop plot points that will continue throughout the remaining issues, the real star of this book is the art by Jack Smith. In terms of scale and scope, Smith draws one of the best looking books I’ve seen in quite some time (what is it with beautiful books this week? See my review for THE CULL #1). Five different kaiju appear in this first issue and each one looks gorgeous. Each one is so detailed and distinct. And even with how detailed and larger they are, Smith doesn’t shy away from having them appear often throughout the book. There are multiple kaiju fight scenes in just this first issue and they are all visually stunning to watch. While I’ve seen the more recent mainstream, American Godzilla movies, this is the first comic book iteration I’ve read. So it might be cheating to say that this is far and away the most interesting take on Godzilla that I’ve been exposed to. If Smith’s art keeps this same quality in the next three issues, MacLean could write gibberish on every page and I’d still love this series. This book was definitely outside my normal comic comfort zone but it was my favorite comic of the week. I’m go glad I gave it a chance and you should too! Rating: 10/10

After building anticipation for weeks after the release of their debut release The Devil’s Cut, this week marks the debut issue for DSTLRY’s first limited series. It’s definitely a momentous occasion and marks a turning point in the shift towards creator-owned projects, but while The Devil’s Cut showed the publisher could put out a high quality one-shot there were still questions on if that could translate into engaging and entertaining stories which continuously delivered the same level of intensity issue-after-issue. It may only be one issue, but Jock’s Gone #1 will definitely quiet some critics by giving readers an encouraging sign of what they can expect from DSTLRY series. Gone was initially teased back in August in “Stowaway,” Jock’s addition to The Devil’s Cut and now we get to see more of 13-year old Abi’s life as a member of the have-nots in a not-too distant future society. While she narrowly escaped becoming an unwelcome passenger aboard a mysterious galactic cruise-ship for the ultra-wealthy while trying to steal food to feed her family in “Stowaway,” she’s not so lucky this time. The limited series format allows Jock to introduce readers to a more complex world in Gone than what was shown in “Stowaway.” We start to see how deep the schism is between the people at the top and bottom of the food chain and learn that there is more than meets the eye to what’s happening aboard the luxury star-liners sucking up all the resources. It’s an impressive debut issue from Jock, who wrote, illustrated, and provided shared color duties with Lee Loughridge. No one would question Jock’s artistry when it comes to craft visual tales. Gone #1 is very much in the creator’s wheelhouse of dark, brooding, and gritty panels that radiate a sense of dreariness and despair. There are some truly wonderful pages where Jock’s skills are on full display, including any page when Jock zooms out and we see the depths of space and the scale of the ship from outside. There’s also a page where we see Abi traversing through the vents of the ship where Jock presents the scene in a fun and inventive way. However, after making his mainstream writing debut in the DC Black Label limited series Batman: One Dark Knight, Jock is still a novice with written story-telling and his unrefined skills were noticeable here. The issue is sparse on exposition, leaning heavily on Abi’s narration to fill in the gaps between “Stowaway” and Gone and it’s not always enough. There are some major gaps missing in how we got to where we are in the story and who some of the players are beyond Abi. This all may come in future issues, but would have been helpful to have upfront to establish a stronger foundation for the plot moving forward. While things are teased and alluded to, the lack of concrete details creates some clunky story moments and makes for an uneven structure which holds the issue back from reaching it’s full potential There are a million directions I could envision this story going down and even with some of the structural issues, the promise of Gone is almost limitless. It has the feel of a story waiting to be told that would make Stanley Kubrick proud. We just need Jock to tell us a story as detailed and captivating as he’s showing us. Rating: 7.5/10

Jock wasted no time jumping into the action, leaving readers little room to reacquaint themselves with where things left off in the previous issue. This was a questionable decision given that it's been nearly 3.5 months since the previous issue (which was DSTLRY's inaugural ongoing issue at the time) released. Quite the long stretch between issues and it was felt. Abi emerges as a more complex and relatable protagonist, grappling with the trauma of her past while showcasing newfound strength and resilience. However, the rest of the cast (and the plot) feels severely underdeveloped for where we are. I think Jock could make better use of some exposition throughout the book. He predominately relies on dialogue to advance the story, but the reader is missing a lot of background information that would make these conversations land better. Since this is Jock's first major foray into writing, I'll cut him slack. However, his signature art style shines through in DSTLRY's double-sized issue format. The gritty realism mixed with dynamic action sequences and expressive character close-ups create a truly immersive and visually stunning experience, especially given the out-of-this-world setting. Film visionaries like Denis Villeneuve and Alfonso Cuarón would be proud. Overall, this second issue has scattered moments which hint at a deeper, more emotionally resonant story waiting to be told. The reveals show the potential for genuine pathos, if Jock can begin to couple it with more/stronger exploration and world-building.

REVIEW After only two issues were released before the new series went on hiatus for “Knight Terrors,” Jeremy Adams is back with GREEN LANTERN #3. Given the direction of this week’s issue, it’s apparent that the previous issue’s story involving Hal piloting Carol’s flight was done to set up Hal’s “Knight Terrors” tie-in. Nathan is absent and Hal is no longer flying Carol’s private jet. However, Sinestro is back and begins to put his plans into motion. Adams’ is writing Sinestor with a meticulous approach that is both subdued and ominous. He believes he has the upperhand on Hal and is making power moves to taunt him. Adams starts to tone down Hal’s creepy obsession with Carol, even though there are still a moment or two of cringeworthy exchanges. I get that Hal is the master of willing things to happen but his continuous advances on Carol when she is clearly not interested is some Grade-A toxic masculinity that I really don’t need or want to see. What does work and showcases Hal’s best qualities are scenes like the one where he uses his ring to build up the confidence of young kid in need of a boost. It’s a small moment in what may seem like a throwaway scene compared to the issue’s main story, yet it perfectly captures the charm and idealism of Earth’s Green Lantern. Does Xermánico have his sights set on an Eisner award for next year? Because the work going into this series so far would be a great submission. This issue is light on traditional action sequences compared to the first two issues, but Xermánico is still able to incorporate motion in interesting ways during a scene involving Hal pitching during a little league baseball game. What continues to stand out though are his wide-angle and zoomed-out environment shots that come to life like watercolor prints hanging in the world’s best art museums. The opening page continues a scene from the last issue where Hal is falling back to the Earth and it’s simple breathtaking. Panels featuring the Coast City skyline and Washington D.C.’s National Mall are smaller in scale but equally gorgeous. Romulo Fajardo Jr.’s colors complement it all with softer tones that bring a lifelike quality to every panel. We also get part three of John Stewart's "Rise of the Revenant Queen" arc from Phillip Kennedy Johnson as a backup story. We finally see how the two different storylines we’ve been following will converge as the Revenant Queen retreats from her battle with that universe’s John Stewart and Lantern Shepherd to seek out Earth Zero’s John Stewart. With minimal pages to work with, Johnson is squeezing in every bit of character development for Earth Zero John Stewart and I can’t wait to see what he does with the character in Green Lantern War Journal, which debuts later this month. Montos and Adriano Lucas continue to match the main story’s art team in quality with their backstory visuals, no more apparent in the culmination of the Revenant Queen battle. These panels offer jaw-dropping action in vibrant colors. This John Stewart creates an army of Lanterns to even the playing field and they look intimidating and awesome thanks to the work from Montos and Lucas. FINAL VERDICT Hal’s interactions with Carol really kept me from loving the first two issues of this series but with that tempered down, I’m finally aligned with the praise this series has gotten so far. We’re on the precipice of a major confrontation between Hal and Sinestro and it’ll be very interesting to see how Hal’s optimism and newfound powers are put to the test with whatever Sinestro has planned. And Xermánico’s art alone continues to make this series a must-read. RATING: 7/10

We’re finally getting into the thick of things with Sinestro’s intentions starting to come into focus with this issue. Do I buy that he’s only out to get home? Not a chance. Do I think he’s found a way to appear sympathetic to confuse Hal? Absolutely. Speaking of Hal, I wasn’t a fan of the way Jeremy Adams wrote him at first, but Adams is brilliantly evolving the character with each issue. His post-team up conversation with The Flash showed so much character growth over just the first four issues. As long as Xermánico is on art and Romulo Fajardo Jr is on colors, the visuals in this book will make every issue a must read. Even without any specific page that stood out, from gorgeous backgrounds to expressive character designs, the entire book is so well done. The backup story “Wayward Son” from Peter Tomasi and David LaFuente is an interesting introduction to a character who claims to be Sinestro’s son. The kid is stuck in a bad spot, having to steal to make ends meet in a collective run by a crime boss. He’s looking to get some of Sinestro’s DNA to prove his heritage and it’ll be interesting to see if this ends up playing into the main storyline.

Green Lantern #6 throws down with an epic showdown between Hal Jordan and a Sinestro consumed by the red rage energy. Jeremy Adams wastes no time thrusting readers into the heart of the conflict, showcasing the destructive potential of Sinestro's newfound power and Hal's desperate struggle to contain it. As we've come to expect from him in this series, the art by Xermánico, along with Scott Godlewski & colorist Romulo Fajardo Jr., brings the raw destructive power of the red rage to life, with Sinestro's constructs manifesting with visual displays of fury. The contrast between Sinestro's previous controlled power and his current unbridled fury is stark and visually striking.

This issue offered quite the curveball in the best way possible. Jeremy Adams rips back the curtain on so much of the story that happened before his Green Lantern #1 occurs, without making it feel like he was trying to pull wool over the reader’s eyes. It was a really well crafted and timed unveiling of what Hal’s been through and the trauma he still deals with because of it. Adams also fills gives context to explain Sinistro’s present-day motives. I really enjoyed all these new details which gives us a brand new perspective on the story Adams is telling. I wouldn’t be shocked if we got a few more twists and turns along the way. Amancay Nahuelpan steps in for Xermánico on art duties on this issue and does a standup job, especially giving us a variety of character designs when the United Planets calls the Lantern Corps together to reassign their responsibilities. I understand wanting a different artistic approach to visualize past events, but Xermánico’s style has become so symbiotic to Adams’ story that it felt like I was reading a different book and it took away from the issue’s full impact.

This week’s issue couldn’t match the emotional gut punch from the end of the last issue. I was ready to continuing exploring the heavy toll Kilowog’s death had on Hal, but this issue moved past that beat and right into a training montage featuring Hal trying to escape the United Planet’s quarantine before he’s caught in a battle with UP Lanterns. I’ve enjoyed Jeremy Adams’ examination of Hal’s will throughout the series so far, but I felt his attempts to will himself free from the quarantine were poorly paced and didn’t do enough to push Hal to the limit. I thought we could have used more time there before Hal was thrust into battle, especially as it relates to the larger Emotional Spectrum storyline which seems like it will play a bigger role down the line. Less telling, more showing! I’ve been critical in the last of how Adams has written Carol so far and I continue to think this isn’t the best writing for a female character. Hal’s interactions with her come off very one-sided and it feels like we’re reading about a female’s emotions and action the way we would have in a comic from the 70s. I get why Hal would say “it’s up to her” to determine where their relationship goes from here, but it has very selfish undertones. Guest artist Amancay Nahuelpan does a serviceable job filling in for Xermanico with some great action sequences. Romulo Fajardo Jr’s colors compliment things well, especially when the UP Lanterns’ rings change colors during the climactic battle. Overall, this was one of my least favorite issues of Adams’ GL run so far but I’m still excited to see where he takes Hal in his battles against the UP.

This week marked a turning point in Hal’s story as Jeremy Adams (@spacekicker) began solidifying the foundation he’s been setting up since the series debuted, setting up a ton excitement for the next arc. Hal’s journey to discovering a previously unknown power source has been hidden on Earth was a well-executed plot device that also gave someone from Hal’s past a nice cameo. Hal is now in possession of three things he’s been sorely lacking: 1) confidence in himself; 2) the courage to leave those he loves on Earth behind; & perhaps most importantly, 3) a fully functioning ring. To say I’m excited for what comes next is an understatement & seeing Jo appear at the end has me anxious for the next issue. This continues to be one of my favorite DC books right now. It was AWESOME to have both Xermánico (@xermanico) & Romulo Fajardo Jr. (@evergreenfajardo) together again, & their combined art was nothing short of phenomenal. From the breathtaking landscapes surrounding the newly discovered power source to the awe-inspiring vistas of space travel, my jaw was firmly on the ground. Look at the shot of Earth from space! The backup story by Sam Humphries (@samhumphries) featuring Jessica Cruz tied in nicely w/ the larger GL vs UP plot & I can’t wait to see how her infiltration plan unfolds in the grand scheme of things.

John Stewart's next chapter got off to a rousing early start as the backup story in the previous three issues of the current 'Green Lantern' series and the official first issue didn't disappoint. Phillip Kennedy Johnsons' script is super tight and really leans into Stewart's humanity now that he's been relegated back to Earth. The moments with his mother, who is suffering from some form of dementia/Alzheimer's disease, was absolutely heart-breaking — especially for someone who has dealt with these types of ailments in loved ones. But Johnson still allows us to see just how powerful Stewart can be when he's ambushed, which is also a scene where the art gets to shine as well. Much like's the art in the prelude story, Montos' art throughout this issue is equally compelling. I loved how he created two distinct worlds with the Revenant Queen in space and John on Earth. It's all perfectly complemented by the colors of Adriano Lucas. Everything pops of the page with a vibrancy that only a Green Lantern tale could do.

My how Eisner-Award winner Zoe Thorogood has grown up! After her highly successful It’s Lonely at the Center of the Earth, Thorogood is back to take over the reigns of the Hack/Slash franchise from series co-creator Tim Seeley. And while her previous work showed how well she can handle the intimacy and nuances of self-discovery, Hack/Slash: Back to School proves Thorogood is a genre-spanning force to be reckon with. The issue shines with world-class storytelling, with an added mix of gore and an off-brand sense of humor, which may only be matched by the distinctive vibrancy of Thorogood’s accompanying artistic prowess. Fans of her previous work may grasp their pearls at what the multi-talented creator pushes herself to achieve genre-wise in this book, but that won’t stop them from eating this up like it’s their favorite piece of Halloween candy. Even if you’ve never read an entry into the Hack/Slash franchise previously, you’ll want to follow along as Thorogood continues to prove she belongs in the highest echelons of today’s comic book creators.

Kendra Saunders finally gets her own series after an extended gap with the debut of HAWKGIRL #1 from writer Jadzia Axelrod and artist Amancay Nahuelpan. I really enjoyed Axelrod’s opening sequence where we see former teammates questioning Hawkgirl’s recent life choices, only to have her shoot them down and reclaim her own sense of identity and purpose. It’s a fun exchange that never gets too combative, while providing commentary on the recent reliance of only showcasing Kendra as part of a team rather than an individual. If Axelrod’s approach to writing a character exposé throughout the entire miniseries, this run will be known for refocusing the narrative on who Kendra is and what she deals with on a day-to-day basis, rather than some of the past wild adventures that have become synonymous with Hawkgirl. I can see it being a divisive approach to the character, especially due to the rarity of her own solo titles, but it feels like a much needed moment of reflection given the troublesome events Hawkgirl has had to endure throughout her comic book history. The art by Nahuelpan, paired with colors by Adriano Lucas and lettering by Hassan Otsmane-Elhaou, had a classic comic book feel to it, with a nice balance of character details, fleshed out backgrounds, and distinct breaks between scenes. Nahuelpan’s designs for Kendra outside of the Hawkgirl costume create an image of a physical specimen that appears second to none. Otsmane-Elhaou’s lettering muscles are on full display throughout the book as we are brought through multiple story arcs, watch an alien invasion unfold via sound effects, and are introduced to various characters with their own dialogue boxes. Lucas gets to play with some interesting color choices with the mainstream debut of Galaxy, a character that is “made of stars” and comes from Axelrod’s previous graphic novel, GALAXY: THE PRETTIEST STAR. This was an impressive debut that didn’t try to overcompensate or placate. It was direct in what it wants to do and has the makings of being a generational re-introduction of a character who will be visible in the new DC film universe in the near future. Rating: 7.5/10

Written by the Eisner award-winning Tom King and brought to life by the captivating artwork of Bilquis Evely and Matheus Lopes, Helen of Wyndhorn #1 is a captivating debut entry into a world brimming with possibilities. King, a master at nuanced character studies, weaves a story unlike any other. We follow Helen Cole, a woman rebelling after her father's suicide, and Lilith Appleton, her stoic but caring governess. After arriving at her family’s sprawling Wyndhorn House, Helen unleashes a torrent of emotions, only to discover the mansion holds a lifetime of secrets waiting to be unearthed. The first issue masterfully sets the stage for a grand fantasy adventure that blur the lines between reality and the fantastical tales penned by Helen’s late father. King excels at crafting strong female characters (look no further than his current run on Wonder Woman), and this book is no exception. Helen is a compelling protagonist, flawed but entirely relatable and endearing as she tries to understand her place in the world. Perhaps even more fascinating is Lilith, who also plays the role of narrator as the majority of the story takes place via flashbacks. Her present-day attitude appears to have shifted from what we see of her as she first meets Helen and I’m very interested to see her further development. These two characters play off each other so well and King writes some amazing dialogue between the two. Bilquis Evely's art is a perfect match for King's fantastical script. Her character designs are exquisite, capturing the essence of the early 20th century setting while hinting at the magic that lurks beneath the surface. Evely's figures are expressive and detailed, drawing the reader into the emotional journey of the characters. The true magic, however, lies in the collaboration with colorist Matheus Lopes. Lopes' palette adds depth and nuance to Evely's artwork. Helen of Wyndhorn #1 is a masterclass in world-building and character introduction. As a huge fan of King and Evely's phenomenal Supergirl: Woman of Tomorrow, I’m incredibly excited for what comes next in this new series.

This debut issue throws you headfirst into a post-apocalyptic world that’s equal parts Mad Max meets Dodgeball. Josie Campbell crafts a society ravaged by water scarcity where the only real entertainment comes from a sport called Screaming Pain Ball (think gladiatorial lacrosse). We meet Trini, a teenage orphan w/ a fierce determination to play the game professionally w/ Skull-Crusher, a legendary female SPB player & her hero/crush. Campbell’s script crackles w/ energy throughout the book. One moment you’ll be laughing out loud at Trini’s inner (& outer) monologue, the next you’ll be crying at how much paid she carries on her shoulders. Campbell sneakily packs a ton of moments of genuine emotion, making you instantly invested in Trini & her journey. Enhancing the script is the phenomenal art team. Alessio Zonno’s designs pops are dynamic, with a manga-inspired style that perfectly captures the energy of Campbell’s script. Every panel thrums with life, accentuated by Angel De Santiago’s vibrant colors. Together, they create a visually stunning world that’s both beautiful and brutal. I HEART SKULL-CRUSHER #1 is a knockout. It’s a perfect blend of action, humor, & surprising emotional depth. By the end of the issue I was cheering for Trini, and I’m eager to see what comes next in the Screaming Pain Ball arena!

The next immortal retelling of another Marvel legend by Al Ewing is finally here. Ewing is joined by Martin Cóccolo on art, Matt Wilson on colors, and who else but Alex Ross on main cover art duties for this week’s IMMORTAL HULK #1. The final handful of issues from the previous Thor series went out with a whimper after a last minute creative team swap due to unfortunate events completely out of anyone’s control so it was refreshing to see much needed stability brought on for the God of Thunder. There are few creators who can elevate such popular characters to even grander heights the way Ewing can and his abilities are on full display in this debut issue which gives it’s titular hero the gravitas he’s sorely missed. The story picks up with Thor in the improved mental state in his role as the new All-Father that Ewing first introduced in the backup story from THOR ANNUAL 2023 #1. Thanks to Ewing’s script, Cóccolo’s drawings and Matthew Wilson’s colors, the first scenes offer an immediate sense of epicness that continues throughout the entire book. Thor gets an early “hero” moment where he deals with a group of Frost Giants threatening Asgard. I appreciated Ewing’s dialogue between Thor and Loki, whose appearance leaves more questions than answers. The brothers have a colorful past, but Ewing’s script highlights the mutual respect the two have formed over the years even when they don’t have the same goals in mind. Loki uses a new form of magic he’s acquired to repair the Bifrost, which likely serves as a way to get the bridge fixed early on in the series and set up a future plot point for the tricker that Ewing will explore. Martin’s colors on the pages featuring the Bifrost are simply stunning. With the bridge repaired, Thor travels to Midgard where he gets to experience a separate life in his mother’s realm. Ewing writes a really wonderful juxtaposition between his role as All Father on Asgard and as Avenger on Earth. We get to see what brings him joy, as well as understand what causes him angst, in both realms. It’s on Midgard where Thor’s peace is interrupted by Toranos, the first major threat Thor will face in this new series. Cóccolo and Martin’s art serves as a truly jaw-dropping introduction to the villain in an awesome two-page spread. The book’s ending teases who’s behind Toranos’ attack on Thor in Midgard and indicates things aren’t going to get any easier for Thor in the near future. IMMORTAL THOR #1 is the work of creators at the top of their game. While light on action, the issue pays respect to the decades of Thor mythos that laid the foundation for the characters and worlds we’ll explore and instantly establishes a palpable level of grandeur. We’re only one issue in yet this already has the makings of an instant classic equal to Ewing’s IMMORTAL HULK. Rating: 10/10

Al Ewing’s series continues to transform Thor back to his roots. The God of Thunder’s inner thoughts come to life within thought bubbles that are a major callback to his initial days at Marvel. Throughout his battle with Toranos, these thoughts teach us how much he must pay, physically and mentally, to wield his vast power and strength. It’s an extremely vulnerable look at the new All-Father and makes for a great look into his psyche. At the end of the book, we also get a touching scene between Thor and Loki that is likely to be further explored in the issues to come. Martin Coccolo’s art remains impeccable and Matthew Wilson’s colors provide a heavenly compliment to the designs.

Al Ewing continues his masterful take on the God of Thunder. Ewing has not only managed to create a classic Thor character for today’s comic world, but his writing for Loki is one of the most nuanced and subtle presentations of the character in a long time. The relationship between the characters is complex and empathetic, which offers readers an exciting and complex dynamic to see evolving before our eyes. While some may see this as a “filler” issue far too early in Ewing’s run, I have no doubt this type of character work will payoff down the road in the capable hands of the best comic writers today. Martín Cóccolo’s art continues to be one of the most visually pleasing experiences around, with each issue blending a sense of nostalgia and contemporary techniques.

Al Ewing and Martin Coccolo deliver a thunderous finale to the series’ first arc with a pulse-pounding showdown that throws Thor and the reimagined Thor Corps against Toranos, a threat that could crack the very fabric of reality. Coccolo's art is the standout in the issue, flourishing in the action sequences, capturing the chaotic beauty of godly warfare with vivid colors and dynamic panel layouts. Each member of the Thor Corps looks elegantly powerful and he continues to depict Toranos as a truly existential threat fit for the Gods. His art has blown my mind multiple times in this still young series and he blew it even further here. Ewing’s story is a triumphant conclusion to an epic arc. It's a comic that delivers big on action, character development, and philosophical depth.

In terms of pure technical excellence, you're not going to fine a better made book than what @al_ewing & @martincoccolo have put out issue after issue so far in this series. IMMORTAL THOR #7 is another visually stunning and well-written issue, yet the narrative feels like we're in a holding/waiting pattern. Giving readers a chance to catch their breath after the epic opening Toranos arc is understandable & forgivable, especially with a potential clash with an alternate universe Odin looming large on the final page. Those who are deeply invested in a sustained, ongoing storyline might find this and the previous issues' deliberate pacing frustrating, but those who appreciate strong character work, stunning visuals, and the groundwork being laid ahead of future excitement, this issue is still a worthwhile read.

Pieces are starting to fall into place and we got a giant-size cliffhanger that literally had me gasping. The mystery of how Charles defeated Shaw & Selene’s previous attack on Krakoa became even more mysterious and the final page leaves a lot of questions to be answered about what’s really been happening on Krakoa. The desert plot featuring Exodus, Hope, and Destiny felt rushed with so much happening at once and Mother Righteous has become such a focal point that it feels like we’ve lost some of what made this storyline so interesting. Between the weird island happenings (not to mention Xavier ending up in a bunker) and the reveal that the desert group may be stuck in purgatory in the White Hot Room, the issue gave me Lost vibes in the best possible way.

Each issue of Immortal X-Men since this year’s Hellfire Gala has felt a lot like an episode of Game of Thrones. There are so many different stories included, individual issues/episodes aren’t able to always do each one justice. For this issue, the Exodus, Hope, Jean, & Apocalypse scenes and the Mother Righteous vs. Destiny scenes were the weakest ones for me for different reasons. The Exodus/Hope/Jean/Apocalypse story felt too rushed and was weighed down by a head-scratching narrative decision. Fans who didn’t read the Jean Grey miniseries are likely missing out on a lot of context around Jean’s current mental state which Kieron Gillen shows us, without much background, in this latest issue of Immortal X-Men. That miniseries helps this issue’s narration make a lot more sense, though I was still left questioning Gillen’s decision to leave so much room for ambiguity and confusion if someone reading this issue hadn’t invested in that miniseries — it’s practically gibberish on it’s own. Mother Righteous began as a caricature villain and has only gotten worse. Here scenes are painful to read due to how shallow her character remains this long after being introduced. Her arrival to this series has been one of the worst parts of the current arc. On the other hand, I really enjoyed the interactions between Xavier and the remnants of Mr. Sinister left within his psyche. It was a very tense and meaningful conversation between the two former Quiet Council members, with ample moments of one-upmanship which were very well done. It took one of the worst moment in mutant history to bring it out, but I love the new mentality Charles has adopted in his current state. It’ll be very interesting to see how he fits into Krakoa’s final days and I wouldn’t be shocked if we end up seeing him make a very meaningful sacrifice before things wrap up. Juan José Ryp handled a lot of X-Title art this week and I can’t say it landed well in this issue. It’s too bright and modern, making it unable to convey the necessary emotion needed to help land some of the heaviest moments of the issue. There were also some inconsistencies from panel to panel that took me out of the moment.

This final issue is a mixed bag. While it delivers on the Krakoa mystery front, it struggles to find balance between the larger narrative as it reaches its conclusion and the increasingly overbearing presence of Mother Righteous (if her presence could somehow get any worse). Her constant need for self-righteous commentary wore thing months ago and her presence in this issue disrupts Gillen’s narrative flow as we go between the more intriguing storyline following Xavier and Mister Sinister’s presence into grandstanding exposition from Mother Righteous. The twist at the end is promising, though it feels like it should have come much earlier and replaced some of the meandering plots our various main characters were caught up in.

Al Ewing’s incredible run on Immortal Hulk feels longer and longer ago with each passing day. After an unsuccessful attempt to relaunch an ongoing title featuring the character with the Donny Cates & Ryan Ottley-led Hulk series, Marvel is back at it again and digging up an iconic moniker to try and set things right. Enter The Incredible Hulk #1 from Phillip Kennedy Johnson & Nic Klein, which released today. The issue begins with a team of raiders looking to steal treasures from a tomb in Iraq. Unbeknownst to them, they awaken a family of ancient evil beings who appear to be the first main adversaries that we’ll be seeing in the series. — they’re back from the dead to wreck havoc now that the Green Door has been closed. This scene sets the horror tone that will come to permeate the book, and hopefully the series. We then see a disheveled Bruce at a diner looking for a quick meal so that he can get away. It’s revealed that he’s fighting Hulk from reappearing and trying to keep his distance from everyone else to keep them safe. Things don’t end well for Bruce or the diner as he wakes up from being unconscious to find the Hulk has destroyed the building. The rest of the book plays out as both the FBI & the ancient entities try to hunt down Hulk. The FBI to contain Hulk from causing more damage, and the ancient entities so that they can use him for their own nefarious purposes — to serve their “Mother of Horrors” and bring in the Age of Monsters! I recently re-read the ‘Planet Hulk’ & ‘World War Hulk’ storylines so I was feeling a sense of nostalgia in anticipation of this new series. Perhaps that’s why I loved the Klein’s artistic approach in this issue. There is an uneven, chaotic presence to his lines that perfectly match the mindset we initially find Bruce Banner in and the mindset we later see Hulk in. It’s definitely not rainbows and butterflies for our main character. Klein’s approach is also a perfect match for the horror genre of this issue. There is one glory-shot of the Hulk after he emerges that may be one of the best, and scariest, of the Green Goliath in recent memory. The entire book’s colors by Matthew Wilson are just dark and brooding enough to keep it from feeling claustrophobic or washed out. Overall, I really enjoyed the horror in this issue but I’m not sure I loved it as a Hulk issue. The inner conflict between Bruce & Hulk is overdone and nothing Johnson wrote for those scenes gave us a new perspective on the trope. I found myself more invested in this new group of evil ancient beings and wanting to know more about who they were and who they serve. We could have had Marvel character X as their foil and I would have still enjoyed their story.

Phillip Kennedy Johnson and Nic Klein are winning me over big time. I didn’t love the debut issue of this new series, but INCREDIBLE HULK #2 is showing that the creative team is leaning HARD into the horror theme and they are pulling it off wonderfully. It’s ironic that this series debuted during DC’s Knight Terrors story and is eating that event’s lunch when it comes to nailing classic horror tropes. I need to call out Nic Klein’s art because it is the standout element of the first two issues. Every page so far in this series so far has oozed with personality and for a comic that heavily utilizes black borders and gutters, nothing feels cramped or stuffy. Readers enter a dream sequence towards the middle of the book where Klein takes over art and color duties to create a haunting, watercolor-esque nightmare environment. Klein also nails the other horror elements throughout the book, including a bone-chilling scene where the undead are holding a demonic religious ceremony inside an abandoned church. To cap it off, Klein includes a full-page visual treat of a monstrous Hulk in all his raging glory to close out the issue. Matthew Wilson matches all of these designs with a color palette that perfectly captures the mood of the story and emphasizes Klein’s art. INCREDIBLE HULK may go down as one of the best visual books of 2023 and it’s all due to amazing work of this creative team — including Cory Petit’s top-notch lettering skills! None of this is to say that Johnson’s writing or story are lacking. Johnson’s choice of a cultish religion set deep in a forgotten part of America as the gateway to the big bad that awaits Hulk down the line plays into some of my own worst fears. Throughout the issue, Johnson uses hymnal lyrics to build tension along with plot development and it’s a wonderfully eerie way to keep readers uncomfortable with what’s happening. The friction between Bruce and Hulk continues to deepen via Johnson’s tactful character development and Charlie is given some needed complexity as she pushes Banner to let Hulk loose. Horror is a genre where careful pacing and incremental plot reveals are necessary to effectively convey the intended emotions and INCREDIBLE HULK #2 does a great job at balancing it all. There has yet to be a ton of action but it feels like when we do, the payoff will be earned. For now, it’s best to sit back and enjoy (if you’re not too spooked) this unearthly thrill ride from creators at the top of their game. Rating: 9/10

The first two issues of Phillip Kennedy Johnson and Nic Klein’s Incredible Hulk series have been light on Hulk smashes while they build a dark and twisted world of horror. However, that all changes in this week’s INCREDIBLE HULK #3 when we finally get a glimpse of the threats lurking for Bruce and the Hulk in this new Age of Monsters. Things kick into another gear as soon as the issue begins with Hulk fending off a horde of the undead and then falling into a fiery hole to save Charlie, where they both come face to face with the monstrosity that is Brother Deep. Klein’s art has been nothing short of epic so far on this series and it’s on full display during the high octane action scenes that make up a large portion of the issue. From a film-strip style scene of Hulk repeatedly stabbing his victim to Brother Deep erupting from underground, Klein’s layouts, designs, and sound effects carry this book from start to finish. We also get more glory shots of Klein’s version of a brooding, imposing Hulk whose tenacity and ferocity now matches the visual interpretation already established. Matthew Wilson’s colors and Cory Petit’s lettering also continue to standout in this issue and round out the all-star artistic team on this series. What a coup for Marvel to have all of these talents together on the same book. As mentioned already, the long-term narrative takes a break here as the issue is dedicated to showcasing Hulk’s strength and the horrors he faces, but there are still moments of world-building and character development that show what type of story Johnson is looking to craft. The relationship forming between Hulk and Charlie continues to fascinate me as it’s creating an interesting juxtaposition between Hulk’s rough and rigid demeanor with the ability to show compassion for others. It’s clear that Hulk and Banner are two different people, yet it seems elements of Banner are seeping into Hulk’s personality. INCREDIBLE HULK #3 has the elements of a more traditional issue of Hulk comics with the level of action, but it all feels completely fresh thanks to the distinct tone the creative team has established for this series. It also continues to be a visual delight that seems to set a new bar each issue. Rating: 8/10

This is the conclusion to the two-issue arc following Hulk’s run-in with Man-Thing as he’s pulled into the Nexus of All Realities and learns more about the dangers awaiting him. Phillip Kennedy Johnson gives us a lot of Hulk-character development that’s a nice contract to Bruce’s development that we got previously in the series and presents a much more complex psychological state of affairs between the two personalities. Johnson is really swinging for the fences in his deep introspection of two characters who share the same body and through five issues, he’s hit home runs every time. The new dilemma that becomes apparent in this issue is the revelation that the Eldest can permanently separate Bruce from Hulk, freeing Bruce to live his own life once and for all. I honestly don’t know what will happen next, but I trust that Johnson has a lot more planned up his sleeve and he’ll tell it all in a compelling fashion — whichis one of the most refreshing feelings to have as a fan. Travel Foreman’s guest artist spot for these past two issues has also been a nice change of pace from Nic Klein’s work, without feeling like a complete pivot, though I’m excited to have Klein back on main art duties going forward.

Nic Klein is back on art after a two-issue break and it was like reconnecting with an old friend after some time apart. He wasn’t gone long, but Klein’s designs have been as much of a reason why this series has been so successful as Phillip Kennedy Johnson’s story. In his return issue, we’re treated to a two-page montage where Bruce transforms into Hulk that is one of the wildest, most gruesome interpretations of the transition that I have ever seen and it worked brilliantly. It is exactly the reason why Klein has been a revelation on this book. It appears we’re getting a detour from the Eldest’s story in this mini arc featuring a new Spirit of Vengeance, but I trust Johnson to get us back on track in short order.

This was an immensely fun and action-packed read that continues to showcase Phillip Kennedy Johnson’s exciting new take on the Hulk. At this point the lingering Bruce vs. Hulk drama feels like overkill as it hasn’t yet been dealt with in any meaningful way but the sheer awesomeness that is delivered throughout every single action panel makes up for that in spades. Nic Klein deserves an Eisner for his work on this series and it will be a darn shame if he isn’t even nominated. His approach fits the darker, horror tones of Johnson’s story perfectly and he has made the Hulk look as intimidating and scary as anyone in recent memory. I can’t forget to also note Matthew Wilson’s amazing color work here as well as the artistic duo make this a must read series for the visuals alone. I love everything about this series and am both excited and terrified to find out what comes next after this issue’s final few pages!

This issue was the first major bump in PKJ’s run on Hulk. The story itself was a mixed bag and the New Orleans setting seemed like a great fit for the Southern American gothic type horror that has come to define the book. But, the Bruce/Hulk part felt too redundant to similar scenes we’ve seen in the book already and Danny Earls’ art couldn’t live up to the amazing work we’re accustomed to from Nic Klein. I couldn’t help but think about how this would have all looked if Klein were at the helm.

The more Marvel has revealed about the wedding between Tony and Emma, the more I’ve come around to it. Gerry Duggan completely leans into the sham that their nuptials are in this issue, with the two ending up in Las Vegas of all place to exchange vows. One of the better bait and switches Marvel has pulled on readers after initially teasing this as a monumental event. Aside from that, this issue’s plot didn’t exactly pass the smell test. Feilong showing up to their shotgun Vegas wedding as some sort of power move? I didn’t buy it. Sure he’s presented multiple examples of toxic masculinity to humiliate Tony, but he’s always done so in an extremely calculated and planned out way. I also don’t recall Emma every previously owning a necklace made of Mysterium. Yet she mysteriously has one when it ends up being the key to Tony’s next plan? Sure. If this ends up being a key cog in the plot that takes down Orchis, it will be frustrating that such a critical step happened outside an X-title even if it’s part of the Fall of X narrative.

To cap off their sham nuptials, Tony and Emma embark on a sham honeymoon as a farce to hide the next phase of their plans to take down Orchis. Compared to Astonishing Iceman, Gerry Duggan’s run on this series shows how you can land one-liners while building a narrative and advancing a plot beyond individual issues. I’ve loved how Duggan has written Tony and Emma’s “will-they” or “won’t-they” chemistry because it all feels completely natural now that we know their true intentions. I also appreciate that Duggan hasn’t tried to make Tony into some stalwart, mutant defender, which wouldn’t come across as a role he’d assume. Instead, Duggan’s kept Tony’s intentions squarely on his own personal vendetta against Orchis/Feilong, making the payoff of Tony seemingly getting the upper hand again by the end of the issue all the more satisfying.

Tony Stark’s plans are finally starting to come together and the inclusion of Riri Williams in this issue was a great way to add some additional complexity to the former billionaire. They have such a great chemistry together and Duggan does an amazing job showing how Riri’s presence can humanize Tony and allow him to re-focus his plans on why they are so important. The Riri vs. Emma showdown was also so fun to read and Ig Guara’s art really shined throughout those panels. It’s not a true X-Men title, but this has been such a major part of the Fall of X arc and honestly, one of the more consistently interesting ones outside the core 3 (X-Men, X-Men Red, Immortal X-Men).

This week serves primarily as a transitional issue, moving characters into position for the brewing war against Orchis. While not the most action-packed installment, it's a necessary step in building tension and raising the stakes for the conflict ahead even if it feels a bit like a let-down given how many times its felt like each recent issue was setting up a major confrontation. The appearance of Forge was a legitimate surprise and I’m interested to see how he, Tony, Emma and Ironheart work together moving forward.

Oh shoot…are Tony and Emma actually becoming a thing?!?! Things got spicy and it didn’t feel contrived. I’ve loved these two together as one of Marvel’s premiere power couples and I wouldn’t hate seeing them together after Krakoa ends. These two actually only have a small role in this issue, with the majority of it focused on Ironheart and Forge looking the mission to build Tony’s new ships. I was shocked at how much I liked this pairing, especially during the character moments when Forge played more of a mentor role and helped Riri work through her relationship with the Ten Rings. Duggan moves the story along at breakneck speed to the point where it felt like someone pressed the fast forward button and we just jumped past things. For a series where it took multiple issues to tell the story of Tony & Emma’s relationship, we somehow get an entire fleet of spaceships built in the span on a few panels. Whatever Tony is planning is likely to have a major impact on the downfall of Orchis after its been mentioned in more than one of this week’s titles (the Firestar/Nimrod convo also occurs in X-Men #30). I’m looking forward to seeing this all play out.

The issue leans into its campy sensibilities, embracing the over-the-top situations & far-fetched ideas that have become a staple for Iron Man's involvement in the Fall of X. It's complete absurdity at this point and you know what? I'm enjoying it! The (what I hope is) self-aware humor is a breath of fresh air, and nice counter to some of the other current X-titles that are trying to bog us down with nonsensical sci-fi plots. The final reveal of what Ironheart built for Tony made me audibly laugh out loud. It reminded me of the "Avengers: Tech-On" miniseries from a couple years ago. You can tell how much Duggan enjoys writing for Tony, yet Emma feels like any female mutant he's writing these days. Where Emma really stood out in this issue was her transformation into Diamond form thanks to Creees Lee, Walden Wong, and Bryan Valenza. This issue might not be for everyone, but for those seeking a comic that prioritizes pure entertainment value, it delivers in spades. If Fall of X is going to limp over the finish line, we might as well have some fun doing it.

I just don’t get what Marvel is doing with Mary Jane’s new “powers” and Jackpot persona. They are literally the embodiment of a deus ex machina plot device that allows writers the ability to pull things out of thin air. Even aside from the randomness of her powers, how/where/when did MJ become trained in hand-to-hand combat or superhero agility?? There are a few scenes where she doesn’t use her powers but still manages to perform some Spider-Man ask moves that a normal person would never be able to do. For being a Gang War tie-in, there is hardly any connective thread aside from MJ’s battle with Francine Frye’s Electro. It doesn’t even make sense how these two come to blows. This felt like Marvel’s attempt to remind us that MJ now has powers ahead of her upcoming series with Felicia/Hardy Black Cat. Given how this played out, I have no interest in continuing to follow along on her adventures until Marvel can explain her powers more and shows us there’s a deeper reason for it all.

Overshadowed by last month’s debut of Si Spurrier’s The Flash #1 featuring Wally West, Jeremy Adams’ new miniseries about JSA member Jay Garrick offered a far more straightforward and accessible story than Spurrier’s. Which isn’t a shock given how successful Adams’ previous run on Wally’s story was. He feels right at home on Flash-centered arcs and it’s apparently true in what turns out to be a heart-warming Garrick family affair. Diego Olortegui’s art wonderfully translates the element of speed on static pages, even if it’s nothing revolutionary. Sometimes you don’t need to reinvent the wheel to make something look magical. This has all the makings of being one of those miniseries that gives a concurrent ongoing series a run for it’s money.

Legendary Marvel scribe Louise Simonson returns to the X-Men with JEAN GREY #1 to retell moments of the titular character’s life as she deals with her own death during this year’s Hellfire Gala. Simonson is joined on the issue by illustrator Bernard Chang, colorist Marcelo Maiolo, and letterer Ariana Maher. The issue plays out like an entry in Marvel’s “What If…?” franchise as we see what might have happened if Jean leaned into her powers more at a younger age and took a more “proactive” approach to using her telepathic powers to influence humanity’s views towards mutants. This relatively low-stakes affair gives Simonson space to write an interesting self-reflection from Jean’s POV that covers several decade’s worth of key X-Men events that have shaped her world view. A beautiful two-page spread by Chang and Maiolo showcases moments from Jean’s life as she tries to pinpoint a moment in time where should could have done something differently to avoid the Orchis attack. She selects the moment when she and the original X-Men team arrive back to their timeline after the events of the Extermination story. Simonson revisits the ethical dilemma of memory wiping that occurred during this event, which sets the tone for the rest of the book. Chang and Maiolo’s art does a good job paying homage to the original moments that are referenced throughout the book with minor updates made to keep the book fresh. I really liked the design for the X-Men outfits that the team dons about halfway through the book. Even though I enjoyed this as a standalone story, it was hard for me to take it too seriously as I don’t know how much this series will impact Fall of X’s end game. The first page teases that whatever Jean discovers in her memory could help her fix “everything,” but I find it hard to believe that the plot point that defeats Orchis stems from a miniseries that’s basically Jean Grey’s greatest hits. As long as it stays a bit removed and Simonson continues to showcase what made her a Marvel legend, I’ll happily enjoy this trip down memory lane. Rating: 6.5/10

John Constantine, the chain-smoking cynic of the occult, swaps London fog for Florida sunshine (albiet with an iconic double decker bus as his ride of choice) in the debut issue to Si Spurrier’s follow-up to his previous Hellblazer limited series. This first issue sets the stage for a road trip into the dark crevices of the American dream, promising equal parts magic, mayhem, and existential angst. Spurrier captures Constantine's sardonic voice perfectly, lacing witty one-liners with a healthy dose of jaded world-weariness. He deftly weaves the American landscape into the narrative, using its vastness and contradictions as a backdrop for Constantine's internal struggles. This gritty depiction of the darker aspects of the American experience are visualized perfectly by Jamal Campbell's designs and Jordie Bellaire's color palette.

I had really high hopes that this would be a fun, mindless, action-packed romp on the scale of a Michael Bay summer blockbuster but color me disappointed. This was a poorly-paced introduction to what was billed as the must-see event of the year. Other than some fun moments between Flash and Green Lantern, nearly every character was written shallower than a puddle. After the debut issue, the Legendary Monsterverse duo of Godzilla and Kong are periphery characters at best. You could replace them with any larger dinosaur/gorilla and it wouldn’t have changed a thing about this book. The Legion of Doom gets the bulk of the attention as it’s their half-assed plan that causes events to unfold. It could be worthwhile if the LoD were written as anything beyond incompetent nincompoops.

A little kid striking out in a tee ball game. A basketball player laying a bring on a breakaway dunk. A DC comic book involving the Justice League, Godzilla, and King Kong. What do all three of thees have in common? Completely screwing up what seems to be the easiest thing possible. A comic book about superheroes and a giant lizard and ape should have been non-stop action with insane displays of power and strength. Yet we get SO MUCH talking, very littler monster fighting, and at this point I had to remind myself if we’ve even seen King Kong yet after two issues. The plot thread involving the LoD being responsible for time/multiverse traveling is too convoluted to make any sense and takes away from what should be epic battles between Earth’s defenders and mutant animals. The art of the issue makes up for some of the writing’s imperfections but Godzilla felt stationary the entire issue. It looked like he was in the same exact location in all his panels. Is he not moving around? Is he not destroying buildings left and right? The inconsistency took me out of the moment and what little I was invested in this story. This really needs to pick up soon before it becomes a complete miss. It’s a travesty for this title to be so boring.

Michael Bay would be so proud of this issue. It’s set piece, after set piece, after set piece. And somehow Supergirl is in every scene spread out across multiple locations? She must travel the same way everyone in Westeros did during Game of Throne’s final two seasons. At it's core, this event is really just an excuse to see Justice League vs. Legendary’s Monster-Verse battle it out. The title (nearly) says it all. There’s still no real plot movement happening (unless you count the very last page), which this type of story doesn’t really need to do if the rest of the issues are as action-packed as this one. Though it would be nice to tie up some of the lingering plot threads introduced in the first issue.

Kneel Before Zod takes a bold step away from Superman's perspective, placing us squarely in the boots of the Kryptonian villain himself. Having conquered a new planet and established his own twisted utopia, we see General Zod grapple with the burden of rule, facing threats both external and internal. Joe Casey crafts a nuanced portrayal of Zod, showcasing his ruthless ambition, simmering rage, and unexpected moments of vulnerability especially with his own inter-family dynamics. Dan McDaid's artwork is truly magnificent. He brings Zod's world to life with a blend of gritty realism and alien grandeur. The detailed landscapes, imposing architecture, and expressive character faces all contribute to a truly immersive experience. The action sequences are particularly dynamic and brutal, capturing the savage ferocity of Zod's rule. This issues makes it clear that a standalone Zod story offers a galaxy’s worth of potential and Casey’s initial script is an encouraging sign that we’re in for a great character story.

After last week’s prelude KNIGHT TERRORS FIRST BLOOD #1, KNIGHT TERRORS #1 hits shelves this week as the official kickoff to the event’s main miniseries. Publishers love to create special beginning and finale issues of their events to artificially inflate the amount of #1s they can claim and promote and that was evident here. That was the case here, as there was no reason that KNIGHT TERRORS #1 couldn’t have been an oversized debut issue combining these two stories as they felt like one story cut in half. Joshua Williamson continues writing the story he established in FIRST BLOOD and is now joined by Giuseppe Camuncoli, Stefano Nesi, and Caspar Wijngaard on art. After an initial monolouge from Deadman that provides an interesting character backstory, the issue picks up nearly immediately where FIRST BLOOD ended. Deadman has taken over the sleeping body of Batman (who is locked in his own nightmare fighting Insomnia’s control in the KNIGHT TERRORS BATMAN tie-in) and spends the vasty majority of the issue locked in battle with Insomnia and his nightmarish zombies. We also get some additional backstory on how Insomnia came to powers when Deadmen enters his mind in hopes of learning his weaknesses. Insomnia regains control of himself and expels Deadmen from his mind, who then escapes the scene to seek help. The story ends with a shocking reveal — the return of a DC character who readers haven’t seen in quite some time! My favorite parts of this issue were Deadman’s opening monologue and the time he spent exploring Deadman’s mind. They offered some much need character-focused storytelling that FIRST BLOOD and a few of last week’s tie-ins severely lacked. I’m really liking Williamson’s use of Deadman as the event’s narrator and wondering if this event would have been a more interesting Deadman limited series. Unlike many DC characters who often serve as the narrator for a major cross-over events, Deadman hasn’t been oversaturated recently. While it may seem like an easy escape to use an already dead character as a means of avoiding the explanation of why an alive hero didn’t all under Insomnia’s control, Deadman has served as a unique perspective on what’s happening to the entire Earth. It was also quite interesting to see how Williamson weaved in past DC events to provide backstory for Insomnia, giving him a stronger connection to the DC universe. In addition to this character development, Deadman’s time spent inside Insomnia’s memories helped shed more light on the Nightmare stone’s potential location. I much preferred Williamson’s dramatic writings in both of these scenes to the somewhat comedic direction he took during the main confrontation between Deadman and Insomnia, which also permeated much of FIRST BLOOD. It resembles light-hearted hero vs. villain banter you’d find in superhero comics from the ‘90s and ‘00s which feels off considering the traditional horror environment the event is trying to build. KNIGHT TERRORS THE JOKER showed that dark humor can be used effectively and is a much better complement to the horror theme. Not to keep highlighting the same two scenes, but the Deadman monologue & his time inside Insomnia’s mind were also visually superior to the main story’s artwork. The distinctive styles used for each scene perfectly matched their respective tones — most notably a sketch-like approach to line-work and muted colors were brilliantly used during Deadman’s intro set in an abandoned circus. Overall, envisioning KNIGHT TERRORS #1 as the missing second half to FIRST BLOOD makes me a tad more interested in the event’s major tension between Deadman and Insomnia. The cliffhanger ending also got me excited for the next issue and where the full story may be headed. Unfortunately, the issue did nothing to make me more interested in the event’s tie-ins and while that’s not necessarily it’s job, it makes one wonder if they included so many potentially inconsequential stories just for sales. Rating: 7/10

KNIGHT TERRORS #2 is out which means we’re finally back to the main event story two weeks after KNIGHT TERRORS #1 came out. I’ve been looking forward to getting back to this story as plot details have been few and far between in the tie-ins that have been released in-between these two issues. They’ve all left me anxious for a better understanding what’s happening to cause all these heroes to fall asleep. We’re now officially halfway through the event and I can’t say that I’m any closer to feeling like I have a clue. But I’m trying not to let my frustrations with the larger event cloud my judgment of this issue, so let’s dive in! I’m really enjoying Williamson’s work with Deadman. He’s given the character a quirky narration style that mixes moments of humor with someone who can snap into being a capable problem-solver. We also get some fun exchanges between Deadman (who is still possessing Batman’s body) and Sandman, and then Deadman (who is still possessing Batman’s body) and Red Tornado, that Williamson writes perfectly. He also introduces a few new elements to the story via flashbacks and dreams, including background on the Nightmare Stone, how Insomnia came to be interested in it, and why Insomnia has a vendetta against the Justice League. We also get an update on what’s happening to all the heroes outside the nightmares we’ve been seeing them in (hint: it’s not good news) and are introduced to a new threat in the real world — Insomnia’s Sleepless Knights. Keeping a reader grounded as they go through multiples scenes/timelines within the same issue can be hard, but the creative team did a wonderful job creating distinct visuals for each scene. It helps that KNIGHT TERRORS #2 had the creative trio of Giuseppe Camuncoli, Stefano Nesi, and Caspar Wijngaard on hand to craft these unique approaches. While I continue to love Wijngaard’s Deadman designs and would read an entire Deadman series with this style, the cartoonish medieval design during the flashback of Sandman’s previous case was particularly effective in capturing the nature of the story it was telling. While I enjoyed most of Williamson’s writing and the art was top-notch, the issue is severely held back by the weight of all the plot devices it uses to share new information. While each individual story was interesting, the issue could never settle on a steady pace because we were jumping around so much. I feel bad criticizing the construction of this issue, but I wish Williamson would have spent more time on the real world. He’s been asked to do a lot to keep this event together and it’s disheartening to realize the backstories in this issue are more interesting than the main event story DC is trying to tell. The publisher deserves blame for poor construction and execution of the event so far. The sum of the event’s parts haven’t provided a cohesive through-line to get invested in and it’s getting late. Rating: 6.5/10

Am I starting to enjoy KNIGHT TERRORS? I’m definitely not ready to say the entire event has been worthwhile, but Joshua Williamson’s main story is starting to win me over. I’ve been lukewarm so far, though the previous issue began to show promise that this core plot had potential. That goodwill extends to KNIGHT TERRORS #3 as Williamson finally reveals where the Nightmare Stone was hidden and sets up pieces on the board for the event’s climax. Deadman continues to shine as the breakout star of the event and much of that is due to Williamson’s use of the character as a wall-breaking narrator and unlikely (an undead) hero while DC’s other superheroes are under Insomnia’s spell. It’s apparent that Williamson is having a ton of fun writing for the character and it’s on full display in the dialogue he writes between Deadman and Damian Wayne. These two characters are forced to work together and we spend a lot of time with the two discussing relationships, life, and sacrifices. Williamson crafts a chemistry between the two that doesn’t resemble two best-friends, but a mutually beneficial partnership that includes moments of humor and sincerity. Williamson also provides some much needed character development for Insomnia, showing his evolution from a recovering mental health patient to the main bad guy of the event through a flashback scene we visit via Deadman’s mental connection that was established earlier in the event. It’s been a slow build up for a villain that has managed to effect the entire world, but I’m not sure it’s completely paid off yet. I’m still not sold on his vendetta against the Justice League. The artwork in KNIGHT TERRORS #3 comes from the same trio as the previous issue, Giuseppe Camuncoli, Stefano Nesi, and Caspar Wijngaard. Wijingaard also provides colors for the issue along with Frank Martin. These four creative talents are putting together some of the best visuals of the year. They continue to provide distinct approaches that allow Williamson to transition between timelines, worlds, and realities without the reader feeling lost. It doesn’t hurt that the visuals from strong to stunning. Scenes featuring Insomnia’s flashback and Deadman and Damian’s trip through the Reality Stream are unique takes on horror that fit the script perfectly. If the previous issues of the main event felt like they were taking an extended amount of time moving the plot forward, Williamson chose overdrive for this issue. Deadman makes a very personal decision that highlights his character’s growth and leads to him and Damian discovering the Nightmare Stone. Though an unexpected cliffhanger leaves readers wondering if characters are actually who they seem? It’s a great setup for the final issue of the main story and the full event’s conclusion in KNIGHT TERRORS: NIGHTS END #1. Rating: 8/10

Ok, maybe the exuberance I espoused in my review for the previous issue was premature. Joshua Williamson teased me into thinking things were about to get good and then put me through the 25-page whiplash of an issue that was KNIGHT TERRORS #4. So many different things happen in this final issue of the main “Knight Terrors” event (next week’s KNIGHT TERRORS: NIGHT’S END is the event’s epilogue) that it should have come with a warning that it could cause the reader to become disoriented. Let’s check off all the moments that happen here that clogged up the issue (**spoilers ahead**): Damian Wayne has one last mini-nightmare while walking up a flight of stairs Deadman gets tempted by former flings We find out why Insomnia hates the Justice League Insomnia sacrifices himself in a dream to claim the Nightmare Stone All the DC heroes wake up Batman and Damian realize the nightmares have invaded reality That’s SIX semi-major scenes that were crammed into the book. Do the math and that means none of these last for more than a couple pages making it insanely hard to get invested in any of them. By the time you realize what’s happening, you move on to another bit without looking back. The biggest disappointment in all of this was Insomnia’s rushed backstory and reasons for turning evil all of which bordered on inane. How did Insomnia go from angry fanboy to a villain worthy of his own event? Did Williamson forget he only hand four issues to tell his story? We may never know the answer to either question. Thankfully, the art by Giuseppe Camuncoli, Stefano Nesi, and Caspar Wijngaard continues to be the saving grace of this event’s main series for all the same reasons as I’ve discussed in my previous reviews. Deadman’s asides & flashback scenes standout perfectly and provide a nice contrast to everything else that’s happening on the pages. After this issue, I’m definitely itching to move on from this event and get back to each character’s individual series. The exciting new debuts on the horizon can’t come soon enough. Rating: 4/10

Halloween in July? With a story by Joshua Williamson and art by Howard Porter, Knight Terrors: First Blood #1 kicks off DC’s two-month, horror-themed, universe-spanning event. I’m not sure who had the idea to run this darker themed event in the middle of summer, so soon after Dawn of DC launched, but the horror-based tone likely would have been better suited for a fall release. Unless DC was making commentary on the state of the country with a July 4th release? I digress, back to this one-shot… Williamson’s story does a lot of stage-setting for the story arcs that will play out across the various tie-ins, which takes away from the overall pacing of this book. We spend time early on rehashing recent events in the DC Universe to catch readers up on the current status quo (e.g. the Justice League disbanding, Superman working with Lex Luthor, etc.). The initial table stakes for the event are laid bare with Dr. Destiny & his lost Dreamstone setting up the context for what will likely take all two-months to conclude. Deadman is introduced as a main voice & player, while the Trinity are unable to address the situation fast enough in the Halls of Justice. A lot of the initial interactions came off as forced, cringe-worthy humor, most notably Batman’s “No sleep till Gotham” line. The horror-motif shines through via Porter’s art. The line work creates an unhinged/unstable motif that fits the general tone of the story where our characters are meant to be succumbing to their worst nightmares. There are moments of true gore that are done in a way that I can only describe as beautiful. Suffice it to say that at least DC nailed the visuals for a horror story. I’m interested to see how the upcoming tie-ins kick off, as First Blood didn’t really do anything to introduce those individual stories. Other than each character dealing with their own nightmares, I’d bet good money that this one-shot will have more of a connection to the Knight Terrors main limited series which kicks off next week (July 11th), rather than the character-focused tie-ins. Which for me, takes something away from it all. Perhaps I’ll look back on this and think First Blood was a necessary prelude to the entire event, but I left this title thinking it was more of a mandatory pre-read so you know why DC is taking a pause on actual stories and pumping out a bunch of loosely-related tie-ins for the next two months. Rating: 6/10

Two for the price of one! A few of the event tie-ins have featured shorter back-up stories but KNIGHT TERRORS ACTION COMICS #1 includes two main stories which each get equal time to be told — the first focusing on Power Girl and the second focusing on a group of Super-Family members: Conner Kent, Natasha Steel, Kong Kenan, and the Super Twins. In a shocking twist for the event so far, both stories were entertaining & kept on theme! “She’s Got No Strings, Part One” featuring Power Girl Power Girl’s nightmare story is written by Leah Williams, with art by Vasco Gerogiev, colors by Alex Guimarães, and lettering by Becca Carey. Williams continues to show she is well suited writing for Paige/Power Girl long-term and I’m excited that she’ll have the opportunity to continue Paige’s story starting with POWER GIRL #1 this September. The nightmare itself takes Paige throughout different time periods of the character’s life that have caused her varying degrees of pain, fear, and anxiety. We get to see her exposed and vulnerable without ever becoming completely unable to attempt saving herself. Gerogiev and Guimarães do a tremendous job creating emotion via their art and colors that highlight Paiges emotional journey throughout each scene and allows the William’s writing to have that much more impact as it slowly morphs from a nightmare into true horror. Carey has a heavy left with a wide variety of sound effects happening throughout the story and masterfully brings them all to life in interesting and unique ways. Each sounds has it’s own style that helps add a layer of complexity to the story. “The Stuff of Nightmares, Part One” featuring Conner Kent, Natasha Steel, Kong Kenan, and the Super Twins Where Power Girl’s story gradually builds towards horror, “The Stuff of Nightmares, Part One” immediately puts the reader in the midst of a scene straight out of a scary movie as the members of the Super-Family stay up late to watch…a scary movie. See what I did there?? The story is written by Phillip Kennedy Johnson, with art by Mico Suayan and Fico Ossio, colors by Romulo Fajardo Jr., and lettering by Dave Sharpe. We pick up after events from ACTION COMICS #1056 with Osul-Ra asking Connor, Natasha, and Kong to spend the night due to their lingering fears due to Henshaw’s actions. The rest of the story plays out as an homage to 80s/90s-slasher flicks (think Nightmare on Elm Street meets Poltergeist), but Johnson writes it in a way that feels unique and perfectly fits within the Knight Terrors theme. What really sets the horror tone though is the collective artwork by Suayan and Fajardo Jr. throughout the story. Suayan’ linework creates a sense of intensity with heavy shadowing and Fajardo Jr.’s colors focus on darker tones with splashes of cooler colors for emphasis. The only area I thought was a bit off was Sharpe’s lettering. Some of the final, action-heavy panels felt cluttered and overly aggressive with a lot of text. Overall Reaction Both of these stories kept my interest the entire time which hasn’t been true for the majority of the Knight Terrors event, let alone tie-ins with more than one story. It’s always great to see non-Superman members of the Super-Family get character development and we get that in spades here. Williams and Johnson pen intriguing stories that leave readers wanting more and the every member of the artistic team understood their assignment. Rating: 9/10

KNIGHT TERRORS ANGEL BREAKER #1 is an interesting case. On one hand, I thought Tim Seeley’s story about a newer character to the DC universe was unique, well-written, and offered one of the more interesting connections to the main Knight Terrors event. On the other hand, the direction the story went in made it feel less like an event tie-in and more like a standalone story that existed outside the event altogether. I think I wanted more of this story? But I didn’t want it in the context of Knight Terrors. Seeley uses the first part of the book to catch readers up to speed on who Angel Breaker is (she was only recently introduced during the Shadow War storyline) and why she’s involved in this event. She enlists the help of a begrudging Raptor and the two head out on a heist mission at a Kobra facility in the middle of Ohio. After realizing the mission isn’t exactly what they envision, the tone of the book shifts into a more event-relevant horror theme when a being from Angel Breaker’s childhood nightmares uses Insomnia’s sleep spell to break free into the real world. One thing that I wasn’t sure about towards the end of the book is when some of these events were taking place. There’s a moment when everyone appears to be impacted by Insomnia’s curse, but then they are all back awake in short order. I’m hoping we found out in the next issue whether or not these characters weren’t fully impacted by Insomnia’s spell or if there was a time jump to after his curse is lifted. Complementing Seeley’s strong story were similarly strong visuals from the team of Acky Bright (art), Brian Reiber (colors), and Saida Temofonte (lettering). Bright creates a pleasant style that evokes the semblance of a well-crafted animated cartoon and is complemented well by Reiber’s bright color palette. While strong throughout the book, there is one page featuring a plane crash where Temofonte’s lettering skills are on full display. Angel Breaker isn’t a character I have much association or interest in, so I wasn’t expecting to be as excited for the second issue as I am now. I don’t know if that speaks to an untapped potential for the character or the result of a well-made book by the entire creative team. Perhaps best of all, it was different than any of the other event tie-ins and for that alone it stands out. Either way, I’m looking forward to seeing how this plays out. Rating: 7/10

Written by Joshua Williamson with art by Guillem March, this may have tied the Black Adam issue for my least favorite of the individual stories. The issue picks up right where FIRST BLOOD left off with Batman facing his worst nightmare and in a shock to absolutely no one, it’s reliving the death of his parents for the umpteenth time. It’s really hard to make this story feel unique and Williamson fails to deliver any new elements which makes this issue feel flat. The only new piece of information we get is that Batman seemingly realizes that he’s being trapped by Insomnia and is on a mission to wake himself up to save the day. There’s also a secondary story at the end of the book showing Damian Wayne on a quest to defeat sleep itself. Perhaps the younger Wayne will play a bigger role in the event’s main four-part KNIGHT TERRORS miniseries which kicks off next week?

I wasn’t shy in my dislike for the first half of this tie-in series and KNIGHT TERRORS BATMAN #2 did nothing to change my mind. We’re back in a familiar place, Batman confronting what happened in Crime Alley and what it did to chart his future path. We get a scene of Batman speaking to his younger self that offers a moment of emotion — centered around asking if his younger self would be proud of who he becomes — but that’s grasping at straws to look for a positive in an otherwise uninspired and unnecessary story. I don’t know if WIlliamson is spread too thin on this event, he’s also writing the main story and the Superman tie-in, but this Batman story has lacked a personality compared to some of the other tie-ins that have offered a new perspective for their main character. What’s worse is that as a tie-in to the larger event, this story ended up completely removed from the main plot other than having Insomnia involved and making reference to Deadman possessing Batman’s body. That’s acceptable for some of the tertiary characters who have Knight Terrors tie-ins, but Batman was heavily featured in the setup for the main story and it’s weird to have a marquee name so far from the central plot. Another questionable decision by Williamson his use of Deadman in this issue. If you’re not reading the full event, the way Batman talks about him and the visual representation of the character in this issue is going to make you think he’s either working with Insomnia or a separate big bad causing havoc across the DC universe. Neither of these are true by any means — Williamson’s best writing in this event so far has been his work turning Deadman into a lovable wannabe Justice League member who is doing what he can to stop Insomnia! Art by Guillem March and colors by Tomeu Morey do a standup job showing the strife happening in Batman’s nightmare. They’re asked to do a lot for this issue given the lack of compelling story. While there’s nothing that truly stuck out to me, the visuals did enough to keep me engaged throughout. There’s also a backup story from Williamson featuring Roy Harper/Arsenal and Black Canary that sets up event for the Knight Terrors finale, KNIGHTS END. It’s quite short and comes out of left field, but it’s a more concise and captivating narrative than the Batman one even if it’s not great on it’s own. This entire issue underscored my biggest complaint with Knights Terror so far — there is a severe lack of consistency/continuity between the main story and the tie-ins. Knowing that Williamson was writing this Batman story alongside the main arc, I expected it to be one of the standout tie-ins. That couldn’t be farther from how it all turned out and I can’t understand why. Rating: 4/10

In perhaps the most obvious sign that DC’s approach to these standalone stories was to push quantity over quality, Jeremy Haun’s KNIGHT TERRORS BLACK ADAM #1 was a completely forgettable and unnecessary read. Apparently Black Adam’s worst nightmare is losing his powers? Not very deep or complex if you ask me. The book is panel after panel of Black Adam fighting off random druid-like beings with little text to put things into context and a lackluster approach to artwork to help create any sense of world-building. Oh, Batman shows up at the end to try and get us interested for the next issue. Having to read that might be my nightmare.

Batman shows up in a Knight Terrors tie-in and guess what…much like his own tie-in’s conclusion, KNIGHT TERRORS: BLACK ADAM #2 is a clunky dud as well. Written and drawn by Jeremy Huan, the issue picks up with Black Adam confronting Batman, who turns out to be just the body of Batman possessed by Deadman. He explains that Black Adam is existing in an “in-between” world and he’s able to bleed through worlds. It’s an interesting concept that is quickly disregarded when Deadman is pulled away and doesn’t get brought up again the entire issue. Unless this gets explained in Knights End (the issue ends by saying it’ll be concluded in the finale), it’s a really puzzling plot device for Huan to introduce at this point in the story. Huan tries to build complexity and force an historically egotistical Black Adam to confront the visions of his loved ones being tortured but it never really pays off. He ends up being more worried about his inability to control his powers and the need to regain a sense of strength. I never got the sense his struggle was for the purpose of others, even if the dialogue was trying to convince me it was. Emotional vulnerability is hard to express in characters whose entire gimmick is invulnerability and Huan didn’t achieved it here. I was slightly more impressed with Huan’s artwork, though I wouldn’t go so far to say anything stood out for me. The heavy ink approach leads to some awkward facial expressions, but the depiction of Anubis sacrificing Black Adam’s was disturbingly intriguing. Troy Peteri has a lot to work with on lettering given the number of characters who receive special text bubbles and the frequency of sound effects used. For me, Peteri’s work is the highlight of the issue though the overabundance of Black Adam shouting “SHAZAM!” so frequently, dilutes the impact of seeing it on the page. As mentioned above, I’ll be interested to see how/if they try to tie this into the event’s finale. I don’t think this story can be saved or elevated for me, but if they don’t revisit the inclusion of Deadman in this issue it will make this story seem even less necessary. Rating: 3/10

DC didn’t look far to helm Selina Kyle’s entry into the Knight Terrors event, with CATWOMAN scribe Tini Howard penning the story with Leila Leiz on art, Marissa Louise providing colors, and Becca Carey doing the lettering. There doesn’t seem to be a rhyme or reason as to which event tie-ins are actual tie-ins that drive the overall plot forward vs. tie-ins that are seemingly ways to add extra titles to the event, but this story falls into the latter group. This story puts the spotlight on Selina’s anti-hero past while on a mission with her sister, Magadlene Kyle/Sister Zero. Selina comes face-to-face with the duality of her past actions and whether or not some of the more nefarious decisions were actually for Gotham’s greater good. Selina saves a version of Batman (who has yet to go by the moniker) and helps nurse him back to health (including a passionate kiss), drawing the condemnation of her sister. The two love birds fly the coop and we end with Selina pledging to get Batman up to speed to defeat Joker. Howard’s writing was strong and highlighted her deep familiarity with the character, but the story itself was milquetoast at best. Nothing felt entirely new or revelatory and the lack of connection to the main story kept the stakes relatively low. I can appreciate the approach Leiz took with the book’s art though I wasn’t a fan. The linework was extra heavy and details were overly harsh, including character faces that felt distorted. For me, Louise’s colors were the highlight of the book and covered a wide spectrum spanning dark colors during nighttime scenes to vibrant bubblegum colors when Selina and her sister went to hunt down the Joker. Rating: 6/10

While Batman is trapped in his own tie-in nightmare and his body has been possessed by Deadman in the event’s main series, KNIGHT TERRORS DETECTIVE COMICS #1 has readers following Jim Gordon in a story by Dan Watters, with art by Riccardo Federici, colors by Brad Anderson, and lettering by Steve Wands. The first part of the book focuses on Gordon reflecting on how much he’s given himself to the people of Gotham in the multitude of positions he’s held, including a short stint as Batman, and how it’s all taken a toll on his relationships with his family. Instead of focusing the nightmare on his familial failures, we pivot to a look at what it means for Gordon to keep Gotham safe. He stumbles upon a trio of cult members who successfully summon a demonic version of Batman. Gordon tracks the Batman across as it unleashes a brutal assault on the city but realizes he’s beginning to physically break apart, piece by piece. It’s a nice way to keep the emotional trauma that was set up earlier as a thread throughout the book — instead of breaking mentally, his body is now deteriorating. Gordon ends up on the run looking for a clue to figure out what’s happening but more things go awry and ends up he coming face-to-face with a big bad who is scary enough to give readers actual nightmares! Watters’ slow-build approach to revealing how much weight Gordon carries on his shoulders after being a detective, a commissioner, and Batman, while having a son who was a serial killer, is very impactful. Even when he’s ready to throw in the towel, his instinct to save others kicks in the moment something threatens Gotham. With his body now denying him the ability to do what he does best, how will Gordon respond? I’m very interested to see where Watters takes this story. I loved the Federici’s art in this story. It felt like a Norman Rockwell painting morphed with a Guillermo del Toro film and came to life. Realistic and nostalgic, yet full of horror and creepiness. The demonic Batman is beautiful, the evil creatures are terrifying, and the depiction of Gordon’s body breaking apart gave me goosebumps. Anderson’s choices for colors were muted, yet effective. They let the designs shine through, yet popped of the page when they needed to. KNIGHT TERRORS DETECTIVE COMICS #1 is one of the more natural horror stories to come out of the Knight Terrors event and it was refreshing to see the actual Batman character not show up here. I hope that stays the same in the second issue because this examination of Gordon’s psyche is really thrilling. Rating: 8.5/10

Another week, another DC character dealing with issues related to their parents’ death. Similar to last week’ BATMAN tie-in, Hal Jordan’s nightmare includes a flashback to his father’s death, which has also been told far too many times to be interesting. It’s also not the only past event that Hal must deal with that has also been explored in previous Lantern stories. There was also a Sinestro backstory at the end which serves as a mini tie-in to the Knight Terrors event, which I guess was fine? I appreciated how Jeremy Adams seamlessly tied this story into GREEN LANTERN #2’s narrative, which hasn’t been the case for other characters who have their own ongoing series paused while the Knight Terror event unfolds. Eduardo Pansica, Julio Ferreira, and Luis Guerrero provide a positive visual experience with the artwork and colors. Lantern titles often allow for interesting color choices and expressive designs and that’s apparent here. It was really hard for me to connect with the stakes of this issue because it didn’t feel like there was anything new. Yes, Hal is trapped in his nightmares like everyone else….so? This comes off as another tie-in that is removed from the event’s central plot and only published to add a major character’s name to a title. Rating: 5/10

KNIGHT TERRORS HARLEY QUINN #1 starts off presenting an interesting question — what happens when the main character takes control of their own nightmare? Other tie-ins have seen their leads aware that they’re in a nightmare, but we’ve yet to see anyone flip the script on Insomnia and dictate what’s happening on their own terms. This was especially interesting for Harley, who has had to face her own demons countless times over the years as writer after writer has forced her to face the mental abuse she’s faced at the hands of men in her lives. If only Tini Howard stopped there. Instead, we get Harley “embracing” her craziness in cringe-worthy scenes after she’s given an instruction manual to the DC multiverse and gets to play director. After the first few pages where Harley is actually in a nightmare, none of this story is even remotely connected to the Knight Terrors story. We get Harley as a pirate and a vampire hunter as she tries to emulate being a “hero” without becoming a member of a larger group of heroes. Howard tries to tie things back to a nightmare story when the unknown voice that has been guiding Harley throughout her journey informs her that perhaps she actually could be worthy of working with the Justice League. If that was the point of this issue, it took far too long to get there and is also far too obvious for a character that has threaded the antihero needle for quite some time. Matching the haphazardness of the plot, Hayden Sherman’s art is equally jumbled. I wasn’t quite sure what the visual approach was to part’s of the issue but it felt like the animation in Harley’s multiverse adventures was from a bootleg episode of old-school Scooby-Doo. Other art throughout the issue was fine, if boring. Nothing really stood out aside from a few pages of colors by Triona Farrell during Harley’s initial nightmare. The backup story by Leah Williams, with art and colors by Ben Templesmith, is equally frustrating in it’s lack of entertainment. We see a future Harley traveling back in time to enlist a present-day Harley in an unknown mission. Not sure where Williams is going with this story, but Templesmith’s art is very off-putting to me. Present-day Harley’s facial design is downright bad. The “Being Harley Quinn” episode (Season 1 Episode 4) of the Harley Quinn animated series on Max did a much better job presenting what could be going on inside Harley’s mind. That story was entertaining, it empowered Harley to overcome her demons without having to go to an extreme of her mental state, and it used dark humor without feeling out of touch. KNIGHT TERRORS HARLEY QUINN #1 did none of those things and stands as one of my least favorite event tie-ins to date. Rating: 3/10

Any Nightwing story where we get a partially-clothed Dick Grayson is going to get my attention and, sure enough, we got that on page 3. Damn DC for knowing how to pull me in! KNIGHT TERRORS: NIGHTWING #1 is another tie-in removed from the main arc, though it’s strong enough to feel warranted as a standalone story. The narrative is similar to KNIGHT TERRORS: THE FLASH #1 with each main character unaware of his surroundings, causing additional layers of anxiety and panic given their lack of grasp on reality. I’ve really enjoyed this type of approach to telling nightmare stories as they come across as psychological thrillers mixed with additional horror elements. The first half of Becky Cloonan and Michael W. Conrad’s story leaves Dick in mental shambles without a clear path forward. As a reader, Cloonan and Conrad kept me in the passenger seat the entire issue, as their haphazard scene transitions were a perfect complement to Dick’s confusion and descent into madness. This was all further complemented by the artistic decisions of main artist Daniele Di Nicuolo, colorist Adriano Lucas, and letterer Wes Abbott. Their combined talents provided a wonderful visual component that perfectly set the stage for an eerie nightmare adventure. The first issue misses the mark compared to Tom Taylor’s meticulous character exploration, and I may feel different if the second half tries to tie into Taylor’s current NIGHTWING run in some way, but this is still an adequate representation of the character on it’s own. Oh, and did I mention we got a shirtless Dick Grayson? Rating: 8/10

G. Willow Wilson continues her impressive work with Poison Ivy in this Knight Terrors story. After falling into her slumber, Ivy finds herself coming home to a housewife version of Harley Quinn in the middle of a Stepford Wife suburbia where villains and heroes alike are best friends with unsettling grins from ear to ear. After initially being horrified at her surroundings, Ivy begins to transform into a similar mindless state after a romantic romp with Harley and loses her sense of reality. This may be one of the most heart-wrenching entries into the Knights Terror event as we watch the titular character succumb to the alternate reality around her without any ability to control her own destiny. My only complaint with this story is that it was the only one to depict the title character losing a sense of free will. By the end of the issue, it felt as though Janet from HR was the main character, rather than Ivy herself. Hopefully that’s not the case in the story’s conclusion because it was near perfect for the first two-thirds of the book.

Poison Ivy’s Stepford Wife inspired nightmare began with an impressive first half in her standalone tie-in and G. Willow Wilson continued the strong narrative in KNIGHT TERRORS: POISON IVY #2 to conclude the story…or is it really over?!? This issue opens with what seems to be a slight time jump we see Ivy has fully embraced the faux-perfect life that she found herself trapped in during the previous issue. I appreciated that Wilson didn’t drag this scenario out for long as it was probably one of the weaker aspects of this issue. We quickly pivot to an argument between Ivy and Harley that causes Ivy to snap out of her altered mindset and come face to face with the same cast of neighborhood from the first issue as she tries to escape. In this scene, and a later scene where Ivy defends Janet from HR from the same group of neighborhood crazies, we see Ivy come to grips with her real-world relationships with different individuals and come away thinking this will actually have an impact on her moving forward. As I worried in my review of the first issue, there was too much Janet in this issue and I was disappointed to see her become a pivotal part to the stories conclusion — we’re left wondering if this was Ivy or Janet’s nightmare? For me, Janet’s fun in small doses and I wish this would have been a more dedicated Ivy story given the work Wilson has done with the character in her monthly. Atagun Ilhan took a much more aggressive approach to the art in this issue compared to the last one. Faces were more dramatic, bodies were more exaggerated, eyes were more buggy. It was definitely jarring visually, which is what I think was intended to represent Ivy falling completely into the nightmare, but it verged on distracting for several pages. Overall, I thought this was still an entertaining enough story that kept with a nightmare theme, even if it had nothing to do with the plot of the main Knight Terrors arc. It offered a look at a character’s fears that seem obvious from afar, but fleshed it out in an interesting and unique way that felt new and hopefully left the character changed beyond this individual story. Rating: 7/10

KNIGHT TERRORS: PUNCHLINE #1 may be one of the most crisply drawn entries in the Knight Terrors event yet. The designs are clean, detailed, and vibrant. You’ll never question what’s happening on the page, who’s actually speaking, or where the characters are at. The creative team of Lucas Meyers on pencils, Alex Guimarães on colors, and Steve Wands doing lettering provide a superior experience bringing readers along the entire issue. And that is needed more than ever as Danny Lore’s story takes some time to build, and even longer to develop into a nightmare. The majority of the book feels like your standard Punchline story, which is fine for normal issue but felt like a miss for a Knight Terrors tie-in. Like a good portion of the other tie-ins, it was completely removed from the main storyline and I doubt we’ll see it connect at any point. Overall the strong artwork can’t make up for the slow pacing that plagues the majority of this issue. Several scenes drag on for multiple pages Punchline musing to herself with little-to-no plot development. As the first issue of a two-issue arc, that’s a big no-no. Rating: 5/10

In one of the more personal Knights Terror entries so far, Rose Wilson, a.k.a. Ravager, meets a younger version of herself, Rose Madison. This version of Rose grew up in a stable home with loving foster parents, instead of the brothel our version of Rose was brought up in. Ed Brisson masterfully writes the story with grace and highlights the inner conflict Rose hasn’t always had the space to deal with. Dexter Soy’s artwork also beautifully captures the raw emotion of the meeting, even with the Ravager mask covering half of our Rose’s face. Combined, it all builds up a touching view into Rose’s sense of self that helps ending’s “surprise” twist land even if it was telegraphed a bit earlier in the story. While this story still felt like a reach to be labeled an event tie-in, other than the fact that it all happens inside a nightmare, the poignancy elevates it as a strong standalone story regardless.

When the list of titles for Knight Terrors was announced, Ravager was one of the characters I was most surprised to see get her own event tie-in. The character hasn’t gotten the level of solo stories as others who also have their own tie-ins, so I was a bit cautious as to what we’d get and whether we’d see Rose as the main focus, or if DC and Ed Brisson would turn this into an ensemble story. Suffice it to say, Brisson proves with KNIGHT TERRORS: RAVAGER #2 that a standalone-Rose Wilson/Ravager story can be captivating and heartfelt without needing to rely on otherss (even though Stormwatch gets involved to some degree). Brisson continues the strong character development he introduced in the first issue and expands upon it via Rose’s internal self-discovery vis-a-vis her being chased by the nightmare version of herself. In addition to it being a great way to showcase Rose confronting inner demons related to her father, it also allows Dexter Soy’s art and Veronica Gandini’s colors to create tense scenes straight out of classic slasher movies. Soy’s action sequences are the visual highlights of this issues, including a standout full-page panel of Rose turning the tide on her pursuers. Overall, this two-part Ravager story has been a pleasant surprise in an otherwise disappointing event. Brisson has shown that a complex Ravager story can be written without sacrificing action, nor does the character always need to be part of a team to be used effectively. The tease on the final page also did it’s job in getting me interested to see what will happen next. All in all, both pares of KNIGHT TERRORS: RAVAGER are a great example of how to do a tie-in right. Rating: 9/10

This story, written by Kenny Porter with Miguel Medonça and Adriano Lucas on art, pulls double duty with both Tim Drake and Jason Todd getting pulled into an Insomnia-caused nightmare. I appreciated the nice balance Porter took in giving each Robin an individual narrative that end up being part of the same nightmare. His depiction of two characters that haven’t always been written consistently from book to book felt natural to how we generally see the two today — Tim’s need to continue proving himself by pushing his own boundaries to the limits, and Jason’s disillusionment with working as part of a team. I especially appreciated the fact that Tim was able to make a connection to Doctor Destiny so quickly, highlighting just how intuitive he can be. Seeing these two begrudgingly team up through some fun banter was a nice sense of levity in the high stakes situation Porter’s writing built up. It wasn’t oversized, but the amount of story Porter fit into this issue for two characters was impressive. This was all complemented well by Medonça’s designs and Lucas’s colors throughout the book. While not completely different, there was a noticeable nuance to Tim & Jason' individual nightmare scenes that helped create a sense of separation that was lifted via some great lettering visualizations by Tom Napolitano. This is one of the event tie-ins that I’m most interested in seeing how it turns out.

I don’t particularly keep up with Shazam books, so it took a bit of research to understand the context of this story which made it a bit less enjoyable for me. I don’t get to keep up with every DC character but so far this has been the first tie-in were my general knowledge of characters wasn’t enough to understand Mary Marvel’s POV. Mark Waid’s writing was strong enough to keep me intrigued throughout the book and I was able to relate with Mary once the plot got going, but it’s lack of connection to the main event lowered the stakes for me. The issue revealed that Mary wakes herself up from Insomnia’s grasp on a daily basis by uttering “SHAZAM!” during her nightmare and it’s revealed via a fun succession of panels by David Baldeon. I’d have been more intrigued if this allowed Mary to engage with what Zatanna and Deadman are doing in the awake world, but it’s quickly glanced over as she’s brought back into her nightmares for the remainder of the issue. Rating: 6/10

Joshua Williamson is back to write another Knight Terrors event, after helming the main miniseries & Batman’s individual tie-in. His writing on KNIGHT TERRORS: SUPERMAN #1 is an improvement from the story he crafted for Batman and introduces twi interesting twists to the Knight Terror mythos. While we saw two characters enter a nightmare together in the Robin tie-in, for the first time during the event we witness a character break through their own nightmare and enter the nightmare of another character. In this instance, we see Supergirl literally punch her way into her cousin’s nightmare. They’ve both become fully aware of their situation and now must work together to fight off Insomnia’s creations before they’re defeated. In another twist, the story concludes with the Aqua-family coming ashore in the real world to find multiple sleeping bodies, including Superman’s. They’re terrified at their discovery but Aquaman is ready to join the defense and figure out how to save everyone on Earth under Insomnia’s nightmare spell. Tom Reilly and Nathan Fairbairn take readers on a visual journey through multiple eras throughout Superman’s comic history as the story progresses. It’s a fascinating use of techniques that change as Superman becomes more aware of what’s happening and also provide a nod to the evolution of the character that also took place during those respective eras. The first half of this story felt a tad slow and by the numbers but I’m intrigued to see where this story goes now given the two new wrinkles that will hopefully have a larger impact on the main event. It’s also exciting to see Supergirl play a role here as DC could have easily gone with another A-lister to share the stage with Clark Kent. Rating: 6.5/10

Hands down this story from Matthew Rosenberg was my favorite of the stories we got this week! We’re immediately put into the Joker’s nightmare which follows his downward spiral after Batman dies (in one of the most inconsequential and absurdly hilarious ways) during one of the duo’s confrontations. With nobody around to save Gotham any longer, crime just becomes too easy for Joker, causing him to give up his life of crime for a mindless office day job at Wayne Enterprises. The issue plays out in an Office Space meets Severance type of way, with Joker failing upwards thanks to his complete disdain for anything corporate. Stefano Raffaele’s artistic world building is great and captures Joker’s decaying mood throughout the book perfectly.

The first issue was one of my favorite event tie-ins, so I was relieved to see that KNIGHT TERRORS: THE JOKER #2 continued the hilarity and horror in the conclusion of the Clown Prince of Crime’s nightmarish tale. The issue still features scenes involving office humor, but focuses more on Joker’s warped, and rapidly worsening, mindset as he’s forced to play the role of corporate executive in an average, American life. Part of his work responsibilities in this issue include rounds of interviews with none other than his former villain colleagues, including Mr. Fries/Mr. Freeze and Scarecrow. Matthew Rosenberg strikes an absolutely perfect balance between easy, cheap jokes and hilarious delivery. We also see Joker murder someone on a baseball field for calling him a “batman” for his hitting skills, attend a dinner at Bruce Wayne’s mansion, and come face-to-face with a literal skeleton in his closet. Individually, these sound like absurd moments…and they are. Combined, Rosenberg weaves a tale that highlights Joker realizing and handling his insecurities in a way that only Joker can. The final page shows Joker waking up from his nightmare, realizing what’s happening, and reacting in the most Joker way possible. It’s all written in way that only someone who grasps and respects the Joker’s decades of character development could write. Stefano Raffaele’s art, Romulo Fajardo Jr.’s colors, and Tom Napolitano’s letters enhance Rosenberg’s story from start to finish. I would have never thought a story about the Joker in an office job could look so good but it does. Raffaele and Fajardo have basically created two new, distinct styles for Joker in this tie-in: his “normal” Johann Kaiser persona and his new Batman-by-night persona. The Batman designs specifically elicit strong horror vibes that nail the vibe of a nightmare story. Rosenberg’s two part story stands out has been one of the clear standouts for this event so far in both story and look, and I wouldn’t be surprised to see it at the top of most readers’ list for favorite Knight Terrors favorite tie-in. This has been a treat to read and I already want more! Rating: 9/10

With this week’s crop of Knight Terrors tie-ins, it appears DC has saved some of the worst for last. Can’t say I blame them for holding these off as they weren’t compelling stories in their own right and didn’t do much for the event. This is true for KNIGHT TERRORS TITANS #1 which tells the nightmare story of….Titans Tower??? While it’s not confirmed whose nightmare we’re actually following until the final page, it turns out the main cover spoiled all along. The story follows an unnamed female character (who is weirdly never named) trying to escape a haunted building where terror seems to be behind every door. Along the way she encounters different member of the Titans who are trapped in their own mini nightmares, but we never spend quite enough time with any of them to get invested. Donna Troy and Starfire’s nightmares are especially sped through to assemble the team ahead of the final arc of the book. Luckily our female lead has been mentally connected to Raven the entire time, who guides the whole group to the building’s exit. Raven’s presence is waiting for them outside, where they learn they were trapped inside Titans Tower the whole time. I know it’s not easy to give every member of an ensemble cast a complete story in one issue, but Andrew Constant’s story felt rushed even by those standards. Stakes are never high as you’re introduced to a character’s nightmare and they’re free within the same page. How do you build any tension that way? Also, so much of the issue is from the unnamed female lead’s POV. How are we supposed to care what is happening if we never know who she is? While the writing and story were subpar, the art by Scott Godlewski, colors by Ryan Cody, and lettering by Wes Abbott saved the issue from being a complete disappointment. They made the most out of a bad situation and were able to create an interesting visual narrative for readers to enjoy. Godlewski’s drawing of the building interiors could have been dropped in any horror-themed comic book and would have worked perfectly. Even with a lot of dark scenes throughout the book, Cody got to play around with a wide range of colors during a few scenes and they popped of the page. Abbott also got to experiment with a variety of lettering techniques and it helped keep things fresh throughout the book. I have no idea where the conclusion of this story is going. It’s clear that DC believes there are stronger stories to be told, especially since they gave solo tie-ins to some of the other Titans that have shown promise. Rating: 4/10

There were multiple times I had to remind myself that Wonder Woman was the character name on the cover as the issue became an amalgamation of Justice League Dark stories. Wonder Woman still gets some solo scenes, though Detective Chimp and Constantine steal the show in an underwhelming Wonder Woman story, but overall enjoyable entry into the Knight Terrors event written by Josie Campbell. KNIGHT TERRORS: WONDER WOMAN #1 follows this trio as the attempt to free the rest of the League who they believe is held captive in the middle of a maze. Along the way they face various nightmare-induced monsters and hinderances that test their strength and mental fortitude. The setting is brilliantly captured by Juan Ferreyra’s art. It’s weird saying this about a book depicting a nightmare, but the entire issue is BEAUTIFUL from start to finish. Every scene is drawn with immense detail and the color decisions allow characters to jump off the page. There are multiple pages where I just stopped and stared at the artwork for a few moments before turning the page. Even without the core focus, I’m still intrigued enough for the second half of this story given the prime role Wonder Woman has been given in other Knight Terrors issues. A backup Nubia story by Stephanie Williams provided a much tighter narrative where the Queen of the Amazons faces her own nightmare — namely a grotesque, monstrous version of Gaia who is out for blood. Williams does a lot with just a few pages and the artwork by Meghan Hetrick is equal parts fantasy and horror. The purples and greens used in this story are a visual delight. Between this and her recent work on the character’s limited series, DC needs to give Williams an ongoing Nubia title pronto. Rating: 7/10

KNIGHT TERRORS ZATANNA #1 is exactly what an event tie-in should be. It’s well written, visually pleasant, and provides readers with an interesting side-quest that actually adds to the main event’s plot. FIRST BLOOD and KNIGHT TERRORS #1 set Zatanna up to play a key role in the main event after she was unaffected by Insomnia’s sleeping curse due to her magical abilities and this issue continued to build on that foundation. I’m really hoping that we see more of Zatanna in the event’s main mini-series after this issue. I really enjoyed Dennis Culver’s interactions between Zatanna and Robotman, after the former conjures the latter to help fend off enemies. The two must work together to get Wonder Woman and Detective Chip (both asleep thanks to Insomnia) to a safe room. While they don’t see eye-to-eye on how to go about accomplishing their task, Culver writes some very fun dialogue that make both characters immediately relatable given their current predicaments. David Baldeon’s art is also a perfect complement to the issue, beautifully drawing up pages that highlight the mysticism of the issue.

If the first part of Zatanna’s story was an example of what an event tie-in should be, KNIGHT TERRORS ZATANNA #2 is an example of how a tie-in can stumble under the weight of the event. My biggest complaint with this issue is the fact that Zatanna is facing off with the Sleepless Knights in the same week they’re also battling Deadman, Sandman, and Damian in Joshua Williamson’s KNIGHT TERRORS #3. Even if both issues are happening at different points in the story’s timeline, it was disorienting to see them be the losing antagonists twice in the same week. Maybe Insomnia should have gotten some better hench-people? I don’t blame Culver for this, as he’s only continuing where his story left off, but it definitely took the wind out of this issue’s sails for me. It goes back to my major gripe with “Knight Terrors” as an over-arching event — DC doesn’t appear to have plotted the event out in it’s entirety before giving the tie-in writing teams their individual tasks. However, Culver’s second script lacks the same wit and bite it had when Zatanna and Robotman were bantering with each other in the previous issue. This is due to Robotman spending the majority of the issue hunting down Zatanna under the spell of the Sleepless Queen. We do get a glimpse of levity between our two heroes at the end of the issue after Zatanna uses her own magic to defeat her enemies and return Robotman to his sense. It’s teased that we’ll be seeing more of Hex & Violence in KNIGHT TERRORS: NIGHTS END #1! Culver also writes a scene where Zatanna confronts the illusion of her father, a nightmare in the awaken world, in a way that offers a unique perspective on a relationship that has been written about often. David Baldeon’s art continues to impress and includes scenes with captivating action, believable horror, and magical mysticism. Rain Beredo also shines on colors on the last few pages as Zatanna’s magic is on full display. Combined, the creative duo also craft a brilliant design for The Rustbringer, Robotman’s possessed alter ego. His metallic color and intense shading make the character standout amongst everyone else. Rating: 6.5/10

Writer Rodney Barnes and artist Ramon Bachs deliver a captivating tale that delves into the complex world of New York City's criminal underworld, with Mayor Luke Cage at the center of the conflict. Like ASM: Gange War — First Strike, I really enjoyed how much this felt like it could be happening in real-life in the most dire situation. It’s not a cosmic threat like what’s happening in DC’s Beast World event, but the political intrigue and human elements of this story might be even more interesting to me.

Things are quickly deteriorating in this miniseries. As we move further away from the person-on-the-street type of story that was present in the first issue, we’ve now quickly devolved into a wild and unintelligible battle that sees Luke in a new, Hulkbuster-inspired machine. None of it made particular sense, his version of the Defenders randomly appear and add nothing to the story, and the art is uninspired throughout the book. This has quickly become the weakest Gang War tie-in and isn’t doing its characters any justice.

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!

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!

Tim Seeley pens a new Masters of the Universe for Dark Horse Comics, which serves as a prequel to the Masters of the Universe: Revelation Netflix series. TL;DR We’re introduced to a lot of the background related to the power sharing agreement amongst the people of Eternia. We see how the difference between the people of Gar, who favor technological advances, and the people of Eternos, who rely on magic to defend themselves, have caused distrust and leave the planet in a fragile state of agreement. Thus, King Randor looks to reaffirm the alliance between Eternos and Anwat Gar to quell to Skeletor’s increasing power. Prince Adam also deals with coming to terms with his He-Man power and the struggle with not being able to reveal that he’s the figure helping to defend Eternos. REVIEW I was too young for the original Masters of the Universe franchise to be a staple of my childhood and it’s caused me to shy away from a lot of the franchise’s recent content. I’m glad I decided to give Seeley’s new series a chance because it felt like a natural jumping on point for new readers or those unfamiliar with the franchise. It was fascinating to see an origin story that provided so much backstory without making it feel like things were being dumbed down for me. The “twist” caused a bit of confusion for me but since it’s setting up what is likely the first arc’s plot I’m hopeful Seeley will be fleshing it out more in the coming issues. I’m glad Seeley didn’t throw too much action into this debut issue as I felt like I got to familiarize myself with the world and meet some of the main characters, namely Prince Adam/He-Man, Teela, and King Randor. I don’t know if their personalities here match the existing material, but as a new reader, I bought into the development Seeley gave each of them and it all felt natural for where they were at this time in the story. I would have liked to see more of the threat Skeletor posed at the time, but knowing he’'ll go on to be the big bad for the entire franchise negated that some. Eddie Nunez’s art and Brad Simpson’s colors were the stars of this issue for me. There is nothing too complex or detailed, but there doesn’t need to be with what this team did for the visual approach. They wonderfully capture the 80s nostalgia tone with a modern twist. Characters are well designed and stand out from each other. Backgrounds pop off the page with a bright, vibrant palette. Again, I wish we got to see more of Skeletor because Nunez and Simpson make him look so damn cool. FINAL VERDICT Seeley and team produced a successful debut issue that has me interested for the long-term narrative of this comic series and even intrigued to consume more Masters of the Universe content. It was well written, looked great, and serviced it’s characters well. What more could you ask for? Rating: 7.5/10

Tim Seeley’s groundwork in the debut issue takes a backseat to plot movement and great action scenes here. Even with this change, Seeley’s script continues to offer MOTU enthusiasts and new readers alike ample opportunity to enjoy what’s happening. Eddie Nunez’s art and Brad Simpson’s color take a lot of cues from the Netflix series that inspired this book and that’s for the best. Everything looks so damn good on the page you can’t help but read page after page to see what’s awaiting you next. This team is turning me into a MOTU fan and I wasn’t expecting that to happen so quickly!

This may have been my least favorite of this issues so far, as it was the first to be mainly focused on exposition meant to set up next issue’s miniseries finale. And if the final page is any indication, we’re in store for a pretty epic showdown to bring this to a conclusion. I wish we were getting more time with this though as Tim Seeley’s prequel story has shown it’s got so much to offer for new and old fans alike. The art has also been top-notch throughout the series and Eddie Nunez’s skills were on full display in the aforementioned final page.

Cody Ziglar and Federico Vicentini weave a captivating narrative that showcases the burden of responsibility weighing on Miles' shoulders, both as a superhero and as a teenager caught in the middle of the Gang War event’s crossfire. Ziglar delves into the emotional turmoil swirling within Miles, showcasing his anxieties about balancing his superhero duties and his current relationship with Peter. I love seeing more of Misty Knight and Colleen Wing, but I didn’t think Ziglar’s writing for them was equally as strong as it was for Miles. The interactions between the three felt a tad redundant and I was a tad disappointed to see Misty and Colleen having to save Miles, making him appear less-than-ready for his Gang War involvement.

I don’t buy Uncle Aaron’s motivations just yet, but it was nice to see Miles get more agency with Misty Knight and Colleen Wing currently taken off the board. It’s been a disappointment to see Miles’ story seem the least integral to the broader Gang War event, but Federico Vicentini’s art and Bryan Valenza’s colors make this a visually appealing book even when the story leaves you wanting more.

After being critical of Uncle Aaron’s usage in this story in recent issues, I was pleased to see his actions given more context and explanation. I don’t think it means things were executed well, but at least now I can understand why he was doing what he did. I thought the interactions between Miles and Kamala were some of the issue’s best moments. The two of them are a joy to see in action together and it really makes me wish we could see this relationship portrayed in the MCU. Federico Vincentini continues to make anything Miles does look amazing. The art in this book make this a weekly must-read even when the story may be at a low point.

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.

After being teased several weeks ago as the start of a major new story arc, MOON KNIGHT #25 finally hit shelves this week and boy was it a doozy. The oversized milestone issue was written by Jed MacKay with art by Alessandro Cappuccio, Alessandro Vitti, and Partha Pratim. This entire creative team, including colorist Rachelle Rosenberg and letterer Cory Petit, does an impressive job spanning multiple time periods across the Moon Knight mythos, keeping stories fresh while also providing enough background and context for infrequent or new readers to catch up and enjoy this as a standalone issue. Including various eras and making them all feel distinct and meaningful isn’t an easy task but MacKay tactfully combined recapping and adding new layers to past events in addition to keeping current storylines moving forward and adding new chess pieces (namely Layla El-Faouly and the new Black Spectre) to the board for upcoming story arcs. Cappuccio, Sabbatini, and Rosenberg kept with their artistic approach that has come to define this era of Moon Knight. As usual, it was done very well and effectively, but Vitti’s portion of the book brought a new perspective that perfectly matches a darker, grittier tone for the character. Overall, the combination of artists provided for distinct visualizations without feeling frenetic or disorganized. Each approach felt appropriate for what was unfolding on any given page. Overall, fans of MacKay’s run on Moon Knight should feel rewarded with this major undertaking and new readers will leave with the anticipation for wanting more given the delectable complexity and darkness of the Moon Knight world MacKay has established. We’re left with the feeling that Moon Knight might not have his best days ahead in the story, but MacKay’s MOON KNIGHT run has never looked better. Rating: 9/10

Sabir Pirzada & Iman Vellani build upon their story from Ms. Marvel: The New Mutant, tackling the complexities of being a mutant in a way that feels far too relevant. This isn’t just about Orchis or world-ending threats. This book punches you in the gut with the real-world issues marginalized communities face. From casual prejudice to outright fear-mongering, Pirzada & Vellani use Kamala’s experience as a Pakistani-American mutant to explore the anxieties and injustices that echo the struggles of so many today. It’s a powerful juxtaposition, placing the comic book world of mutants against the very real bigotry that exists in real-life. This isn’t the first time a member of the X-Men have dealt with social commentary, but here it feels raw and immediate. Honestly, on some level it feels like the only true X-Men book out there right now. True to the last mini, Kamala’s signature charm shines through. Her infectious enthusiasm and humor rise to the top even in the face of adversity. These two writers perfectly capture Kamala’s voice, making you feel like you’re right there with her, dodging dodgeballs and grappling with newfound prejudice. The artwork by Scott Godlewski deserves high praise as well. The world of Jersey City bursts with vibrant detail, from the bustling streets to the school gymnasium. Overall, this was a powerful and timely comic. It reminded me that the fight for justice isn’t just about supervillains and universal threats; it’s about standing up for what’s right in the things that we can control. I couldn’t have asked for a better start to Kamala’s mutant story and this creative team deserves all the credit.

From her controversial death in Amazing Spider-Man #26 earlier this year, to her resurrection and the revelation that she was a mutant and an Inhuman, and nearly dying again at this year’s Hellfire Gala, there’s been much ado over Marvel’s plans for Kamala Khan over the past few months. And while I won’t let Marvel off the hook for how they’ve handled things, I also won’t hold it against the series’ writing team of Iman Vellani and Sabir Pirzada for picking up the pieces. And wow, did they deliver with MS.MARVEL: THE NEW MUTANT #1! Instead of diving right into the mechanics of how or why she’s a mutant, Vellani and Pirzada spend a lot of this debut issue focusing on the things that have always made Kamala utterly relatable and endearing — the relationships she has with family and friends, her innocent nerdiness and sense of humor, and her unwavering quest to be a positive example for whichever group she’s categorized into by society. Vellani and Pirzada present Kamala in her purest form and it’s such a breath of fresh air to see writers capture the essence that made her one of Marvel’s most popular new heroes of the last decade. What’s different, and perhaps most notable, about Vellani and Pirzada’s story compared to the other recent arcs mentioned above, and even those that came well before them, is theirs is done entirely with Kamala as the center of attention. Yes, she’s now an X-Man. Yes, she’s now working to infiltrate Orchis for the greater good. But we get to see Kamala’s own thoughts, work face her own fears, and come to grips with who she is as her own individual. Vellani and Pirzada's writing is amplified by artists Carlos Gómez and Adam Gorham's designs, including Kamala’s awesome new costume which is the perfect blend of her original Ms. Marvel look and a more traditional X-Man uniform. Gorham’s beautifully visualizes Kamala’s dream sequences which guide you along the internal doubts and struggles in Vellani and Pirzada’s script. Joe Caramagna’s lettering adds depth to scenes that tie everything in wonderfully. However, the standout visual aspects of the issue is Erick Arciniega’s color palette for skin tones. There are far too many comic books out there where far too few shades are used to depict what’s really an infinite spectrum in Kamala’s multi-cultured world. Kamala isn’t just “brown” here, her coloring actually makers her look Southeast Asian. Each other non-white character also has their own skin tone to make them feel unique and not part of a monolithic race. MS.MARVEL: THE NEW MUTANT #1 oozes charm from start to finish. The script is a love letter to the titular teen heroine from two people who care for her deeply and it’s complemented by top-notch visual art. Vellani and Pirzada have started something that has the potential to be very, very special. Rating: 9/10

I continue to be thoroughly impressed with how fun this series has been. Iman Vellani and Sabir Pirzada are creating one of the best representations of Kamala Khan since G. Willow Wilson’s first Ms. Marvel series. We witness how much humanity our new “Inhu-Mutant” (as Kamala puts it herself in this issue) brings to the Marvel Universe. She cares for people and is the voice of the underdog. Her struggle for acceptance and strive for justice makes her a perfect member for the X-Men, or at least what they originally stood for. Speaking of the X-Men, I’m loving her relationship with Emma Frost. Emma has had one of most complex Krakoan Age arcs and it’s great to see her be a mentor again. My only complaint is that we still have yet to see what Kamala’s new mutant ability is and this issue didn’t even touch on it. I hope that doesn’t drag out for too long though it’s really just nitpicking at this point. This is my favorite new title to come out of the Fall of X.

This limited series has not veered from being a deliberate and thoughtful examination of who Kamala is as a person. She’s played many roles, been a member of many teams, and now has new (unrealized) powers, but none of that has ever changed the fact that at the end of the day she’s still Kamala Khan. Those hoping this limited series would be an action-packed adventure for Ms. Marvel X-Men beginnings, it’s acted more as a “reset” to ground us on Kamala’s maturation as an individual. The action will certainly come, but it’s been an absolute pleasure reading this beautiful ode to one of the best of the Marvel universe.

This marks the epic conclusion to this captivating miniseries, and it does not disappoint. Writers Iman Vellani and Sabir Pirzada deliver a thrilling finale that perfectly encapsulates the heart and excitement of Kamala Khan and might go down as one of the best Fall of X stories when all is said and done. There were a lot of moans and groans when this series was announced for a variety of reasons (most due to the way Kamala’s death was handled in ASM earlier this year), but Vellani and Pirzada have wiped away all of the ill will that may have been directed and have set Ms. Marvel up as a potentially major player in future mutant stories. I can’t wait for their recently announced next miniseries, Ms. Marvel: Mutant Menace, which debuts next March!

How becoming of you, Dick Grayson. Literally. Nightwing #105 is a unique issue that puts the reader in the mind of Dick Grayson as he takes on a new case in Blüdhaven. You are literally in the mind of Dick Grayson — the entire issue is from his POV! Tom Taylor and Bruno Redondo have done it again with a profoundly different approach to how we experience comics (the entirety of Nightwing #87 was one long panel), and it is a perfect example of how this creative team's strengths lie in storytelling, no matter the means. Taylor's writing is as full of energy and humor as always, and he does a great job of capturing the voice of Dick Grayson even in panels where we can’t see him. I think there could have been more done to play with internal vs. external monologuing and potentially played with what Dick was thinking vs. what he was saying, but Taylor already had a hard enough task writing dialogue for a character who wasn’t always on the page. Redondo's artwork is absolutely stunning, full stop. There were some action sequences that left me short of breath as I felt like I was right there amidst the action. Adriano Lucas also nails colors throughout the issue. The two artists paired together on Nightwing is truly a feast for the eyes and I hope they end up doing more projects together. Part of me wonders how this issue would have played out if we only had the art of Redondo & Lucas to tell the issue’s story. Not to take anything away from Taylor’s writing but there were times when I forget there were even words on the page because the imagery was so captivating. I’m going to keep this review short because it’s one you have to experience on your own in order to appreciate the craftsmanship that went into it. The approach may not be for everyone and it could suffer from the dreaded “gimmick” description from purists, but you can’t deny the artistic talent on display. If that doesn’t sell you on it, the issue also features a number of cool easter eggs that will make fans smile! Rating: 8/10

This pirate arc is reaching its final sea legs in terms of keeping my interest. The issue’s plot plays out in predictable succession with forced humor mixed in to produce a slog of an entry into of the more mediocre arcs Tom Taylor’s run on the series to date. Taylor hasn’t done enough to make Bea’s role as pirate lord (or her apparent influence over Haven’s political infrastructure as revealed here) feel earned, nor does it allow the issue’s climactic final seen to payoff in the way it was likely intended. Stephen Byrne’s art is the highlight of this issue, with many callbacks to earlier designs from Bruno Redondo’s approach to depicting moving scenes into single panels. We’ll see how this arc concludes soon, but I’m ready to make port and get back on land.

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.

What a fun story for the Halloween season! It wasn’t perfect by any means, there were transitions between scenes that weren’t always clear or evident and the reader is bombarded with plot elements without much explanation —but once you get past the structure issues, the story itself is pure horror fun at its roots. The cartoonish art is a great complement to the tone of the story — never making anything too dark or scary that would turn non-horror fans off, but still scratching the itch for anyone wanting a twisted visual to go with their vampire story. Overall it’s a great read for this time of year, warts and all.

The issue tries to lean heavily on nostalgia as a hook (this caps Marvel’s 60th anniversary celebrations for the X-Men throughout 2023), without offering anything resembling a coherent or captivating story. You have to look no further back than the recent Jean Grey miniseries to see how something involving original characters being thrown into new situations can work but Marvel seems to have missed the point. The convoluted Phoenix-led plot makes zero sense and the artwork makes the multiversal characters appear indistinguishable from one another. Perhaps the worst part of this book is that it will be spinning off a Wolverine-inspired multiversal story next year.

This was a thrilling amalgamation of so many different types of sci-fi tropes (dystopian society, sentient robotic/AI beings, ecological horror, etc.), yet it’s presented in a unique and refreshing way. We only got what feels like ankle deep in this new world and I hope we get to see even more world-building happen in subsequent issues before we get too far into the action and main plot from Rob Williams. Pye Parr’s artistic wizardry makes this a visually pleasing debut issue. Parr’s art really helps to give the new world definition and context and I can’t wait to see how the rest of this new world comes to life.

We’re not diving deep into any complex issues, though there are definitely surface-level elements there waiting to be explored in this sci-fi, futuristic dystopian robot thriller of a series. This second issue takes the high-octane world introduced in the first issue and injects it with even more action, humor, and heart. Rob Williams continues to weave a fast-paced tale of an unlikely group navigating a post-apocalyptic wasteland, while Pye Parr delivers vibrant visuals that bring the story (and world) to life.

Linnea Kent, a former homicide detective, has sworn off missing persons cases and seeks solace in running a detective agency with a knack for uncovering cheating spouses with her husband Parker, a retired MMA fighter and the brawn of his wife’s detective work. However, before the issues closes, Linnea finds herself pulled back into the type of case she so desperately tried to avoid. Kyle Starks crafts a compelling narrative that effortlessly blends classic noir with modern comics. The dialogue is sharp and witty, peppered with humor and genuine warmth between our married main characters. The story is well paced, offering glimpses of Linnea and Parker’s pasts and giving us a sense of the type of work they’ve been doing at their agency through the introduction of several larger-than-life characters. Starks' ability to weave character development seamlessly into the unfolding events creates a reading experience that makes you want to keep learning more about some of these characters and their cases. Fran Galán’s art is simply stunning with gorgeous character designs for Linnea and Parker. Galán's slightly angled linework and barely-muted color palette perfectly captures the noir tone without making it feel like you’re reading a story from the first half of the 20th century. He keeps it modern with the designs of the townsfolk we meet, giving them exaggerated designs that are both humorous and well-done. While the issue effectively sets the stage for the series, it also raises a number of intriguing questions that will hopefully be answered down the road. My biggest question is why did Linnea choose now to get back into missing persons work? This can’t be the first time she’s been brought a case with echoes of her past. Overall, Starks and Galán may not have swung for the fences with this first issue, but still managed to give readers just enough to make you want to come back for more.

G Willow Wilsons's deep appreciation for Pamela Isley has shone through in every issue today, but this latest mini-arc crafting a narrative that is character-driven has really cemented this run as a pivotal series for the character we know as Poison Ivy. The issue picks up with Pam grappling with the fallout of Woodrue's manipulations and the introduction of Bella Garten, who is initially seen as a threat. Wilson continues to masterfully weave together themes of inter-personal power dynamics, obsession, and the search for belonging, creating a complex and nuanced portrayal. The art by Marcio Takara is stunning, particularly the interpretations of the monstrous creations being brought to life in Woodrue's makeshift lab. These creatures are both grotesque and strangely beautiful, a testament to Takara's artistic talent and imagination. Colors by Arif Prianto make each panel all the more visually pleasing to readers. I was a bit bummed to be getting what I thought was going to be a standard origin story when Ivy's present-day predicament was so interesting, but Wilson has completely proven me wrong with an expertly paced, well-written, and entertaining character study.

Earlier this year, Leah Williams’ Power Girl Special #1 set up the stage for this new series, with Paige learning more about her new powers (as a result of the Lazarus Rain events) and dealing with issues related to imposter syndrome with how she fit into the Super Family. So it was an interesting choice by Williams to kick things off in the debut issue with Power Girl pretty, well, powerless. A C-list villain bests her and then she’s admonished by Superman for her actions. Superman then asks her to investigate a new issue due to her Kryptonian roots, which doesn’t seem like a great setup for someone who is already dealing with imposter syndrome. I’m hoping this is all a means of allowing Paige to further define who she is rather than letting others define her and I’m willing to give Williams the opportunity to reveal more. The issue, especially the action sequences, looked great thanks to the art and colors by Eduardo Pansica, Júlio Ferreira, and Romulo Fajardo Jr. I’m really digging the new suit which doesn’t objectify Power Girl the way that so many prior costumes have done.

Leah Williams tries to put Power Girl on a larger pedestal after a disastrous debut issue that reduced the character to a paranoid superhero, but fails in a different fashion in the second issue of this new series. Williams does give Power Girl more of a direct focus, and we start to explore her imposter syndrome and wonder whether or not the identity issues she’s facing are real or part of the problem she’s been tasked with fixing. My biggest issue w/ Williams’ story so far is how much our interpretation of Power Girl is based on other characters. In the last issue, we say Superman laying it on thick, and this issue it’s Lois Lane’s turn to try and tell Power Girl what/who she should be. It creates a wall between readers and Power Girl, making it extremely hard to connect with the titular character. Omen’s role as the comedic BFF feels misguided and is deployed at inconvenient times. Instead of adding a layer of levity to the situation, it comes off tone-deaf and annoying. While there were some minor improvements, at best this series is failing to elevate Power Girl beyond a bit-part Action Comics character, and worst sabotaging the character into an insecure and insulated presence.

Frank Castle is off in Weirdworld, currently leaving Earth-616 without someone assuming the Punisher moniker. Enter Joe Garrison, the protagonist of David Pepose and Dave Wachter’s series. He’s assumed to be a new Punisher by the media after taking out an entire gang of baddies in gear which looks far too much like Frank Castle’s iconic skull logo. Garrison, a former S.H.I.E.L.D. agent, wants nothing to do with the title or his old job, though he appears to be somewhat amenable by the end of the book. Pepose does a great job introducing this brand new character and giving him a backstory that makes him both immediately compelling and sympathetic, yet lacks complexity to make him more than man driven solely by revenge. Wachter’s art sets a dark and gritty tone that’s perfect for a Punisher series and his designs for Joe’s high-tech futuristic weapons are really neat. Pepose will need to double-down on making Joe his own person and not just a stand-in for Frank Castle.

While bullets fly and bones crunch, this issue delves deeper, exploring the complexities of Joe Garrison and continuing to build-up a surprisingly relatable protagonist. David Pepose has seemingly proved everyone wrong with an immensely interesting new character who many thought would be a cardboard cut-out stand-in for Frank Castle. Instead, we’re getting a new voice that already feels completely organic and understandable, with a story that has plenty of of homages to classic Punisher tales. I’ve been highly impressed and already want more.

Queen of Swords #1 — That Was…F*cking Amazing So the title of this review might be stealing a line from the foul-mouthed, bloodthirsty, evil-spirit Ga’Bar, who lives within a sword, but it holds true for Queen of Swords #1 which hit shelves this week by the creative team of Michael Moreci, Corin Howell, and Kike Diaz from Vault Comics. This was a thoroughly enjoyable debut issue from a team who know what readers want. There’s humor, there’s character development, there’s plot setting, there’s world-building, and, fortunately for Ga’Bar, there’s blood. Queen of Swords marks the first spin-off from Moreci’s Barbaric franchise and helps build the Barbaric Universe which will continue to grow in September with Barbaric: Wrong Kind of Righteousness (there’s a reason that Moreci and Vault have deemed 2023 as “The Year of the Axe” afterall). The issue wastes no time introducing our main characters: Serra, a reluctant witch with a dark past, La’Kandra, or Ka, a former assassin guild member, and Deadheart, a lovable Barbarian who enjoys nothing more than smashing skulls and is the wielder of Ga’Bar. Each of these characters are immediately given their own distinct personalities and, over the course of the issue, we’re also shown their individual motivations for being a part of this motley crew. We also learn more about the series’ ultimate story, a conflict between Serra and her sister over the fate of Soren, the natural-born witch from the original Barbaric series. Moreci’s writing masterfully covers a lot of ground in this first issue without making it feel overstuffed or verbose. The writing is equally matched with brilliant art from Howell and Diaz who bring every scene to life with nuanced designs, vibrant color palettes, and an acute knack for capturing emotion on page. While the visuals don’t drastically diverge from the previous Barbaric stlye, Queen of Swords’ artistic duo intricately designed a new world for the characters, and reader, to explore with visual delights on every page. Fans of Barbaric will immediately feel at home with this new series and those who are new to the universe won’t feel as though they’re missing out thanks to the care Moreci took in laying the groundwork for this series to live on it’s own merits. Rating: 10/10!

If you don’t know this about me, I LOVE the Barbaric universe. Over the past few years, Michael Moreci and Vault have built one of the most interesting and captivating worlds from scratch that I can remember. From BARBARIC #1 to QUEEN OF SWORDS #1, I’ve loved every story, every character, every blood-thirsty sword. The joyride keeps on chugging along with this week’s release of QUEEN OF SWORDS #2, which continues the journey of Serra, Ka, and Deadheart. Moreci has shown he’s a master at adventure fantasy and this newest tale may be one of his best yet. Paired with Corin Howell’s wonderful art, K.J. Diaz’s brilliant colors, and Jim Campbell’s lettering, the combined creative team has produced another issue that visually captures the genre perfectly. Issue #2 picks up where we left off previously as our trio travels deeper into the Pestilent Lands. Moreci nicely balances character development (between Serra and Ka), action (Deadheart and Ga’Bar get to have some fun), and backstory (we learn more about Serra and Soren’s past) throughout the book. It’s really nice to see a female-forward book include dialogue which continuously passes the Bechdel Test. For being only two issues in, Serra and Ka’s relationship feels like it’s been developing for much longer and it’ll be interesting to see where these two end at the end of the next issue, which is also this arc’s finale. Deadheart and Ga’Bar have an hysterical relationship and their interactions together are the highlight of the issue for me. There will never be too many foul-mouthed, blood-thirsty weapons in the Barbaric universe for me. The art in this book continues to be fantastic — characters are well drawn, the evil monster designs are distinct and feel menacing, and the action sequences come to life in all their bloody, violent goodness. A visual representation of Serra using her chains happens multiple times throughout the book and I was still in awe how they appeared to fly across the pages each time they appeared. Campbell’s lettering approach deserves a ton of credit for helping to keep the book neatly organized as there were no less than four different fonts used to represent different types of dialogue. Each one was recognizable from the other and you always knew who was talking or narrating. QUEEN OF SWORDS #2 is another perfect issue that continues to highlight why Vault trusts Moreci and is investing so much into this universe. My only complaint is that this story has to end. Rating: 10/10

I've loved the first two issues of QoS, but this finale felt a tad rushed. I wish we got to see more of a plan come together to reach the conclusion but things went into hyperdrive to get our characters out of their predicaments. Ga'Bar had some great lines, which is really all that matters.

This year has seen many celebrations marking the 30th anniversary of the Power Rangers. As a child of the 90s, I still remember the rush of those first few years — eagerly waiting to watch new episodes, begging my parents to bring me to toy stars on the hunt for figures. It’s hard to believe that we’re at this milestone, but it’s a true testament to the franchise’s staying power that we’re here. BOOM! Studios adds to the anniversary party this week with the launch of Ranger Academy, a new series where fans will learn more about the school where Rangers are made. The publisher has billed the series as “Power Rangers meets My Hero Academia” and after reading the first two issues (Issue #2 releases November 1st) thanks to BOOM! providing me advance copies, I can say this might be underselling it! After reading the first two issues, I’m not surprised to see BOOM! releasing them both together for reviewers. They feel like two acts of the same origin story that’s meant to introduce new characters and ground readers in the new world which the series will explore. Writer Maria Ingrande Mora does a phenomenal job making the series’ introduction engaging for both long-time fans of the Power Rangers franchise or first-timers looking to explore where this new direction might go. Those who’ve been fans for years will enjoy the exploration of new parts to the Rangers universe and the world-building Mora does to add new layers of mythos. New readers will appreciate the depth of character development Mora is able to achieve so quickly and the stage setting that fills in needed gaps without feeling pedantic. Readers in both groups will fawn over Jo Mi-Gyeong’s art and Fabiana Mascolo’s colors which bring this new world to life with gorgeous lines, vibrant color palettes, and unique character designs. It all aids in giving this new world an effervescent personality that you can’t help but be drawn into. Mora establish three brand new characters in these first two issues, each a Ranger Academy cadets with their own distinct personalities which should allow for interesting dynamics down the road. Sage is the resident outsider, who is recruited to join the Ranger Academy after never knowing it existed while living remotely with her father. Tula, who assumes a natural leader role, and Mathis, who appears to be a stickler for rules, are sent to recruit Sage and the three instantly have chemistry as a dynamic trio. Mora’s script also lays foundation for what appears to be secrets related to the grander Power Rangers history, including how our new characters may fit into things. Suffice to say, these first two issues have me hooked on what might be uncovered and where things may go. The entire creative team delivered a home-run start to Ranger Academy that immediately draws readers in, no matter how familiar or unfamiliar with the franchise they may be. This has the makings of a Star Wars: The Clone Wars or Star Wars: Rebels level of world-building that adds to decades of established lore and becomes an integral part in expanding a franchise’s fanbase to new audiences, while appeasing diehard fans with respect and acknowledgement of everything that’s come before it.

These first two issues have me hooked on what might be uncovered and where things may go. The entire creative team delivered a home-run start to Ranger Academy that immediately draws readers in, no matter how familiar or unfamiliar with the franchise they may be. This has the makings of a Star Wars: The Clone Wars or Star Wars: Rebels level of world-building that adds to decades of established lore and becomes an integral part in expanding a franchise’s fanbase to new audiences, while appeasing diehard fans with respect and acknowledgement of everything that’s come before it.

Maria Ingrande Mora has crafted a compelling story that is both entertaining and thought-provoking, all complemented by splendidly delicious visuals from artist Jo Mi-Gyeong and colorist Fabiana Mascolo. In true Power Rangers fashion, the series’ focus on friendship and interpersonal dynamics remains its core strength. Add in a captivating mystery that underlies the entire plot and you’ve got yourself one of the best Power Rangers stories in long time.

One of my favorite aspects of this series so far is how much it’s felt like its pulled from various childhood/YA franchises which have come before it, giving it a feeling that reaches so much further beyond its Power Rangers roots. This issue squarely put me back in the mindset of watching an episode of The Magic School Bus, with the Academy students going on an epic space adventure with their not-quite-fully-present teacher. The trio of Sage, Lindy, and Theo are such an endearing and adorable friendship, you can’t help but root for them to succeed in everything they do. And we even see more growth from Sage, who volunteers to stay behind and help a frenemy. This book is flying under the radar for most folks, but you’re missing out on a truly enjoyable story even if you aren’t a fan of the Power Rangers franchise.

We continue our exploration of the illustrious Ranger Academy with another endearing set of character moments. @mariamorawrites has excelled at crafting interactions between Sage & her friends feel genuine and relatable. Their youthful anxieties go beyond the typical “teens angst” tropes you might expect in a story involving characters this young. However, while the character development remains a strong point, the plot seems to be slowing down. The central mystery surrounding Sage’s father and her own self-doubts echo plot points from earlier issues without much movement. While the cliffhanger ending hints at a potential escalation, it’s unclear if it’s enough to break the cycle of reveal, ruminate, and repeat. Visually, this book remains stunning. @jo_cheolhong’s art continues to impress with its manga style designs and expressive character portrayals. @joanalafuente.art’s colors further enhance the world-building, creating a vibrant and visually distinct setting for the Ranger Academy and all its inhabitants. The pink hues of the guidance office scene, the orange hues of the dorm life, and the blues of the Battle Matrix all looked amazing. Overall, this issue offers another charming installment in this new corner of Power Rangers’ lore. The characters remain the series’ strongest asset, but the narrative needs a shot in the arm to avoid getting stuck in a loop. Here’s hoping future issues manage to balance character development with plot development for a more focused and engaging experience.

I will admit off the bat, I didn't love Many Deaths of Laila Starr. It's been hard to separate that with setting my expectations for Rare Flavours given the same creative duo. On one hand, the inclusion of a culinary angle was interesting, but on the other hand the premise sounded like a very close symmetry to Laila Starr. I was a tad disappointed to see that it was basically just a mash up of those two concepts. I felt like this could basically be happening in the same universe as Laila Starr. Such a strange concept to have an evil god want to be a world-renowned culinary expert, but I guess it's good to have dreams? Ram V's writing isn't always for me. It can come across as too cute by half and that's what I got here. The entire scene around the Masala Chai recipe felt very gimmicky. There's an entire genre of manga dedicated to cooking and this felt like a cheap knockoff.

Much like Laila Starr, Ram V’s Rare Flavours feels like museum art. There are a lot of industry people who rave about it, while I stand there staring at it and try to figure out why I don’t get it. All the cool kids are loving it, why can’t I?! It’s a decent read, but I don’t think there is anything inherently unique or special about the story itself or the inclusion of recipes in storytelling. It all just comes across as fine.

Marvel teased REALM OF X #1 with a question: “Leaping straight from the astonishing events of this year's Hellfire Gala, the unlikely team of Magik, Mirage, Marrow, Dust and Typhoid Mary find themselves stranded in...Vanaheim?” That question mark is doing a lot of important work there. After reading this debut issue, I have some questions for the series. What’s the point? Who thought it made for a great concept? How many more issues are there going to be? Why? Torunn Grønbekk’s story is completely lifeless. Aside from Magik and Dani Moonstar, we really haven’t spent much time with any of the book’s other mutants (Morrow, Dust, Typhoid Mary, and Curse) in recent titles, so some character build-up would have been nice. Instead, much Grønbekk’s dialogue is centered on shallow banter that fails to elevate any character. Even worse, Magik has become completely neutered of a personality. She’s lost her powers here, we get it. It’s not the first time that’s happened to her and it’s never stopped her personality from continuing to shine. Grønbekk succeeded in making mutants seem uncool. The story leans heavily into the Vanaheim prophecy that foresaw the team’s arrival at the expense of building any palpable tension. We also get a big bad “reveal” at the end that was entirely predictable and repetitive from other recent storylines. I won’t spoil who it is here. All I’ll say is that I find it hard to believe this character will introduce any new story elements that make this book a must-read. I also struggled with some of the book’s illustrations by Diógenes Neves. Characters’ faces often felt awkward and unnatural. The Venir people inhabiting Vanaheim looked like generic viking people and there wasn’t much world-building being done visually to make up for the lack of world-building done by Grønbekk’s story. Rain Beredo’s colors are distinct when given the chance in certain scenes, but much of the book is plagued by a bland color palette. I guess that’s a perfect complement to the bland story? One issue down and this book already is veering towards the worst parts of Excalibur and Knights of X. It’s a shame that Magik and Dani are being wasted in this title when their powers/personalities could have played really well in Fall of X’s main books. Rating: 3/10

We get a time jump from the first issue and it really feels like we’re missing some pivotal bits of information that could better support characters’ actions and behaviors. This issue gives Saturnyne more of a spotlight but we have no real clue what she wants with Curse. The core group feels completely disjointed and incapable of working together. Magik is a shell of herself and is always drawn with a weird shadow around her eyes which is distracting. Torunn Grønbekk has really missed an opportunity to better utilize underrated characters. In addition to the weird shadows used on Magik’s face, Diogenes Neves also has an “interesting” approach to character designs to say the least and even the action sequences come across half-baked or dumbed down. This series is really struggling to keep my attention.

I can’t review this issue without first mentioning how much of a negative experience it was to read this issue due to the art. I don’t know what Bruno Oliveira had in mind when deciding on some of the choices for character designs, but every character looked off and the cross-eyed, anime-style facial expressions actively took me out of the story, which I was already struggling to care about to begin with. To that end, Torunn Grønbekk has managed to make a team of interesting personalities utterly unlikable while simultaneously neutering Magik of any utility. The sequence of events with Magik finding Curse, who then turns on Saturnyne is ludicrous at best, and an afront to storytelling at worst. I have no clue where this is going with one issue left, nor do I particularly care at this point.

I haven’t been shy in my dislike of this miniseries. The story has been erratic and severely underdeveloped and the previous issue had some of the worst artwork I’ve seen in a comic book this year. With all that said, this finale was actually pretty decent compared the the rest of the series. It wasn’t great by any means but it was at least satisfying.

Much like RotPoX #1, I found a lot of the in-story explanation for what was happening to be mediocre at best. Its barely explained how Storm enters the Waiting Room (might be for the best), and then once she’s there, Tarn & Ashake basically inform us we’re in a world of magic and there are no real rules. It’s a bit of a lazy way to allow for this limited series to unfold, but I can’t blame Ewing as this wasn’t a story he came up with himself. This was all Marvel setting up the pieces for the post-Krakoa relaunch. Where Ewing’s fingerprints are evident is in the amazing character moments for Storm, who he had written better than nearly any writer in the character’s decades long history. Seriously, give Ewing a Storm solo series and we’ll likely get a masterpiece…an Immortal Storm treatment perhaps??? A guy can dream. The rules-less magical world did allow Luciano Vecchio and colorist @davcuriel to craft some truly jaw-dropping panels, particularly during Storm’s confrontation with Tarn. Paired with Ewing’s perfect writing for the character, every artist who has been paired with him throughout his time with Storm during the Krakoan era has done an amazing job visualizing Storm’s personality and power. Overall, the stakes in the first issue didn’t fell high as there’s almost no chance the series doesn’t end with Magneto and Storm back in the real world ahead of this summer’s relaunch, but that doesn’t mean we can’t savor the last few issues of Ewing’s time with the Goddess of weather.

The narrative delves into Magneto's internal struggles as he faces the consequences of his choices & past actions. Al Ewing masterfully crafts a monologue that lays bare Magneto's guilt & regret, reminding readers of the human cost of his actions. It was a touching & vulnerable look into the psyche of one of Marvel's most complex characters. I appreciated that Ewing doesn't attempt to erase Magneto's past transgressions. Instead, he encourages readers to understand the motivations that fueled Magneto's actions, even if they remain morally reprehensible. This nuanced approach allows for a more complete & sympathetic tone without condoning anything he's done. Luciano Vecchio utilizes hauntingly beautiful imagery to depict the emotional journey, creating a visual tapestry that brings Magneto's inner turmoil to life. And David Curiel & Jesus Aburtov implement a color palette to elevate the designs. The stunning swap from a dark wall of names Magneto condemned to death to a bright white wall of names saved by Magneto's choices was a triumph. Ewing is putting on a writing clinic with his work on Storm and Magneto in this mini so far. I can only hope Ewing sticks around for this Summer's X-Men relaunch because I can't think of a writer today who does such meticulous character work without weighing down a book with too many words or forced dialogue.

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.

I….didn’t love it. At this point the concept of Dominion feels so complex and convoluted that the writers are finding it harder and harder to talk about it in any way that makes sense. And then Sinister Prime randomly shows up after onnly being introduced as a concept to take control? he should’ve been introduced well before this to give us as readers any connection to the character. Nimrod becoming a further fluff character by joking and singing? No. Why can’t some villains be pure villains? Not every one of them has to have a campy, hardy-har-har side. While there was some visually stunning panels, there were also some really weird character designs (e.g. Omega Sentinel and Mystique’s smiles in the first few pages were SO jarring and felt out of character) that took me out of the moment. I’m not going to give up on the story at this point, but I certainly have my reservations on how this half of the event will play out.

Holy guacamole — @rbsilva_comics & @davcuriel achieved Dominionhood with the art in this issue! This may be one of the best looking books in the Fall of X era. So many amazing panels full of futuristic space-techno visuals. Stunning, stunning stuff. The story itself wasn’t as amazing and the pacing was slooooow. This was a lot of pages and words to accomplish very little. We basically get context to Dark X-Men and are reminded we still don’t know Xavier/Sinster’s final plan. Xavier’s proclamation that the X-Men don’t default to senseless murder only made Fall of the House of X #2 look even worse. However, he sees killing Moira as necessary but that’s a big philosophical question we’re going to see played out. Enigma is such a convoluted concept that shouldn’t have been left to explain in this final Krakoan salvo. I can’t knock Gillen for it because any writer would have to do backflips in order to keep the story accessible to readers and still make it make sense. The exposition is so dense and draws me out of the book. I’m also so over Mother Righteous and any scene involving her is something I wish I could glaze over. Overall this was much better than FotHoX 2 but it atill feels like a slog to get through and I can’t help but want to fast forward to the end already. This final arc hasn’t been great and I’m ready for a reset.

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.

**Joint review w/ Rise of the Powers of X #4** These two titles had so much overlap this week, it was impossible for me to write individual reviews. Both titles continue to suffer from an overload of dialogue & exposition, as Kieron Gillen tries to keep readers from getting lost in the (unnecessary) complexity of where this story has veered. Split across these two titles, each story is fragmented & incomplete on its own. Furthermore, the handling of Xavier’s character has been frustrating & yet Gullen seemingly does a bait and switch here. If you only read Rise, you’d continue to think he’s a complete monster. You NEED to read Forever in order to realize to understand the rationalization for his horrific decisions. And at this point, is Exodus’s plan, which will basically kill the majority of mutants in the White Hot Room, any worse? Yet nobody seems to question the philosophical grey area there. The only redeeming quality of these issues is the artwork by R.B. Silva in Rise & Luca Maresca in Forever. These were at least great issues to look at, but that’s about it.

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.

In full transparency, I backed the special edition of Sainted Love on Kickstarter back in June. At that point, I hadn’t yet read any of the issues but was intrigued by the concept and wanted to support a queer comic book story by queer creators. I also had the privilege of interviewing writer Steve Orlando about the project ahead of it’s debut. After reading the first issue of the periodical, the project doesn’t disappoint and leaves me intrigued to see what was left on the cutting room floor for the special edition. PUBLISHER’S PITCH New York City. 1907. Malcolm Irina is the greatest inventor the world's never heard of, and his lover, John Wolf, is the toughest bare-knuckle boxer in the city. Irina's crowning invention, the Chronocorridor, is nearly complete. He dreams of whisking himself and Wolf away to a time when they can live and love freely. But when crazed Detective Felt raids Irina's lab, the couple dive into the freshly powered up portal to escape capture. Steve Orlando (Eisner+GLAAD Nominated writer of Scarlet Witch, Spider-Man 2099, Wonder Woman) and Giopota (artist+creator of beloved webcomic Mothersea) hurl you across time with Irina and Wolf, as they encounter famous queer people throughout history and fight back against all who would see their names and love erased! REVIEW Orlando and Giopota succeed in building an unabashedly queer world. The duo has created a celebration of gay subculture across multiple eras without creating a sense of inaccurate historical acceptance. Even in the US in the year 2023, with an increasing number of hateful laws aimed at us, queer communities are forced to gather in the shadows, away from the general public, for fear of bigotry and violence. Sainted Love #1 takes places long before 2023 and the situation remains the same, yet we see that queer people exist and thrive in the face of whatever limits those in power try to put on it. I also loved that the main characters go against the traditional visual norms of how mainstream media would depict gay men in order to appease a fan case. While there are no ages given, Mac and Wolf appear to be in their 30s. They’ve got ample body hair, no six packs, and would be defined more as “gay fat” compared to the often-dangerously skinny physique of today’s stereotypical gay man. Shocker — gay men come in all shapes and sizes and we should all be allowed to be comfortable and happy in our own bodies. As someone who continues to fight body-image issues to try and keep up with what I think are today’s gay beauty standards, this hit hard and left me reflecting on why I can’t be happy no matter how I look. While I loved everything about what this book stands for, Orlando’s script felt forced with plot development being sacrificed for quippy dialogue at times. It’s not something new to Orlando’s work, with similar shortcomings occurring in his recent Marauders run and his current run on Astonishing Iceman. It never manifests as bad writing, but when it happens, it feels as though Orlando has a very specific line of dialogue he wants to include and the story bends over backwards to ensure it can be included. In between Mac and Wolf’s relationship, we’re given breadcrumbs about a mysterious and evil time-traveling organization (think the TVA from Loki) trying to root out queer communities. It’s an equally interesting plot that took a backseat to the celebration of queerness. When he leans in, Orlando is an amazing sci-fi comic writer and I hope to see this flex in future issues. Giopota’s art is not going to be for the overly prude at heart and I’m so here for it. There are NSFW scenes presented without verging into vulgar territory, at least in my opinion, but still depict two (or more!) men engaged in sexual activity. I thought it was done with care and respect for the characters involved and there are some fun details used to express emotion and motion that I absolutely adored. Giopota’s colors are equally vibrant and expressive that capture the essence of the book wonderfully. This was truly a visual delight of a book that requires the readers to be ok with seeing gay men being themselves. It doesn’t ask you to be, and it doesn’t need to. Major kudos to Giopota! FINAL VERDICT Sainted Love #1 is an extremely fun debut issue. It’s a celebration of queer love and a beacon of hope for what we wish to see accepted by society one day, though it won’t stop us if it’s not. This immediately feels like an important entry into queer literary culture. Beyond that, there is a fascinating time-travel chase waiting to be explored if Orlando is able to balance it with the queer love story he’s also telling. Giopota’s art will likely make this a must-read on it’s own. Also, major kudos to Vault Comics for giving this story a platform!

Innuendos from the first issue take a backseat for full-on NSFW sexual fantasies in this second issue from Steve Orlando and Giopota. Underneath all the gratuitousness, there’s a fascinating story shouting to get more attention. Orlando’s plot appears to be playing second-fiddle similar to how he’s handling Astonishing Iceman with his work on Marvel. The awkward time-jump happens in the blink of an eye and we completely blow past how John and Malcom helped established a new Oasis in a new timeline. I’ll never stop appreciating how unabashedly queer Orlando’s stories are, but characters often come across as one-dimensional vehicles for “shock” moments that do a disservice to any long-term growth. As a gay man, I wish there was a better balance here to keep readers coming back for something other than it’s a sex-positive queer comic.

We’re only 5 issues into Steve Orlando’s run on Scarlet Witch, but he has already shown a depth of knowledge around the character and has done well to avoid the pitfalls and tropes that many previous writers have succumbed to when writing about Wanda. Scarlet Witch Annual #1 continues that trend with an oversized issue full of charm, fun, and stage-setting for Marvel’s upcoming ‘Contest of Chaos’ crossover event. The issue begins with a short interaction between Wanda and Darcy, where Wanda explains how she traps evil doers in terrariums to keep them occupied and away from causing trouble. These two have more interactions together throughout the issue but this quick exchange is emblematic of how much I’m loving these two together. Darcy’s blissful bewilderment at what is “normal” for Wanda is so much fun without making the character appear to be totally unaware. For her part, Wanda is show as patient with Darcy and seems to be enjoying the mentorship role she’s adopted. We then jump to a scene where we see Agatha Harkness take out Necrodamus after he reveals his plans to attack Wanda due to her weakness after consuming the Darkhold and the spirit of Chthon — a sign of things to come for the rest of the issue. After Wanda returns to the Emporium from saving Dallas, Texas against Zzzax, we see that Agatha has been waiting around for a chance to meet her favorite pupil. As the two sit down to catch up, Darcy brings out a round of tea for the trio. Yes, we get a panel of Wanda & Agatha literally sipping tea! I don’t know if this was meant to be a thing but this gay man took it as one and it was wonderful. The conversation between between Wanda and Agatha plays out over the majority of the remaining pages. We learn Agatha has come to ensure Wanda is aware and ready to defend herself against the growing list of entities that are conspiring to challenge her for access to the Darkhold and to release Chthon. She reveals that she’s been playing protector and neutralizing threats to keep Wanda safe, but Wanda is adamant that she’s strong enough to fend off any enemy that comes her way. Unfortunately, she lets her guard down around her mentor and Agatha lets us know she’s poisoned the tea as a test of strength. Wanda survives and we get multiple pages of Wanda and Agatha fighting across various planes/worlds arguing over Wanda’s preparedness. The two come to a stalemate and reconcile with Agatha informing Wanda that she’ll always be looking out for her, except the final pages reveal that Agatha had her own selfish reasons for the visit and implanted a piece of herself within Wanda’s soul. The final page ends with Agatha reaching her “grail” and stealing the heart of Chthon! As I mentioned, I thoroughly enjoyed this issue and a lot of that has to do with Orlando’s ability to write these characters as everyday people. The conversations feel organic and believable. There are plenty of writers who have written magic-centric characters and overloaded the text with spells, incantations, and overwrought explanations on how/why things are happening. Orlando has shown he can talk about these topics without making the reader feel completely lost. After Russell Dauterman took on art from Sarah Pichelli for Scarlet Witch #5, we have another new artist for Scarlet Witch Annual #1. Carlos Nieto is relatively new to Marvel, having recently done his first work in Murderworld: Wolverine #1 earlier this year. His lines here don’t start too far from the previous work of Pichelli & Dauterman, allowing for a nice continuity across the issues. I particularly enjoyed his take on Agatha, who’s new look even Wanda compliments. VC’s Cory Petit is back on lettering and his work continues to shine, even with Nieto’s new art and Tríona Farrell’s first task at coloring for this series. Farrell chose a brilliant palette with vibrant colors that jump off the pages. The reds and purples that permeate the issue’s main friction between Wanda and Agatha is subdued but effective. Overall this was a great annual that didn’t completely remove the characters from the storylines of the on-going series. Was this likely just a way to set up ‘Contest of Chaos’ plot? Most likely. Does it live on it’s own as an enjoyable display of two of the MCU’s most popular characters? It sure does.

Jen’s back with one of her iconic monikers, but this new #1 is definitely a headscratcher. The creative team and timeline is the same, but as the editor’s note indicates, Marvel saw this as an opportunity to “capitalize” on the popularity of the run to draw in new readers. If that’s truly the case, Rainbow Rowell does a great job of catching new readers up on the current status quo without sacrificing the pacing of the issue. Rowell’s run on the character has been a refreshing update that keeps things consistent with Jen’s personality in her Disney+ series (which was many readers’ first exposure to the character and helped form what they’d expect going forward), while still giving the comic book version space to carve out her own place. That was abundantly clear in this debut issue and something that new readers will appreciate by staying invested in the story. Keeping readers could be hard with the supporting cast full of characters who previously would have been described as being on the periphery, at best. Yet Rowell’s writing is so approachable and welcoming that you can’t help but feel part of the adventure.

Jason Loo's writing is competent, but the story lacks much depth or complexity so far. The central mystery of random people gaining powers is intriguing, but it fails to fully engage the reader due to its reliance on familiar tropes, predictable plot points, and characters we know very little about. Similarly, the book’s visual identity also fails to make an impressions. Ben Harvey and Luigi Zagaria combine for servicible designs and colors but there’s nothing that makes the book standout. Overall this was a decent, if underwhelming debut issue.

I finally read the previous 5 SIKTC issues this week and can finally start reviewing the series as part of my regular reviews! Part of the reason I’ve lapsed on keeping up is the Tribulation arc hasn’t been my favorite of the three stories to date and I was waiting for the next TPB to come out. I figured I’d give the arc another shot after seeing James Tynion IV at Flame Con this past weekend. Things picked up around issue #26 when Erica and Cutter crossed paths, but this arc is still suffering from drawn-out pacing that is weighing down what used to be an exciting weekly read. That’s not to say that Tynion isn’t writing some really good dialogue for characters or that there isn’t anything interesting happen, it’s just taking wayyyyy too long to play out. Every time it feels like we’re gaining momentum on plot, we get an issue or two where the story is put on hold for character-building and that’s exactly what happens in SOMETHING IS KILLING THE CHILDREN #32. The flashback scene between Erica and Gary reveals a lot of interesting things around Cecilia & Jessica’s dynamics, but did we really need that now? I wish we got this much earlier in the arc, or even the previous arc, that laid the groundwork for future character decisions. Getting all of this backstory at this point feels like a lazy copout to explain actions that’s have already happen. It’s a plot device that Lost used a lot in it’s later seasons as a means of selling in decisions characters made that didn’t seem to go along with what they’ve did previously. The dialogue-heavy issue didn’t give the creative team a lot to work with. There’s only so many ways you can make a conversation between two people interesting. And even then, it was a pretty lackluster visual experience. Most SIKTC issues take place at night or in darker settings where shadows are natural, but Werther Dell'Edera utilizes heavier shading than we’re used to seeing and it looked pretty awkward against the brighter than normal color palette used by Miquel Muerto for the daytime setting in this issue. I really hope we get back to focusing on the showdown between Erica and Cutter in the next issue. We have at least two more issues focused on this arc according to solicitations through October. Tynion has mentioned in the past that he sees these arcs lasting 10-15 issues each, so we should be reaching the end in the not too distant future. It still feels like there’s a lot to cover before we reach a resolution, which makes me worry that things will be rushed but Tynion has shown he doesn’t need much to jump right back into monster slaying. Rating: 6/10

Can we get this story moving along? Is Tynion and/or BOOM! milking this series for all it's worth at this point? Every issues feels like a laborious side quest that adds a new wrinkly without ever getting us closer to a conclusion. Hopefully the Tribulation arc reads better as a trade collection because reading it month-to-month is painstakingly frustrating. What saved this issue somewhat is that at least the artistic team had more to work with compared to the previous issue.

This is hands-down the most frustratingly drawn-out arc in SIKTC’s history. It feels like we’ve been witnessing Erica’s plan to deal with Cutter and the Duplicitype for months with little payoffs so far. Looking back on recent issues, every solicitation starting with SIKTC #26 mentions some form of Erica in some form of danger due to one or both of these threats in some capacity. That’s NINE issues of the same thing being teased and the status quo not really changing dramatically. With so little to do, this once visually-daring title is reduced to dull panels of individual characters without anything going on in them. To say I’m over this Tribulation arc would be an understatement and I’m getting to the point where I don’t know how much longer I can recommend this series as a must-read. James Tynion IV has so many other projects in some stage of publication that it appears this series is no longer getting as much of his attention as it previously did. Perhaps it’s best for Erica to hang up her mask.

Well, it took a loooong time but we’re finally done with the Tribulation story arc. Was the juice worth the squeeze? I’m not so sure. There was a lot of build-up to this final showdown between Cutter and Erica and it felt anti-climactic even with the “shock” ending. James Tynion has a lot of other stories going on at the moment and I really fear for the quality of this series going forward.

I actually liked the story itself, but the issue felt like intended specifically for fellow comic book creators and the old guard of comic book review sites who bend over backwards to applaud creators no matter wha, in order to keep their connections. The book came off as self-flattering and self-indulgent in its execution. At the end of the day this was a cookie-cutter “women who were seen as rebels or untowardly were considered witches” story done in (extremely beautiful) high-brow artistry. Yes, this was visually appealing (Tula Lotay’s dream sequences are breathtaking), but I’m sure there will be certain reviewers who fall over themselves gushing about this issue in an effort to win brownie points with the big-name creators associated with the publisher. However, I would be shocked if this was a hit outside the comic industry’s inner-circle.

Aside from Tula Lotay’s haunting artistry, I find it hard to get wrapped up in the story. It’s a run of the mill witch trial tale with a lot of demon sex scenes. I don’t dislike it because of the sex scenes, I dislike it because the story isn’t very interesting.

As a kid of the 90’s, my first (& only) exposure to Space Ghost was through the Cartoon Network series Space Ghost: Coast to Coast. My parents told me that it was a far cry from the Space Ghost they grew up with, but I was never introduced further to the character they remembered. So I was super excited to see the character getting a new series from Dynamite which would pay homage to the classic Hannah-Barbera version of Space Ghost I had heard so much about. I was also pumped to hear David Pepose was attached to it, as I loved his recent Punisher miniseries at Marvel. This first issue exceeded my expectations in every way possible, packing it’s 20+ pages with action, intrigue, suspense, & heart. Pepose's was a perfect choice for this story as his writing is so accessible to readers like me, who may not be familiar with this version of Space Ghost. Some of my favorite parts of the book were his dialogue for Jan & Jace, the adolescent siblings I wasn’t expected to love as much as I Pepose made me. The art by Jonathan Lau & colors by Andrew Dalhouse perfectly capture the space epic tone, offering just enough elements to give the book a touch of nostalgia without making you feel like you're picking up a 50-year old comic book. I loved the details for character designs & facial expressions, particularly the adorable Blip, and the action sequences leap off the pages. Taylor Esposito's top-notch lettering adds depth & polish to the visuals for a complete package. Space Ghost #1 is a thrilling revival for a classic character, offering a fresh start while honoring the original spirit. I finally feel like I understand what my parents were talking about all those years ago & I can’t wait to share this with them.

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.

I can only imagine what toxic Spider-Man social media is going to say about this issue, but for me it hit every note I was hoping for in Bailey Briggs’ debut solo series. Dan Slott’s script perfectly executes Bailey’s introduction by providing initial answers as to why nobody remembers him and how he got his powers. The script is chock full of campy humor that is so much fun. I don’t know how much of a shelf-life this character or the current story have to sustain over the long-haul, but if anyone has it in them to produce consistently entertaining Spiderverse stories, it’s Slott.

This issue delivers a lighthearted adventure that further establishes Spider-Boy's place in the Marvel Universe while throwing in a classic team-up and villain cameos for good measure. The pairing of Bailey and Captain America offers a fun dynamic, with the former’s youthful enthusiasm contrasting nicely with the latter’s seasoned leadership. Dan Slott writes their banter with wit and charm, making their interactions a highlight of the issue. What really sets this issue apart is the campy holiday-themed backup story featuring the conclusion to Bailey and Squirrel Girl’s battle against giant balloons. None other than Santa Claus comes in to help save the day with one of the funniest pages I can remember. I was literally lol-ing at the exchange of Christmas dad-jokes coming out of Santa’s mouth. Slott continues to infuse Bailey with a ton of heart and it makes this series feel so fresh and innocent.

Spider-Boy continues to be a low-stakes affair with a lot of heart. It was great to see Peter, Miles and Bailey all interacting with one another, even if Peter continues to seem quite out of character with how he talks down to Bailey. I’m glad we got to see the twist revealed at the end of this story without the question mark being dragged through multiple issues. It offers an interesting new dynamic to the plot that was starting to get a tad repetitive. I’d like to see Bailey start spreading his own wings and not needing to rely on Spider-Man to keep things going. I also need to call out the AMAZING knock on the Fast & Furious franchise. That may have been one of my favorite sequences in any comic book this week.

Concluding the ‘Maxed Out’ story arc, SPIDER-MAN #10 hits shelves this week from Dan Slott, with Christos Gage, and art by Mark Bagley, with John Dell & Andrew Hennessy. The issue, much like the three-issue arc, was heavy on entertainment, nostalgia, and visual delight, even if it was low in stakes. We also get more Spider-Boy, which all just feels like a giant tease (which makes sense given the character wasn’t created with his own series in mind!) until we can see him star in his own series later this year. The issue picks up with Spider-Man and Electro locked in battle, with Spider-Boy joining the fight and helping to save the day. Peter’s spider-sense continues to cause problems and Norman deals with his own frustrations for his part in the process. After initially being the darling of comic book social media, I’ve started to see some pushback against Spider-Boy for taking over much of the focus for this series but I’m still a big fan. We’re starting to get breadcrumbs and his feelings of loneliness & despair make him an instantly sympathetic character. For me, he’s still aiding in Peter’s own character portrayal in this series — highlighting Peter’s unflinching willingness to help out the little guy. Slott and Gage continue to show why they’ve become Spider-Man staples and Bagley’s artwork is impeccable from start to finish. His attention to detail in even the most minuscule background visual is truly a sight to behold. The slight design & coloring contrast of Spider-Boy compared to Spider-Man & Electro is a smart way to indicate the bridge to a new character. Rating: 7/10

Less of a tie-in to the Gang War event as the other two tie-ins this week, Steve Foxe’s story focuses more on Jessica Drew’s lingering storyline around her missing child (lots of similarity to Mystique’s story) and her own personal vendetta against Diamondback. Something felt very off about Foxe’s writing for Jessica, perhaps I’ve just reached my fill of Marvel moms running around crying for their children. It reduces these characters to grieving mothers and limits them from any further layers of complexity. Let’s hope Foxe can get a better grasp on Jessica’s voice give his lead on her ongoing series after this event ends. #JusticeforJessica

I enjoyed the second chapter from Steve Foxe much more than the debut issue. Jessica’s personality felt a lot more consistent with her previous appearances and her missing child wasn’t the focal point of her story. While it’s an important aspect of her current motivations, the first issue made her out to be a woman who was only defning herself as a mother. Here we see her impressive espionage abilities on full display. It’s all complimented by artist Carola Borelli and colorist Arif Prianto who deliver an impressive visualization of her combat skills during a confrontation with HYDRA. I’m really excited to see where this goes!

Steve Foxe’s initial arc for Jess has had its ups and downs. It’s been good when Jess has been kicking butt, but has struggled when her entire personality is confined to her being an emotional mother. I don’t like that she is reduced to a blubbering female who is only defined by her motherhood. With Gang War wrapping up, I’m willing to give this run a few more issues to move onto bigger and better storylines for Jess, but the rope is short.

The main question presented in the issue, and the crux of the plot that will run throughout the 5-month event, is what happens when something infiltrates and corrupts the galaxy’s network of droids? These lovable and often forgotten technological miracles are the one constant throughout the Star Wars universe. No matter if you’re a member of the Rebel Alliance, an ardent supporter of the Galactic Empire, or someone in between, you’re likely reliant on a droid to contribute to some aspect of your daily life. To set the stage, the story begins with a look at a variety of ways droids are used across the galaxy, from sparring dummies to lifesaving medics. We then meet a medallion-like sentient object that has plans of grandeur and who lets us know that it’s hungry. Hungry for what? We’ll soon find out! During a post-battle cleanup mission for the Galactic Empire, an unknowing KX-series security droid comes across the medallion and picks it up, thinking it's part of the debris. The KX droid becomes patient zero as the medallion bonds itself with the droid and claims it’s first victim. Upon returning to the Star Destroyer, the infected droid spreads the corruption throughout the other droids on the ship, causing them all to initiate a coup against the humans onboard. Before the scene changes, we see an uncorrupted mouse droid sending out a distress signal to warn others. The recipients turn out to be a religious society of self-aware (or “enlightened” as they call it) droids known as the Colony of the Second Revolution. They view this issue as an affront to their own values and begin preparations to stop the spread. The final scene is a look at members of the Rebel Alliance planning their next move through the eyes of an unknown droid who has also become corrupted. It turns out to be everyone’s favorite golden sidekick…C-3PO! Charles Soule’s strong writing allows the different plot points throughout the book to seamlessly integrate with each other even when they don’t directly tie together. The voice and tone he’s given to the sentient droids is eerie and feels like it belongs in an episode of Black Mirror. Even in a story about droids, the art by Luke Ross and colors by Alex Sinclair elicit a degree of tensity that books focused on humans sometimes struggle to convey. Ross and Sinclair use heavy shading and shadows to create a sense of horror as you realize the machines have taken control. Sinclair’s choice of colors aids in this as greens, purples, and greys permeate the pages where tension is at highest. STAR WARS: DARK DROIDS #1 is a textbook example of what an event kick-off issue should be — entertaining on it’s own, while laying the foundation for an overarching plot than can be continued and expanded upon in other titles. In this one issue, the creative team is able to build stakes that already feels insurmountable and make a story about droids feel entirely human. Rating: 9/10

Star Wars: Tales from the Death Star is a new graphic novel that will be released by Dark Horse Comics on October 17th. The publisher provided me and advance copy for review. The book features five short stories, all from writer Cavan Scott, set on the Death Star — one of the most recognizable ships in the vast Star Wars universe. Each story is told from the perspective of a different character with some tie to the Death Star. The stories range in tone, but they all provide a unique and fascinating look at this seminal location with stunning visuals from a cadre of all-star comic book artists: Soo Lee, Vincenzo Riccardi, Fico Ossio, Ingo Römling, and Juan Samu. One of the things that sets Star Wars: Tales from the Death Star apart from other Star Wars comic adaptations is its focus on the everyday lives of the people who live, work, and are held prisoner on the Death Star. Scott’s quickly introduce these characters which enables readers to instantly make connections thus allowing tension to build and stakes to raise without things feeling inconsequential. Like the tone of the stories themselves, the art by individual artists, along with colors by Sebastian Cheng and Candice Han, gives each story a distinct look and visual identity. One of the highlights for me was Vincenzo Riccardi’s take on the story, “The Creature from the Trash Compactor.” Panels jump from the page with a detailed and brilliant sense of chaos that perfectly complemented the suspenseful tale of a mysterious horror lurking in the dark. Riccardi also wows with several full-page panels, including one featuring a zoomed-out view of the titular Death Star. Overall, Star Wars: Tales from the Death Star is a must-read for any Star Wars fan, especially those with a soft spot for the Empire. It's a fresh and exciting take on the Death Star, and it features some of the most unique art in Star Wars comics that I've seen in a long time.

The subtitle for this issue is “Punked” and I feel like I’ve been punk’d with this series so far. I didn’t sugarcoat my dislike of the first issue in this limited series and I won’t sugarcoat anything for Storm #2 either. I need to say this…I’m not quite sure how this series was allowed to happened. We’re 2 of 5 issues in (that’s 40% of the total story) and it has been a complete character assassination of Storm so far. Storm #2 continues the theme of characters behaving unnaturally, from both the way we’d expect certain characters to behave today and the way characters behaved during the time period this story is set. There’s no better example than the depiction of Kitty Pride. She isn’t just a naive teenager, she’s a one-note, pettish child. Storm & Kitty have a long and complex relationship and the dynamic between the two characters so far in this series feels completely fabricated. Storm’s character assassination continues with her lack of self-confidence when dealing with issues related to controlling her powers. The doubts sowed in issue #1 continue to run deep here and see Storm accept that she’s broken because a brand-new love interest convinces her? Are we really to believe that Storm would just accept this fact and not do something about it? Not a lightning bolt chance in a thunderstorm. Sid Kotian’s art doesn’t save the book at all either. Somehow, the lines are as inconsistent as the characters’ actions. It is trying to play as an homage to the late 80’s style that was standard during the time period this story is set, but the hard-lines feel like an overly abrasive approach when we’re dealing with abrasive personalities we can’t relate to. I’m not sure if this is the story that write Ann Nocenti wanted to write or if she was writing it at the direction of a higher power, but someone should be have to answer for what Marvel is doing to this beloved character. Rating: 3/10

Mariko Tamaki’s return to writing for Supergirl is an excellent character analysis that makes you wish DC would give Kara Zor-El the same type of push as any of Superman or Batman’s male sidekicks. Tamaki’s story is deeply personal and touches on many of the internal struggles Kara has dealt with over the past few years, mostly due to her being used as plot device to move other characters’ stories forward, on top of the struggles she’s dealt with as one of the few survivors of Krypton on an alien world. Skylar Patridge’s art and Marissa Louise’s colors are a perfect match for the moody tone of the book, with muted pastels helping to create a visually compelling look into the world of Kara’s psyche. Hopefully this can be a springboard for a character who deserves more (and better).

I can’t believe its already been 10 years, but Dan Slott & Christos Gage are back with a Superior Spider-Man tale in this special one-shot ahead of a new ongoing series next month. It took a few pages to find its footing but this felt like a reunion with an old friend after years apart. Slott, Gage, and the art team consisting of Ryan Stegman, Giuseppe Camuncoli, Humberto Ramos, and Mark Bagley turn this one-shot into a wonderful dose of nostalgia. Not sure I buy the new villain just yet, but we’ll see how the new series develops that character further. One thing continues to be clear — Slott and Gage are two of the best Spider-Man scribes around.

Maybe it's the lingering bad aftertaste of Knight Terrors, but I thought the issue didn’t capture the momentum of the series after its extended hiatus. DC’s summer event derailed many Dawn of DC titles and it’s a shame it impacted the Man of Steel’s title negatively. Was it the nightmare he was forced to endure that causes Superman to make some out-of-character and bad choices? Or was it a plot device to get us to the reveal towards the end of the book? It felt lazy and took me out of the issue. I also didn’t buy the new baddie revealed at the end and hope that Williamson can course correct soon. The series started off so strong and I’d hate to see this falter.

Superman #11 delivers an exciting and action-packed adventure this week! While the name on the cover may say Superman, the issue is primarily focused on the Luthors (Lex, Lena, and Leticia) and Pharm & Graft’s attack on Supercorp. I wasn’t initially sold on Williamson introducing Leticia and Lena to the series, but I really like how he played with their dynamics here (especially Leticia’s reveal!) and am interested to see how far he goes integrating these characters moving forward. Lena seems like she may be quite integral to however this arc concludes and I’m really interested to see what Williamson has planned for her. However, I’m still not sold on Graft and Pharm as big bads. So far they’ve been pretty generic, one-note villains who always seem to have the upper hand thanks to plot armor. The newest layer of their plan, which acts as the issue’s cliffhanger, sets up the latest debate on whether not Lex can/should be forgiven and redeemed which has been a core question in Williamson’s run so far. I lean towards no, but mostly because I wish some villains could just stay villains. Not everyone needs to be redeemed! But is that what we’re going to find out when all is said and done?? We’ll see! I really loved Baldeon’s art in this issue, particularly the action sequences throughout the second half of the book. The color palette employed by Rex Lokus is vibrant and engaging. It uses bold colors to emphasize the action and I loved the look of the different colored Kryptonite crystals being used as claws.

This was a satisfying conclusion to the first major arc of Joshua Williamson’s run. The issue neatly ties up the major loose threads left dangling, leaving us w/ a sense of closure while teasing us with the next major arc on the final page. Williamson deserves credit for crafting a succinct and suspenseful finale. The story focuses on the conclusion to Superman & Lex’s confrontation w/ Graft, Pharm, & Lex’s mom. We see Lex grapple w/ the choice of defeat his mother or saving the millions of lives. With a little nudging from Superman, he chooses what’s best for the greater good. Thankfully, the resolution avoids an outright redemption moment for Lex. Instead, Superman acknowledges Lex’s aid while recognizing his inherent duplicity. It’s a complex character development for both characters by the end. One minor disappointment is the lack of Lex’s daughter in this issue. Her intro hinted at a potentially interesting/larger role, & I would love to see her return in future storylines. David Baldeón, Norm Rapmund, & Rex Lokus put together a visual treat. The action sequences are crisp and clear, with vibrant color palettes that make panels pop. Particularly impressive were the designs for the armored suits worn by Superman, Lex, & Lex’s mom – truly cool looks! Looking ahead, the solicitation for the upcoming “House of Braniac” arc teased on the last page definitely piques my interest. The prospect of a Braniac-centric arc playing out across both Superman and Action Comics is intriguing, and I’m eager to see how Williamson tackles this level of big bad, especially since I never bought Pharm & Graft as major threats.

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.

Is a comic still a Superman comic if it hardly features Superman? That’s the question I found myself asking throughout Joshua Williamson’s SUPERMAN ANNUAL 2023 #1. The issue reads more like a Daily Planet annual with a heavy focus on Lois Lane’s new role as Editor-in-Chief and a day in the life of the paper’s editorial staff, including Jimmy Olsen, Cat Grant, and the Lombard siblings. With the bite-sized views into so many Daily Planet employees, the issue reminded me of The Simpsons’ Season 7 episode “22 Short Films About Springfield.” Whether it’s Jimmy and Lisa Lombard interviewing Mercy Graves on her history, Cat striking a partnership with Marilyn Moonlight during a ride-along with Chief Kekoa, or Lois finding common ground with Livewire, Williamson’s micro-character moments offer a glimpse of what’s in store for the future of his run on Superman as each scene feels intended and not just included as filler. It all builds up to Williamson’s reveal of Braniac as a big-bad in waiting on the final page. Just when we’ll see Braniac in the ongoing series remains to be scene, but it’s clear that Williamson is using this annual to lay breadcrumbs that may take time to become fully realized. With a writer as smart and capable of balancing pacing across a prolonged period of time as Williamson, I’m excited to see how these storylines all eventually play out. The issue also include a wonderful mix of artistic approaches from it’s cadre of superstar artists: Mahmud Asrar, Edwin Galmon, Caitlin Yarsky, Max Raynor, and Jack Herbert. It was surprising to see Jamal Campbell absent from the annual after stellar work on the series so far, but the issue hardly suffered with Campbell’s absence. Each artist gets to shine in individual stories and is aided by bold, stunning colors from Dave McCraig and Alex Guimarãres, in addition to Galmon also providing color work, throughout the book. One thing I did want to mention related to this issue is the truly bizarre timing of it’s release. I have no idea why DC thought it was a good idea to release an annual for one of their most popular superheroes during their “Knight Terrors” event when almost every other major title has taken a two-month hiatus. Superman himself is caught up in the event’s plot and the stories in this annual are happening completely separate from it. Not the end of the world in the grand scheme of things, but a real head-scratcher considering how poorly “Knight Terrors” seems to be unfolding. Rating: 7/10

This issue is comprised of 3 mini-stories meant to provide insights on how the current Brainiac storyline is playing out across parts of the DC Universe we haven’t seen yet. Superman scribe Joshua Williamson helms the 1st & 3rd stories & writes them as if they’re part of Brainiac’s mission log. The 1st story provides background on the villain’s past conquests on Krypton & Czarnia, giving readers some more explanation of why Lobo is involved. The 3rd story sheds more light on how Amanda Waller fits into Brainiac’s plans. It was easily my least favorite of the 3. Neither of these stories was groundbreaking or felt like they’ll have major payoffs later on, acting more as fillers for some event-specific world building. Mark Russell joins the fray for the middle story & focuses on Perry White’s struggling mayoral campaign. This one gets an outsized amount of pages compared to Williamson’s, and it’s a not-so-subtle metaphor for the US’s current state of political discourse, using the anti-Supers fever spreading through Metropolis as a stand-in for the rise in hatred against almost any minority group over the past few years. This isn’t anything new for comics, though Russell executes it well here. Even though the 3 stories weren’t home runs, the art teams nailed the visuals throughout the entire book. Artists Edwin Galmon, Steve Pugh, & Fico Ossio, & colorists Jordie Bellaire & Rex Lokus bring a level of life to all three stories that the scripts alone couldn’t achieve & deserve a lot of credit for making this book worthwhile. Overall, this was a fine, if unspectacular addition to the House of Brainiac arc. The main story has been great enough so far that I’m not mad that this was a short distraction, but I can defnitely say I’m ready to get back into the main plot.

W. Maxwell Prince’s ICE CREAM MAN and HAHA are two of my favorite comics of the past few years, so hearing that he was working on another anthology series with Image Comics had me very excited. Learning more about SWAN SONGS along the way, from the concept about one-off stories of all different types of endings to the rotating cast of all-star artists — including Martin Simmonds on the debut issue, only increased my anticipation. SWAN SONGS #1 quickly raises the stakes with two types of very personal endings that many of us fear — a son watching his elderly mother slowly dying due to illness while while simultaneously dealing with the quickly approaching end of the world due to a nuclear holocaust. The son acts as the narrator throughout the story and most of the emotional weight of the story comes via his inner monologue where he replays conversations between him and his (now dead) therapist. We develop an appreciation for his dedication to his sick mother and witness his devotion to her as he traverses a pre-apocalyptic fallen city to find one last issue of her favorite magazine to read to her before she passes and/or the world ends, whichever might come first. Prince’s writing is meaty without being heavy. Throughout so much of his work, he’s able to create an emotional connection for readers without ever diving too deeply into any specific character. It’s truly a skill to be able to write anthology stories and quickly establish characters and situations which deliver these types of emotional gut punches. None of his stories tend to have true heroes, the characters are everyday people who could be our neighbors, our family members, or some random stranger we pass by in our daily lives. I think that is what makes his stories even more personal. In any story, I could be the main character. This isn’t the issue for someone who prefers clean lines or well-defined backgrounds. Simmonds’ artwork is characteristically abstract. It works beautifully in here as we’re witnessing an intensely chaotic environment. There is no longer structure in the world or in our narrator’s life and that is perfectly visualized by Simmonds. I particularly enjoyed the design of the trio of end-times nihilists that appear throughout the story as a foil to our narrator. I do wish we spent more time with the narrator and his mother as I felt that relationship was slightly underdeveloped, but overall I thought SWAN SONGS #1 was a strong introduction to the new world that Prince is building for this miniseries. He was smart to use this specific story for the debut issue given how consequential the story was and it’ll be interesting to see if the remaining stories can match the same levels. Rating: 8/10

The original Last Ronin run captivated readers w/ its dark & gritty story of Michelangelo, the last remaining Turtle, fought for revenge in a dystopian future while dealing w/ some serious PTSD over his lost brothers. Now, the long-awaited sequel picks up 15 years later, introducing a new generation of heroes & showing us just how far NYC has fallen. The oppressive rule of the Foot Clan is gone, but the power vacuum has been filled by rival gangs, each vying for control & plunging the city deeper into chaos. Casey Marie Jones, now a seasoned leader, trains the new generation of turtles: Yi, Odyn, Moja, & Uno. These young turtles have some interesting dynamics, but are not yet to fully developed as individuals by the end of this first issue. They feel like background characters compared to Casey, who grapples with the weight of the past, the uncertainty of the future, and the difficult position of being a leader on a losing side. There are major cracks in her ranks & we see that April remains her biggest supporter & one of the few who she can show any shred of vulnerability to. The issue is packed with action and it all looks great visually. The opening sequence plays like a great action movie& the scenes with the new turtles traversing the city is a fun sequence of panels. One of the highlights though are the panels detailing the quick history of the first Last Ronin series which serves as a great recap for readers who may be new to this world. TMNT The Last Ronin Re-evolution #1 is a satisfying opening chapter that sets the stage for a new saga, though I’d be lying if I said there wasn’t something missing. I applaud the attempt to introduce new characters, but it’s hard to fully capture the magic of TMNT without any of the OG turtles involved. I trust this team so I’m willing to bet we’re in for a great ride when all is said & done. I was just expecting a bit more given how much of an instant classic the Last Ronin was.

For a series barring the Mad Titan’s name, the debut issue severely lacked his’ presence. Instead we get a long introduction to a new female character who has some sort of tie to Thanos — enough so that he carves out the city of Fresno and lifts it into space in search for her. She’s met by the new lineup of Illimunati, who we’re informed has somehow warped her memory to hide who she truly is. There was nothing inherently bad about Chris Cantewell’s script, but the script introducing a brand new character verged on boring. It takes nearly 2/3 of the book to get even a semblance of what might be happening and by there is not a lot to get excited about ahead of the next issue. This may end up being an interesting story, but it may be one I save for the trades.

Brian Azzarello & Eduardo Risso, the team behind the award-winning 100 BULLETS, are back w/ a vengeance in this new DSTLRY series, spinning out of the team’s short story Deleted Scene #2 from The Devil’s Cut last year. On the first page, we’re told that this debut issue was going to be a backstory. Azzarello's script wastes no time crafting a despicable antagonist in Carter, whose heinous actions will leave you seething with rage. Carter & his gang of outlaws’ utter disregard for human life, Grade-A misogyny, and horrific cruelty to animals makes them instantly hateable to an almost over-the-top degree. Carter’s reprehensible actions drive the plot, setting the stage for a thrilling series of revenge as the Blood Brothers will ultimately set out to try & save their mother, Anna, who has been kidnapped by Carter. It turns out Anna is Carter’s ex, who had the “audacity” to marry a different man while he was doing time in a Mexican prison. Toxic masculinity much? Risso's artwork is a stunning complement to Azzarello's script, perfectly capturing the Western theme with gorgeous watercolors on every page. While some character designs were slightly indistinguishable at times, it never detracted from the immersive atmosphere and environment Risso is creating. The visuals are a perfect blend of gritty designs & pops of color, drawing you in and refusing to let go. Overall, The Blood Brothers Mother #1 is a gripping and intense start that isn’t for the feint of heart. Even though my blood was boiling with each new action Carter took, I couldn’t put this story down. My only complaint is that there isn’t a ton of focus on the Blood Brothers themselves, so it will be interesting to see how much character development Azzarello puts into the next issue while still moving the plot along.

In between her stops at Marvel (Captain Marvel) & DC (Birds of Prey), Kelly Thompson has somehow found time to write The Cull, a 5-issue sci-fi horror series from Image Comics. Joining Thompson are Mattie De Iulis on art and colors and Hassan Otsmane-Elhaou handling lettering. The series kicks off this week with the release of THE CULL #1. The issue is HEAVY on (really good) character development without any real plot development. The character Lux gets a few scenes of brilliant character building, one driven completely by the art and the other through a dialogue where we learn she’s dealing with an abusive adult male figure and an alcoholic mother. Other characters are also given complex backstories. However, if you take away two gorgeous full-page panels in this first issue, you’d be hard pressed to come away knowing that this was a sci-fi horror series. You know a group of teens are heading out at night to explore an area near the beach for unknown reasons and stumble upon something out of the ordinary they weren’t expecting. The slow pacing would be fine if this was an ongoing series, but we only have 4 issues left! I will never doubt Thompson’s ability to tell a story after her awesome on Hawkeye, Black Widow, and Captain Marvel. The different with those is that they all had at least 15 issues for her to develop characters, build a world, and flex her writing muscles. De Iulis’ art is so distinctive and so beautiful. The visuals look like they’re pulled straight from a high-budget animated movie. Simply stunning in every regard. One of my favorite panels was when one of the characters tripped while walking through the tide causing a splash. The detail on the water is so impressive that it looks real. Getting back to the two panels I mentioned previously. They’re brief but whoa baby do they give you a tease that there’s a really interesting and visually pleasing story waiting to be told. The first panel appears very early in the book as a flash-forward that shows you the horror that awaits our characters and reminded me of a scene out of the movie Cloverfield. The other panel occurs at the very end as our characters stumble upon an alternate dimension hidden deep inside a cave they find. We get a wide-screen shot of a bright pink ecological-fantasy world that appears enticing, yet we know what trouble is likely lurking within thanks to the other panel. It’s these two panels that have me dying to know what comes next. Rating: 7/10

After the debut issue set up an interesting concept and did a lot of character development, THE CULL #2 finds our characters exploring the new world they’ve stumbled upon, meeting new species, and making some questionable decisions. PUBLISHER’S PITCH Cleo's confession elicits more fear than anger from the group, and everyone sticks together into the great unknown. Sentient mushrooms for everyone! REVIEW Kelly Thompson carries the momentum created by her first issue and gives us a closer look at the mystery and wonder of this new world. Where she focused the previous issue on developing individual characters, she spends this issue looking at group dynamics and how they are handling the uncertainty of their current situation. We get to see some characters take on leadership roles, most notably Cleo, as they decide to keep going forward and exploring this new land. After seeing some strange new species and wondering whether or not they’re in a parallel universe they’ll ever escape, the group decides to…split up to use the rest room? Every horror movie fan knows you don’t split up. I was shouting at the pages during these scenes, just waiting for something bad to happen. Instead, we get two intimate moments with two sets of characters. Kaite and Cleo share an emotional moment before making out, while Lux and Will have full blown sex in the middle of the sci-fi jungle. Keeping with the horror theme, my mind immediately went to the scene in The Cabin in the Woods where we find out the characters were being influenced to act stupidly and get their freak on in order to make their eventual deaths easier. I’m hoping that’s similar to what happens here because these scenes felt really off from the rest of the book’s tone. I loved Mattia De Iulis’ art in the first issue but had a more varied reaction to it in this issue. On the positive, the depth and details in the visuals for this mysterious environment and it’s inhabitants are breathtaking and the color palette to to match is perfect. The human character designs in this issue felt off compared to the first book. I’m not sure if that was intended, given the new world warping things, but there were certain panels where a character’s face looked AI generated. FINAL VERDICT With only three issues left, there’s still a long way to go from where we are to where things end based on the teaser in the first issue. Hopefully Thompson won’t have to rush the plot along to get use from point A to point B because I find her character work (minus the random hookups in this issue) to be strong, though I am really interested to see the world start falling apart. I worry we’re about to get a lot thrown at us in a short amount of time or be left with a major cliffhanger. RATING: 6/10

This issue finally starts to deliver on what’s happening within this fantastical universe our main characters stumbled up and how it all ties to the first couple of pages that were teased in the debut issue. The characters are still making some of the worst horror-trope decisions possible to move the plot along, but their individual moments of gaining new powers is a sight to see. Nothing feels new or unique about the story still, but the art by Mattia De Iulis is what really separates this book from anything with a similar plot that it may be compared to.

The first issue of this mini really drew me in with the promise of a Stranger Things meets Annihilation meets Cloverfield sci-fi horror story, but by the end of this week's finale issue I was left with a feeling of an unfulfilled promise. 5 issues IS NOT a lot of time to tell a story and I give Kelly Thompson a lot of credit for introducing some really fascinating concepts within this short frame of time, I just wish she had more space to flesh some of these ideas out and give them space to breath. I feel like we never really got a chance to live with this new world the main characters discovered or time to see how their new powers not only impacted their individual character developments, but the group dynamic as whole. This final issue sees our crew in final battle with the monster teased in Issue #1. The fight looks beautiful thanks to De Iulis (whose art in this series has been a revelation), but it all feels a tad too rushed. Powers are kind of just summoned and shared between characters without much context. The cliffhanger ending was frustrating and it will be made even more so if there is truly the last time we spend in this universe. Why we can't have straightforward, hard endings to some miniseries is beyond me, but I blame the publisher for that decision more than I do the creative team.

After a wildly captivating debut issue, James Tynion IV’s and Joshua Hixson’s The Deviant #2 puts the brakes on the horror and dives deep into exploring the series’ two main characters. Without the eerie backdrop of the haunting murderer looming, the issue’s overall ability to capture my attention was lacking comparatively. Some of Tynion’s dialogue came off heavy-handed and pedantic, especially during Michael and Randall’s jailyard 5-page long conversation. There’s something very-off about Michael, keeping him from being a main character we root for, and I wouldn’t be shocked to see him somehow involved with the current timeline’s murders. What didn’t disappoint this issue was Hixson’s art, which continued to be a visual delight. I love how quickly Hixson can shift from a bright, cheerful palette to dark and gritty without ever giving the read whiplash. His crime scene pages are some of the best things about this book so far.

Another issue away from the main plot with more background being filled in for some of our secondary characters. Tynion’s writing is pushing a narrative hard and not letting the story take shape on its own. He’s definitely not using subtlty to let readers make connections in their heads, he’s telling us everything he wants us to take away and leaving no room for interpretation. I’d probably be leaving this for the traders if it weren’t for Joshua Hixson’s art and Hassan Otsmane-Elhaou’s lettering knocking it out of the park every issue.

This oversized first issue to the new series from Andy Samberg, Joe Trohman, and Rick Remender may have been better served with a traditional comic-book length. The extra twenty or so pages weren’t used to effectively and it resulted in an extremely drawn out opening that became a chore to get through before the story felt like it was hitting its groove. The dialogue was also full of poorly executed humor which felt outdated and unnatural. The interactions between Levi, the main character, and the small-town bumpkins verged on cringe-worthy and not just because of how antisemitic they were, but just how forced the writing came across. Some of the brighter moments occurred during the heartfelt, yet subdued reunion between Levi and his father. Hopefully Remender can reign in what seems to be the unrefined writing instincts of Samberg and Trohman in future issues to allow a more nuanced and subtle approach allow the seriousness of the topics at hand to be more of the focus.

This week saw the release of an exciting new series, THE HUNGER AND THE DUSK from IDW Publishing and the creative minds of G. Willow Wilson and Chris Wildgoose. IDW teased the series as a “high fantasy tour de force” and based on this first issue that may prove to be an understatement! We open with a short prequel story with a trio of orc scouts are observing a human village from afar when two young boys find them and race back to their village to alert the townsfolk. The villagers prepare to fight back should the orcs invade, but we see the orcs get ambushed by an unknown entity. In this opening salvo, Wilson lays the foundation for the story’s main tension between humans and orcs, the last two remaining species, and establishes the unknown beings as a major threat to both. We then fast forward several years to the main story, where we see the two races coming together to form an unlikely and shaky alliance against the same otherworldly threat from year’s past, but which are now called The Vangol. We learn that their attacks became more frequent and directed during the years we skip, but Willow continues a superb job keeping readers feeling up to speed throughout the entire book. In addition to crafting a captivating plot, including a battle scene that will keep you at the edge of your seat, Willow develops character who are immediately endearing and nuanced. Fantasy stories are often allegories for much more realistic problems facing societies and there are shades of that here, though they are subtle and could easily be mistaken for fantasy lore. The hatred between the humans and orcs resembles much of the racial tension facing the United States and the looming threat from a mysterious enemy could go all sorts of directions. I’m very interested to see how Wilson fleshes this villains out and whether or not they will be used to resemble a specific real-world issue. In addition to the story, the artwork is a perfect visualization of the fantasy genre. I felt like I was watching a comic book adaptation of recent animated fantasy television shows such as Dragon Prince, Vox Machina, or Arcane. All three were visually beautiful and Wildgoose’s art, along with colors by Msassyk and Diana Sousa and lettering by Simon Bowland, were on par with all of them. Scenes were brought to life with vibrant colors and backgrounds, character designs were complex and detailed, and motion and magic were captured with a whimsical grace you’d expect in any good fantasy story. THE HUNGER AND THE DUSK #1 is instantly one of my favorite debuts of 2023. The entire book feels effortless. Willow isn’t new to writing top-notch stories, but this feels like a coup for IDW. I have already seen others make references to Lord of the Rings, Dungeons and Dragons, Game of Thrones, and other massively popular quest-based fantasy franchises in their reviews based off this first issue and while I may not go that far, yet — I’d like to see this level of craftsmanship play out over a few issues — I can understand the reasoning. The genre is expertly realized, the creative team is at the top of their respective game, and the world being built feels ripe for expansion beyond the planned 16 issues. Dare I say it…this book feels fantastical. Rating: 10/10

Back in July I gave the debut issue of G. Willow Wilson’s new series a perfect rating and THE HUNGER AND THE DUSK #2 shows no signs of slowing down. Wilson is flexing her ability to build a new world rich in lore that would make any fan of Dungeons and Dragons squeal with glee. Paired with Chris Wildgoose’s art and Msassyk’s colors, this series is offering a delightful and easily accessible entry into the high-fantasy genre. Where the first issue established the current state of affairs in the series’ world, this issue starts to focus on building up characters and introducing more interpersonal dynamics between our two main couples — Tara Icemaen & Callum Battlechild and Troth Icemane & Faran Stoneback. The issue is split into two storylines as we follow each couple on their own journeys together and witness them learning about each other along with the readers. Wilson allows each of these four characters room to blossom and we learn more about them and their worldviews. Both couples aren’t just learning about each other as individuals, they’re also learning the customs of their respective people in two different ways. Coming from two different species, Tara and Callum appear to have the biggest gap between them. Tara, an orc healer, learns more about the customs of the Last Men Standing, while Callum realizes they’ve both been cast out by people meant to protect them. Troth and Faran may both be orcs, but their people have wildly different customs and they deal with the open acknowledgement that their marriage isn’t what either of them wanted. It’s impressive to see how quickly Wilson was able to make readers invested in these characters and create such complex and dynamic relationships that feel entirely real and valid. Msassyk’s colors creates two distinct environments for the dual storyIines. Tara and Callum’s story is soaked in bright, warm colors contrasted against darker, cooler colors that permeate Troth and Faran’s story. Wildgoose employs gorgeous clean lines throughout both stories, but plays with spacings, angles, and gutters to differentiate between dramatic dialogue and action-heavy scenes. This is wonderfully realized when Troth and Faran battle giant white wolves during their wedding hunt. Here, Wildgoose mixes in a variety of panel sizes and angles, without gutters, to create a sense of tension and chaos that fit the scene well. THE HUNGER AND THE DUSK #2 is another perfect blend of rich storytelling with eye-catching visuals from a top-notch creative team that transports readers directly into a new world and allows them to feel fully immersed in the book’s surroundings. Whether it’s Wilson’s deeply personal writing that makes you think you’re overhearing a conversation between two characters or Wildgoose and Msassyk’s vibrant artistry that brings every scene to life, you don’t feel like you’re reading a story, you feel like you’re smack dab in it. Rating: 10/10

It isn’t fair how good G. Willow Wilson’s THE HUNGER AND THE DUSK has been. There is so much drama and tension, so many complex characters, and such a rich world building being done it’s practically incompatible that this is a brand new series. Wilson’s story is matched only by the immaculate designs on the page from artist Chris Wildgood and colorist Msassyk. It will be a crime if this doesn’t get turned into a hit TV show. This continues to be one of my top new series of 2023 and if you’re not reading this series, you’re missing out on an epic adventure.

G. Willow Wilson and Christian Wildgoose deliver another captivating entry in this surprise-hit, post-apocalyptic fantasy series. This issue masterfully balances moments of quiet introspection with character development, offering a direct look into who these characters have become. Wilson deftly navigates the complex political landscape and interpersonal relationships of the human and orc communities. The dialogue is sharp and insightful, revealing inner struggles and motivations. This continues to be one of my favorite books of 2023.

Cullen Bunn tries to juggle multiple plotlines and character arcs in this concluding(?) issue to what has been, up to this point, a fun take on classic Universal Monster stories. The pace is SO brisk, throwing the group into one perilous situation after another, that you may suffer whiplash before you even understand what’s happening. While it took the first two issues to set up the plot, it felt like this final issue could have been at least two or three issues itself. Brian Hurtt's art continued to be a wonderful treat, bringing the monsters to life with great detail, making them truly terrifying in a comic book way that combines horror with more rounded lines evoking classic comic strips. Did Bunn expect to have longer to tell his story? I wish he did, because this was an action-packed cluster of an ending that didn’t feel like the conclusion the promise of Bunn’s vision deserved.

Previewed by James Tynion IV via his Substack back in February 2022 and initially running as a digital comic via that same platform, THE ODDLY PEDESTRIAN LIFE OF CHRISTOPHER CHAOS #1 finally hit shelves this week from Dark Horse Comics after months of anticipation. The excitement (and advanced orders) grew so much that the publisher announced a 2nd printing of the first issue and an upgrade from limited series to ongoing series before the series even debuted. That’s a lot of faith to put into a new series and a big ask for the first issue to deliver the goods. And deliver it did! The first issue is a collaboration between Tynion, writer Tate Brombal, artist Isaac Goodhart, colorist Miquel Muerto, and letterer Aditya Bidikar. It’s a masterful combination of queer love, sci-fi horror, and young adult angst all wrapped up in beautiful illustrations that come to life on every page. It’s hard for me to choose just which part of this comic book was my favorite, so please bear with me as I fanboy for a bit… The combination of Goodhart, Muerto, and Bidikar is a stroke of genius. Everything works from a visual perspective from start to finish. The team has crafted a brilliant approach to make Christoper Chaos’ design unique and contrasting to everyone and everything else around him and every detail aids in building a world where Christopher feels like an “other” compared to the world around him. Muerto’s colors especially standout in several panels with bright palettes of yellows, blues, pinks and reds being used for emphasis to great effect. While the art could stand on it’s own, it is combined with one of the most poignant and evocative writing displays of 2023. Brombal’s story cuts deep and you are immediately pulled into the mindset of a teenager who feels alone, scared, and unsure of who he is — something we can all likely relate to in some capacity. While Christopher has many things that set him apart, including being queer, the driving force of the narrative is his desire to hide special abilities that he’s had for birth. The metaphor between living a reclusive life with hidden secretes due to these powers and being a queer person in a heteronormative world is obvious, though it’s done in a subtle and respectful way. Brombal forces you to feel the weight of what Christopher is dealing with throughout the issue. For a character who feels like he is so different, the only thing odd about Christopher is just how relatable he is to anyone who has ever felt like they don’t belong. Having queer characters deal with issues beyond their queerness isn’t anything new to comics, yet the world that the creative team is building feels entirely new. After reading this issue, it’s clear why Dark Horse felt confident investing in this series for the long haul. Everyone involved has crafted a story that is set up to explore countless possibilities while providing a truly human look at what it means to be different. Rating: 10/10

Tate Brombal’s sci-fi horror series picks back up this week in THE ODDLY PEDESTRIAN LIFE OF CHRISTOPHER CHAOS #3 from Dark Horse Comics. Brombal continues to craft the perfect blend of teenage angst, fantastical action, and monster lore which, when combined, unassumingly holds a mirror to our own world’s inability to accept those who are different from us. This issue follows the trend of peeling back more layers on what’s actually happening in New Briar City with a look at Viv’s background and a lot more revealed on the “bleached assholes” from Helwing Corps. Brombal’s writing continues to hit heavy without feeling verbose. He’s easily able to capture the essence of teenage drama with quippy word play that keeps characters from being one-dimensional caricatures. The issue’s main story unfolds as an alternate reality version of The Breakfast Club which was a brilliant way for Christopher, Dracula Boy, and Viv to establish a bond for future issues. Viv also gets more backstory through extended solo-panels and we learn that she’s dealing with the burden of her family moving on without her. The trio’s dynamics feel natural and exude a sense of heart that none of them feel comfortable outwardly showing. We’re witnessing teenagers explore serious topics — identity, self-worth, love, etc. — that even adults struggle to understand and act upon. There’s a heart-warming moment when, caught in a life-or-death situation, Christopher pronounces that Dracula Boy and Viv are his friends in front of them. I loved that there wasn’t a prolonged conversation or response to it, it was kind of just acknowledged and then they realized there were more important things going on. Yet it shows that Christopher is finally letting people into his life and that he’s willing to do things to protect them. The deeper dive into the Helwing Corps came across clunky compared to the effortless storytelling display elsewhere in the book. It was apparent that Brombal has bigger plans for the villainous organization and is trying to provide breadcrumbs without giving away their full story just yet. Dialogue and visual cues indicate the organization is part of a long-line of religious monster hunters, but there is enough unanswered questions that point to more. How are they involved with ghost-like entities that can apparate and how are they so closely connected to people in power in New Briar City? We want to know! Artist Isaac Goodhart and colorist Miquel Muerto complement Brombal’s story with more deliciously vibrant visuals throughout the issue. I love the details they are adding to the world-building. They’re able to make even the most innocuous background setting feel like something is just not quite right. Goodhart’s designs offer a Saturday-morning cartoon mixed with Japanese horror anime vibe that allows visual jump-scare moments to land thrillingly. Muerto’s colors throughout the first two issues were mostly bold, vibrant palettes and those are still on display in this issue. However, Muerto also uses ample amounts of white during several scenes to effectively create an ominously sterile environment as we explore the inside of Helwing Corps. I loved the visualization of Viv’s powers manifesting during the issue’s final confrontation. This series continues to surprise and delight me with just how well it delivers on it’s promise. The writing is top notch, the art is fantastic, and you can tell there’s a long-term vision behind every little piece of new information we get each issue. I’m enjoying the special attention that individual characters are getting as Brombal expands this world, though I would love to see more Christopher in each issue. Dracula Boy and Viv have large personalities that can dwarf Christopher’s. There’s a moment in the issue where Brombal teases growth for Christopher’s own self-worth, but we quickly see that it was only in his own mind. It was a tad disappointing since Christopher’s POV is so crucial to elevating the story beyond the traditional outcast-as-a-monster metaphor though I understand he can’t become a new person overnight. With that said, I’m eager to see more growth from Christopher and how each issue’s POV/narration-sharing is split up once all of the main characters are introduced. This team has earned the right to take their time with this series and I’m completely along for the ride. Rating: 9/10

In the latest issue of Tiny Onion’s teenage monster mash, we see more of the new character revealed last issue, Adam Frankenstein, and spend more time inside the evil Helwing Corps. Tate Brombal continues to tease us with a drip, drip, drip of plot points that expand the world without providing the full scope of what Christopher and his friends are up against. After taking a back seat to Jordi and Viv the past two issues, Christopher gets a bit more focus in this issue though it still feels like it’s been a long time since he’s received significant character development. The book is being carried by Brombal’s engaging dialogue and endearing characters, artist Isaac Goodhart’s top notch designs, and colorist Miquel Muerto’s vibrant palettes, but at some point answers will need to be revealed to make the reader’s investment in future issues worthwhile.

We pick up almost immediately after the end of the previous issue, with Christopher and his crew holed up in an ancient church, staring down the dual threat of the local (dirty) cops and the full-force of the Helwing corporation. Our main characters aren’t just navigating the world of monsterkind anymore; they’re facing it head-on. My only complaint with this issue is that it felt like we could have gotten even more than we did. Events unfold so quickly that some of the developments felt like they weren’t completely fleshed out. While the issue is full of action, we also see some of the best character growth for Christopher since the first issue. He’s fallen into the background in a couple issues as he’s surrounded by characters with much louder personalities, yet he finally finds his voice and exudes a new sense of confidence here. His vulnerability and self-doubt have always felt genuine, but his newly discovered determination to fight for himself and others is such a joy to see. Witnessing his emotional growth adds depth and resonance to the thrilling action happening around him. Tate Brombal’s script reads crisp and easy even at a breakneck speed and Isaac Goodhart’s art visually crafts an epic, high-stakes showdown which perfectly closes out this introductory arc. Miquel Muerto’s color have been a bright (pun fully intended) spot throughout this entire series and they are yet again some of the best parts of the book. Goodhart’s designs are brought to life in such vivid and vibrant colors thanks to Muerto’s palette. And, of course, the lettering work is flawless thanks to the always-amazing work by letter extraordinaire Aditya Bidikar. Overall, Christopher Chaos #6 is not only an excellent concluding chapter to the series’ first arc, it’s a game-changer as well. It not only expands the world-building but also offers an intriguing epilogue which hints at a grander conspiracy we’ll begin to explore in the next arc which kicks off next month. If you haven’t had a chance to dive into this first phase, the first six issues will be collected in The Oddly Pedestrian Life of Christopher Chaos Vol 1, which hits shelves May 22, 2024.

I was a little worried when it was announced we’d be getting a two-part story arc that had nothing to do with the main story so soon into the series’ run but boy did Tate Brombal prove me wrong. This first half of a two-part deep dive into Adam Frankenstein’s past was one of the most beautiful pieces of comic book storytelling that I’ve ever read. This issue was a love-story told on multiple levels under the guise of Adam writing an autobiographical account of his life. The first layer of the love story we see is the relationship between Adam and his creator, Victor Frankenstein. As Victor helps Adam with his first breath, guest artist Soo Lee captures in a way that makes the reader wonder if they’re really witnessing a tender kiss between two lovers. Brombal continues the double entendre with Adam writing about learning how to live from his creator in prose that would make the most lovestruck Shakespearean character jealous. That touching story is only surpassed by the next we see, the history of Victor and his best-friend turned lover, Henry. We see this relationship play out over the course of several years, culminating in a gruesome act of love committed by Victor which ties the two stories together. Main series artist Isaac Goodhart’s visual identity for Christopher Chaos is one of the defining aspects of the series, yet Lee’s designs may have been the perfect artistic choice for this backstory. Her heavy lines kept a semblence of Goodhart’s style intact, while her use of shadows and more angular, sketch-like quality to characters and background environments evoked a sense of an older timeline being told through someone’s memory. Patricio Delpeche’s palette complimented this well with a more muted tone compared to the usual bubblegum bright colors from Miquel Muerto. Delpeche also let colors bleed outside of their lines, adding to Lee’s approach of using visual cues to let readers know that we’re not currently in the present. Overall this was issue blew me away. It was so well crafted and dealt with different relationships in beautiful ways, while paying homage to the monster we all know from Mary Shelley’s literary classic and giving us more background on the version of the monster we’ve come to love in this series. I’m excited for the next main arc to start in issue #9, but I can’t wait to see how this mini-arc wraps up in the next issue!

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!

Detective Ari Nasser is on the cusp of retirement when a brutal murder rocks Neo Novena. The victim bears the chilling signature of the "One Hand Killer," a notorious criminal Ari put away twice before. But the killer shouldn't be possible. This throws Ari back into the shadows, determined to unravel the truth and confront the demons of his past. Ram V's plot is intriguing, leaving you guessing what's happening and wanting to find out more — about the current crime, the past crimes, and Ari himself. It's a really wonderful set up for a debut issue by Ram V. The glimpses of Neo Novena's dystopian society are intriguing, with hints of social unrest and a looming sense of unease. The world feels lived-in and ripe for further exploration. The art style perfectly complements this, with stark contrasts and expressive character designs. The rain-soaked streets, neon lights, and oppressive cityscape create a truly immersive and evocative neo-noir atmosphere. This was a very strong #1 that sets the tone for a suspenseful and thought-provoking story, which is actually told via two minis, this & THE SIX FINGERS by @danpgwatters. While the pacing Ram employs may be slow for some, the world-building and character potential are undeniable. I'm very interested to see how these two stories play out separately and then looked at together.

“And what are you, then?” A question posed to Oswald Cobblepot, a.k.a. The Penguin, during an interrogation scene in THE PENGUIN #1 and the central question author Tom King seeks to explore in a strong debut for the new series highlighting one of Batman’s most iconic villains. King uses the POV from a variety of characters — a tailor, his enamored wife, an obnoxious customer, a federal agent, and a caped crusader — to introduce Oswald’s new life in Metropolis after faking his death and being forced out of Gotham by his usurping children. By all accounts he’s a changed man — a passive demeanor, putting others ahead of himself, and leaving his past criminal life behind him. But what King does so effectively is keeping readers off-balance by never letting you know what’s going on in Oswald’s mind. Did he truly changed or has he fooled them all? It’s not until King has lead the reader along a good chunk of the issue do we finally get a glimpse of Oswald’s mindset and it’s done entirely through the impressive work of Rafael de Latorre’s art, Marcelo Maiolo’s color, and Clayton Cowles’ lettering. It’s a masterful use of unreliable narration and subterfuge you’d find in the best novels. The standout work by de Latorre, Maiolo, and Cowles isn’t reserved just for the climax though. The issue oozes with visual nuances that complement the “is-he-or-isn’t-he” tone of the book. De Latorre’s designs and bodily mannerisms for Oswald show an older, oafish man from afar, but his facial expressions show there’s something not quite right. Maiolo’s colors use muted tones to great impact and sprinkle in pops of color for dramatic effect. As King’s story reaches a crescendo, Maiolo matches it with an inverse color scheme that emphasizes the action on the page. With so many POV’s appearing throughout the book and King’s story requiring a lot of exposition and dialogue, Cowles’ approach to lettering is the unsung hero of the book. King’s meticulous writing looks gorgeous thanks to Cowles and it allows readers to seamlessly follow along as POVs switch. THE PENGUIN #1 has King’s fingerprints all over it and I’m fully bought in. Fans of his previous work, including the recent HUMAN TARGET series, will likely find this instantly relatable even if they aren’t huge Batman fans and Batman fans will enjoy this unique view on a classic character. The flash-forward tease King dangles at the beginning and end of the story also offers a hook to draw readers in. Rating: 9/10

A collection of A-List creative talent returns (pun intended) for five short stories featuring characters they wrote for during the “Return of Superman” era. This is a wonderful tribute to early 90s comics that is the perfect taste of nostalgia for those looking for a trip back to a simpler time. It’s an easy and exciting read that reminds readers how great this era looked on the page, but does little else to justify the $9.99 cover price.

This issue fell a tad flat after Rick Remender had done such an amazing job building tension towards the big payoff revealed in the previous issue. The title of the series was foreboding enough to indicate the excited revelry on display was a subterfuge, yet Remender’s story made you want to be wrong. Now that we know what’s happening, this issue took a pivot and mostly focused on those at the top of the food chain. That led to a big drop in the emotional weight that permeated the first three issues. The book’s ending implies we’re going to stay focused on the those in power and how their hubris may be their downfall. The opening panels featuring the pigeon family didn’t suffice either as the father’s breakdown felt unearned after he previously didn’t show any sense of grief or unease for his actions or what was expected of his family. I’m hoping we can get back to the emotion and tension of Issues #1-3, because this was a pretty standard read.

As we go deeper into the story and move further away from the initial mystery of the first few issues, it’s creeping into shock-porn territory where Rick Remender needs to keep one-upping himself in the “OMG” moments to prove this is a cruel and unforgiving world. I’m not sure what point Remender is trying to make that hasn’t already been implied throughout the previous four issues. It makes me sad, because I loved issues #1-3 and thought they were a true masterpiece in storytelling. Now it just feels like we’re getting beat over the head.

It took a good chunk of the debut issue to get things going, but once Corinna Bechko’s script gets going it reads like an episode of The Expanse (not a shock as Bechko has written stories in that universe!) mixed with Silo. I love both of those shows so this type of story is right up my alley. There are some interesting time jumps that occur in the latter half of the book and I’m interested to see if the rest of the series will fill in the gaps or if this issue was squarely meant to get us further along in the story. Danny Luckert’s designs are visually pleasing but I thought the color palette was too muted for this futuristic story set in space. I would have loved a bit more vibrancy to keep things interesting during some of the slower moments. Either way, I’m excited to see what comes next!

The general concept of the book remains intriguing and reads like a TV-show waiting to happen, but the execution was off. Even with it having been some time since I read the first issue for an advance review, it felt like the issue was missing a transition at the beginning to set up how the characters are depicted here. It almost read like a brand-new book in some regards and I missed the genuineness that was present in the first issue. I’m willing to give this another shot but I do hope we get a bit more of a linear story.

While the banter between the Peter & Miles is undeniably fun, this debut suffers from a lackluster plot and a very questionable narrative justification for why this series even exists. Greg Wesiman wrote some really fun dialogue between these two heroes. Their witty exchanges and friendly jabs provide a lighthearted tone and had me giggling most of the way, save for the slightly cringe talk of picking up girls in a college coffee shop. However, the story itself felt uninspired. The two decide to just “hang-out” once a week to chat? Ummm, ok. Can that reasoning really sustain an ongoing series? The issue’s conflict unfolds predictably, offering little in the way of surprises or tension. @ramosland’s art is undeniably energetic, with dynamic layouts and action sequences that leap of the page. His signature style perfectly captures the movement of the web-slinging heroes. However, the non-action sequences felt a bit boring. Overall, this was a fun but ultimately shallow team-up issue that feels like it could have happened in either of their own series. While the interactions between Peter and Miles are a delight, the lack of a compelling story and questionable thesis held this back for me, especially considering the awesome work Cody Ziglar is doing for Miles’ in his solo ongoing.

This year’s THOR ANNUAL #1 is out today by the writing duo of Collin Kelly and Jackson Lanzing and with art by Ibraim Roberson. Taking away nothing from their work on the main story, perhaps the most interesting part of this year’s annual is the sneak preview of August’s IMMORTAL THOR #1, a new ongoing series written by Al Ewing and with art by Martin Coccolo, that appears at the end of the book. I’ll get to that in a bit, but let’s get back to the main story. The entirety of the story is focused on an epic battle between Thor, the new All-Father, and M.Y.T.H.O.S. (Master of Yggdrasil, the Tyrant of Humanity, the Omnipotent Savior), a version of M.O.D.O.K. after he fused himself with the Bifrost to create an immensely powerful new being. I would have loved to see this story fleshed out over a few issues, but as an annual, it gets wrapped up in this self-contained story. We witness Thor fail in his attempt to defeat M.Y.T.H.O.S. multiple times, but true to form, refuses to give up as me measures himself against what his father would have done — definitely big on daddy issues that Thor is. The conclusion of the battle does feature a nice reflection from Thor that he can rule as the All-Father differently from his father and those differences can be a net positive. Kelly and Lanzing’s writing is primarily focused on Thor’s internal dialogue, which could be tough for an over-sized issue. However, the two give Thor a lot to chew on in his own mind and his inner conflict is palpable. Thor has matured over the years and this annual felt like another growth moment to set the stage for what will occur in IMMORTAL THOR. Roberson’s artwork is stunning, especially paired with the colors by Dan Brown. It’s hard to make the rainbow bridge looks bad, but these two artists beautifully depicted M.Y.T.H.O.S., the rainbow bridge, and the accompanying scenery. The slight, almost sketch-like line-work of the mind-wiped civilians was a triumph and aided in the world building of the reality M.Y.T.H.O.S. created. If I had to nitpick one complaint with the issue, it would be Joe Sabino’s lettering for the M.Y.T.H.O.S. text bubbles. It was a jarring font to read at times and was my lone criticism. The rest of the lettering throughout the book, especially the sound effects during the major battle scenes were superbly done. The IMMORTAL THOR preview looks awesome. I loved the colors, the character designs, and the story seems to be in perfect hands with Ewing. I have been an infrequent Thor reader of late but I am very much looking forward to this new series based on the few pages we’ve seen. Rating: 8/10

In true Thunderbolts fashion, the debut issue of the new series doesn’t take itself too seriously. There was a bit too much reliance on Bucky’s most recent stories from various Captain America storylines, which I think limits the first half of the book’s setup. However, once the issue picks up and Bucky assembles the new team, the back half presents a much more engaging and enjoyable read. With the entire team being quickly introduced in just this first issue, I hope we get to see some more character development and aren’t just witnessing a serial case-a-week situation moving forward. I can see that type of series getting old fast, so we’ll have to see how things transpire of the next few issues.

In what is very likely a shorter run than most were expecting, Tim Drake: Robin #10 closes the loop on what was one of the more highly anticipated Robin stories when the series premiered. Written by Meghan Fitzmartin and with art by Nikola Čižmešija, the issue delivers a riveting and satisfying conclusion to the captivating mystery that has been unfolding throughout the series. With its expertly crafted storytelling, emotional depth, and stunning artwork, this issue provides Tim Drake a worthy sendoff and sets the character up for potential future storylines. Fitzmartin expertly weaves together the threads of the narrative, providing answers to the lingering questions that were introduced all the way back in the debut issue, while introducing new layers of intrigue. The pacing is well-balanced, keeping readers engaged and the story draws readers deeper into Tim Drake's world. The emotional resonance of this issue is a standout feature. Fitzmartin delves into Tim and Bernard's characters, exploring vulnerabilities, fears, and growth as a couple and individuals. The emotional stakes are high and the character development is handled with care. The artwork in Tim Drake: Robin #10 is a visual treat courtesy of Čižmešija, who took over duties beginning in issue #8. The detailed illustrations and dynamic panel layouts bring the action to life. The fight sequences are kinetic and exhilarating, showcasing Tim's impressive skills and acrobatics. The colors add depth and mood to the artwork, capturing the gritty atmosphere of the story and highlighting key emotional beats. Tim Drake: Robin #10 is a triumphant finale to an enthralling series. Emotional writing, combined with stunning artwork from multiple artists across the series created a captivating reading experience. Tim Drake's journey as Robin is handled with care and respect, showcasing his growth and evolution as a character. It leaves readers with a sense of satisfaction while also leaving the door open for future adventures. Rating: 9/10

This issue is equal parts action, character development, and emotional notes. Taylor's writing is sharp and I'm glad to see that this issue didn't only focus on the two main Titans featured in the "Beast World" arc (Beast Boy and Raven). We get a good look at the full team and the fallout from "Beast World" hits the Titans HARD. Stephen Segovia's art is phenomenal, bringing the emotional depth and more action-forward moments to life in great fashion. Public opinion is turning against the team and the heroes themselves are fractured, struggling with their own post-event trauma and inner demons. Beast Boy's back, but dealing with the fallout from not knowing what he actually did or what happened to him. There is a really sad moment when he comes face-to-face with someone out in the field who has fully adopted the "Titans are BAD" propaganda. While I wasn't super pumped to see another "will Raven succumb to the dark side?" storyline, I have to admit I like how Taylor has his version of the story up. Overall, this issue leaves you ready for more, wondering if the team can overcome all the mounting challenges that now stand in their way and how they will stay united and come out on top. The stakes have definitely been raised in this new reality.

It’s hard to believe this is the first Teen Titans-led event in DC Comics’ history, but their lucky to have their first one in the hands of Tom Taylor, one of the best storytellers amongst DC’s active writer roster. Taylor has been building to this event throughout his run on the main TItans series and delivers a banger start to this highly-anticipated event which has been teased as having a lasting impact on the wider DC Comicverse, unlike the publisher’s painstakingly bad Knight Terrors event earlier this year. Taylor masterfully weaves together elements of humor, action, adventure, and emotional depth, creating a captivating narrative that will keep readers on the edge of their seats. His ability to capture distinct personalities for the various Titans shines through, adding a layer of relatability and charm to the story, and especially for Raven, Starfire and Beast Boy in this issue. With the fate of the world hanging in the balance, Beast Boy, the often overlooked and under-utilized Titan, steps up as the unlikely savior, harnessing his unique animal-morphing abilities to confront a formidable and fearsome foe. The artwork by Ivan Reis and Danny Miki and the colors by Brad Anderson are nothing short of stunning. Dynamic illustrations bring characters and action sequences to life, perfectly complementing Taylor's engaging storytelling during the most climactic pages. Panels are filled with energy and detail, immersing readers in the action throughout the issue. Titans: Beast World #1 is an exhilarating start to what has the making of a must-read crossover event. With vibrant artwork and a top-notch narrative, Taylor and team have set the stage for an epic adventure.

I can appreciate Daniel Warren Johnson’s new series for what it is and for the audiences who will likely love it, but this book is likely just not for me. As someone who isn’t a huge fan of the robots in disguise franchise or DWJ’s art style I feel like I’m reading something I don’t “get” and there aren’t many on-ramps for new fans to assimilate to what’s happening. It’s a lot of homages and nostalgic winks and nods best served for those already familiar with the established universe. The plot development comes across pretty elementary with heavy handed dialogue that belabors situations. I also find many of DWJ’s designs for individual Transformers to be far too similar to keep track of which Autobot or Decepticon I’m supposed to be following. I’m very happy for those who are loving this series so far though.

This young series made the rounds on multiple “Best of” 2023 lists after only three issues, yet Transformers #4 may be the best issue yet. I’m not ashamed to say that I haven’t loved this series as much as others have so far. Yes, it’s been a very well made comic book thanks to Johnson’s script and art, as well as Mike Spicer’s colors. But I chalk the limits of my love up to the lack of sentimentality I feel towards Transformers as franchise, having been born just too late for it to have been a staple of my childhood. But wow, this issue hit me hard. Daniel Warren Johnson got me all caught up in my feels and made me care so much about these darn robots, that jerk. This issue was dripping with emotional heft, with a severely damaged — emotionally and physically — Optimus Prime reminding everyone why he’s a respected leader by making truly heroic decisions. Johnson’s writing for the entire issue is superb, but Optimus’ scenes are especially meaty with a level of sincere poignancy that I have not yet felt in this series. I felt the weight saddling Optimus’ shoulders leading the Autobots. I felt his pain faced with the death of a potential friend. I felt it all. One of my favorite scenes involved Optimus making a small child’s day after obliging them with a transformation. Optimus wasn’t the only one to get some meaty scenes either. This is densely rich, heavy issue for all involved, even Sparkplug and Carly. If anything, the impact from this issue was the culmination of Johnson’s character-building, and the building of relationships between these characters, over the first three issues. If possible, Johnson may have pushed his art even further in this issue. Raw emotion is visible in characters’ faces which makes the words hit that much harder. One of my favorite panels in the issue sees Optimus watching on, helpless, as Spike’s condition deteriorates and the tension, heartache, and suspense is fully palpable. Another panel that made my jaw drop happens closer the end of the issue after Optimus finds a renewed sense of purpose and gears up for the fight ahead. In this panel we see Optimus with a brand new design that looks freaking AWESOME. And holy crap are the action scenes intense! Gosh, I’ve gotten this far and I can’t believe I haven’t mentioned the action yet. It goes to show you just how GREAT the quieter scenes were. Johnson gloriously choreographs clashes between the Autobots and Decepticons. This is seriously some of the best action in this series to date, in part because we only get one wrestling-inspired moment out of it (one of my least favorite parts of the past few issues). There are certain issues in every comic book series where you have an “aha” moment and fully realize a creators vision. I’m pretty Transformers #4 was that for me and I am now fully on board with where Johnson and Spicer are taking me. These characters are now ones I’m invested in emotionally and the stakes immediately feel raised. This was a payoff issue in the truest sense and we, as readers, hit the jackpot.

unnamed.jpg Is it me or does Daniel Warren Johnson’s TRANSFORMERS series keep getting better with each new issue? It took a bit for me to get situated in this new world but after the emotional weight of the previous issue, I was full bought into the new story and Optimus Prime’s place in it. With this week’s issue, Johnson shifts the tone from emotional gut punches to an all-out battle between the Autobots and the Decepticons as we start to understand the series’ larger conflict coming into focus. The issue was perfectly paced from the first page up until the last, with a steady stream of stakes being raised without ever feeling like things were rushed. That doesn’t mean I didn’t wish we got to see more (that just speaks to the awesome story Johnson is telling), but I definitely never felt cheated. Starscream may be the best antagonist in comics right now. There. I said it. The current Decepticon leader has been absolutely ruthless in his power grab with Megatron currently off the board (though he’s no longer MIA if you’ve been following along with other Energon Universe titles) and he’s been terrorizing the Autobots and humans alike every chance he gets. I appreciate that Johnson has been unforgiving in making him pure evil. With few exceptions, it’s felt like today’s writers seem to give every villain some amount of humor to keep things from getting too dark, but not so here. Starscream hasn’t been shown as a bumbling idiot or a sarcastic foil. He’s just bad. That’s it. A perfect villain. And it works even better when he’s juxtaposed against the way Johnson has been writing Optimus. In addition to an awesome script, Johnsons’ artwork and Mike Spicer’s colors may have had their best issue yet. Who knew robots could express so many emotions? Yet Johnson and Spicer continuously make us feel all the feels with their visuals. Optimus Prime’s gravitas oozed off the page as he brought Arcee forward to be brought back to life before he’d even think of getting his own wounds healed and I felt his fear when Carly was blown off the perch and nearly fell to her death. It didn’t stop at emotions, the action scenes were palpable too. You could feel the intensity of the battle and felt like you were right there in the moment. And holy crap, Optimus Prime’s new weapon in use is INSANE. This has quickly become one of my favorite current ongoing series and this issue only added to me wild excitement.

Turtle Bread: A Graphic Novel About Baking, Fitting In, and the Power of Friendship is a heartwarming and visually endearing tale that wonderfully captures the essence of personal growth, camaraderie, and the therapeutic magic of baking. Penned by Kim-Joy, known for her stint on the ninth season of Great British Bake-Off, this debut graphic novel introduces readers to Yan, a young adult navigating the treacherous waters of social anxiety in the UK. Originally released as a comiXology digital original back in May, the physical graphic novel hits shelves October 24th from Dark Horse Comics, who provided me with an advance copy for review. At its core, Turtle Bread is a story about finding yourself and your place in the world. Yan's all-too-real struggles with social anxiety are portrayed with sensitivity and authenticity, making her a character readers will not only root for, but also instantly associate with — especially those who have experienced anxiety in some form like myself. As Yan grapples with disappointing job interviews, puts up with a mother who minimizes her interests, and overthinks every human interaction, Yan's gradual transformation into a more confident individual is a journey that so many can relate to. The supporting cast of characters, which mainly revolves around Yan’s fellow Baking Club members, adds depth and diversity to the story. Amit's pun-filled humor, Zara's passion for science, Geraint's bakery expertise, and Bea's nurturing presence create a vibrant ensemble. While we get glimpses into their backgrounds and personal challenges, it's Bea, the club’s organizer, who emerges as the heart and soul of the group inside and outside of the club. If only we could all have a big hug and morning affirmation every single day from someone like Bea, we’d all have much better mental health. Throughout the book, the Baking Club's unwavering encouragement and enthusiasm for each other's endeavors are heartening to witness. The group rallies around one another multiple times and it’s a joy to see the family-like dynamic they build. Yan's realization that everyone wants to feel helpful and be helped is a poignant reminder of the importance of small acts of kindness. Alti Firmansyah's manga-style illustrations bring an extra layer of charm to the narrative, with expressive characters and dramatic moments that tug at the heartstrings. The choice to present the graphic novel in black and white is a nod to the classic manga style, and it works seamlessly with the story's themes. Firmansyah’s best work comes in the most emotional moments of the books, when characters’ facial expressions effortlessly convey raw emotion. It’s hard to believe that Turtle Bread is Kim-Joy’s first graphic novel. The pacing, structure, and script read as though a seasoned veteran was behind the pen. At the most basic human levels, it leaves readers with warm feelings and valuable life lessons that will resonate long after the final page is turned. Whether you're a Kim-Joy fan, baking enthusiast, or simply appreciate a heartwarming story, Turtle Bread is a delicious read that is sure to leave a lasting impression.

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.

Ultimate Invasion #1 is the start of a new event from Marvel Comics, written by Jonathan Hickman and illustrated by Bryan Hitch. The issue brings together the Illuminati, a group of Marvel's most powerful superheroes, to stop the Maker, a dark version of Reed Richards from the Ultimate Universe who played a pivotal role in the events leading to the destruction of that universe in the Secret Wars crossover event. It is a classic Hickman debut issue — little action, but tons of groundwork being laid for the future. We see the Maker break out of a top-secret prison and steal highly powerful weapons from each member of the Illuminati’s domain, causing the often controversial group to reconvene and address the situation. The Maker pays a visit to Miles Morales, who he asks to join him in returning to a universe of their own. After Miles declines, the Maker leaves to power up his new invention but not before the Illuminati track him down and attempt to stop him. The Maker reveals he’s been goading the group with clues so that they could find him and he could have one final conversation with Earth-616 Reed Richards. He then activates the machine he built and vanishes… In the issue’s epilogue, we see a familiar scene where a Earth-6160’s Peter Parker is about to be bit by a radioactive spider. Just as the spider is about to bite him and lead to his transformation into Spider-Man, a maskless Maker kills the spider. It’s here we realize that he is out to manipulate timelines and potentially remove superheroes from them altogether. The issue is full of slow-build suspense, and Hickman does a great job of setting up the conflict between the Maker and the Illuminati, especially Earth-616 Reed Richards. Every conversation felt like a drip, drip, drip of information I am going to need to retain. While I can understand how that may not be how some readers want to engage with a comic book, I appreciate how the effect paid off by the end of the issue and, if history is any indication on a Hickman run, it will likely have an even bigger payoff later on. The artwork by Hitch in this issue is equally as stunning, and he brings the characters to life. There is one full-page image at the end of the main story that I spent a lot of time with as Hitch’s work does an amazing job capturing a wider-range of reactions from individual members of the Illuminati. Black Panther’s eyes specifically still haunt me. It is wonderful to see Hitch back with the Ultimate Universe he helped to create. Overall, Ultimate Invasion #1 is a great start to the event. It's full of suspense and mystery, and it leaves readers wanting more even though there are no new characters introduced. Rating: 9/10

Jonathan Hickman & Bryan Hitch are back this week with the next chapter, ULTIMATE INVASION #2, in their new Ultimate Universe storyline after a strong start with the debut issue last month. We pick up after the events of that last issue, in a brand-new “utopian” society, Earth-6160, that has been crafted by the hand of the Maker. We go through several pages of flashbacks to see how he’s played god in this new world by pruning or neutralizing superheroes he deemed as a threat as means of ensuring his vision for a perfect society can come to fruition. A data page reveals just how far his actions have gone with a list of Earth-6160’s superheroes have been impacted by the Maker. He has left some on the table, or “controlled” as the data page indicates, as they have either capitulated to his views or are such an alternate version of their Earth-616 counterparts that they do not pose a threat to his plans. Several of them descend upon the Maker’s City as dignitaries for a political gathering of nation-states, including Howard Stark who operates as Iron Man in this universe. The festivities are interrupted when an army of time-traveling Marvel heroes from various universes unleash an attack to defeat the Maker. We flash-forward to after the attack and learn that the Maker survived. In addition, he rescued a badly injured Howard, who he attempts to convert to his cause via an act of universal time-travel genocide. The issue ends with the Maker revealing to Howard that he needs his help fixing an Immortus Engine because it turns out — Howard built it! It’s abundantly clear how much Hickman enjoys writing the Maker. Throughout both issues released so far, the character is given meaty dialogue/monologue scenes to share his twisted worldview. While I can’t say I agree with any of it, I love the way Hickman continues to show readers just how dangerous a brilliant mind can become when it’s corrupted by power. The art in this book is Hitchian through-and-through. His classic wide-angle shots are present throughout the book and are especially noticeable during the action scenes as they provide a cinematographic quality that is hard to match in comics. Hitch outdoes himself with a full panel showing the Maker revealing his political prisoners to Howard Stark. Hitch’s work is complemented by Alex Sinclair’s colors and Joe Caramagna’s lettering. A pale yellow tone soaks the Maker’s society, evoking a sense of gilded light shining down that isn’t everything it seems. One of the more impressive feats is by Caramagna, who manages to do a lot with a little. He resists the urge to fill panels with unnecessary text or sound effects in order to give Hickman’s dialogue and Hitch’s drawings the opportunity to shine. Since the end of this issue does mark the halfway point for this limited series, I do hope Hickman starts to transition into revealing more about the Maker’s plans and goals. With Marvel’s plans for this series to lay the groundwork for the return of the Ultimate universe, we’re getting dangerously close to that happening without an understanding as to why. However, as a standalone story, Ultimate Invasion appears on it’s way to being another Hickman classic. Rating: 8/10

It’s a shame that Ultimate Invasion is being overshadowed by the events unfolding in Fall of X and the new push for G.O.D.S., Jonathan Hickman’s next project, as the series is offering compelling questions that don’t have obvious answers. That’s exactly the case with this week’s ULTIMATE INVASION #3, which pulls the curtain back on The Maker’s carefully curated universe and we see the power structure controlling this new world order. To achieve a sense of world peace, we discover the individual regions have agreed to rotate which group is seen as evil in order to concentrate the world’s ire. With this set up, they are able to control their populations from realizing their own governments are evil and corrupt. That reveal offers an interesting moral & ethical question on how far should those with power should go to ensure a peaceful existence for their societies. However, in true Hickman fashion, an additional layer of subterfuge is apparent because the reader knows these new world leaders are really only doing The Maker’s bidding. Whatever power they think they wield is only really allowed by The Maker’s choosing. If he were to change his mind tomorrow, he could (and would) create an entirely different political structure. These dynamics unfold throughout the issue as Howard Stark, embodying the reader throughout the process, is brought into the inner circle of world leaders. He’s apprehensive as he learns more and we get some clues through a conversation between him and Tony, but Hickman doesn’t offer a clear indication as to what Howard plans to do with his new knowledge. As Tony pleads with him to bring down The Maker, Howard reminds him not to mistake “right and wrong for good and evil.” I actually prefer this approach as Howard’s perspective on the current situation is so fascinating and mimics the duality presented here. The issue’s epilogue revealing Kang as the mastermind behind the previous issue’s battle and The Maker’s main adversary was spoiled by an incorrect solicitation — the tease for this issue was actually meant for the next issue — so it didn’t carry the weight it was likely intended to. It’s a bit weird to see Kang playing this role here as he’s also playing a major role guiding the action in Jed MacKay’s Avengers run. We don’t know which version of Kang this is so there is time to explain that discrepancy. In contrast to the action scenes in the last issue, Bryan Hitch’s designs allow this issue to play out like an episode of a top-notch political thriller. Even though this issue is heavy on dialogue, Hitch and the rest of the art team, including inker Andrew Currie and colorist Alex Sinclair, keep you at the edge of your seat with their approaches. A variety of angles are included to reflect things being shaken up for Howard and make readers feel like they don’t have a solid grasp on what’s going on. Characters’ facial expressions are equal parts evocative and sinister. They also continue to utilize a yellow hue that acts as a metaphor for a shiny bright light trying to distract from what’s really happening. Joe Caramagna’s lettering work is put to the test on this dialogue-heavy issue and he handles it masterfully. For being the third part of a four-part series, ULTIMATE INVASION #3 feels like we’re only starting to understand the premise of Jonathan Hickman’s plans for an Ultimate Universe reset. With only the finale to go, this issue left me with the feeling that we’ll get one of two endings: we’re either heading for an extremely rushed conclusion that’s a let down or we won’t be getting much of a conclusion at all and these four issues will have served more as a launching point for other stories rather than being a self-contained one in and of itself. I’m hoping for the later, but with so much else going on at Marvel, I’m worried it’ll be the former. Rating: 8/10

Jonathan Hickman wraps up his four-part launch of the new Ultimate Universe with a fascinating exploration of this universe’s Howard Stark and what it means to be an autonomous individual. His decision to take matters into his own hands and his decisions have a seismic impact that will undoubtedly cause ripples yet to be seen. Hickman also does a phenomenal job developing this Reed Richards as a sympathetic and enigmatic figure who will like play a major role moving forward, as evident by the discovery he and Tony Stark, who dons the Iron Lad moniker, make at the end of the issue. This was the perfect conclusion to the initial story Hickman set out to tell, though I’m not sure where things go from here. The only series which will take place in the new Ultimate Universe and that’s currently announced is Hickman’s Ultimate Spider-Man, which wasn’t set up at all. As a whole, this miniseries has been a quintessential Hickman story and it’s a shame Marvel didn’t put more marketing effort behind it.

YES! Jonathan Hickman’s debut issue of the first on-going series in Marvel’s new Ultimate universe (spinning out of Hickman’s Ultimate Invasion mini & Ultimate Invasion one-shot) did not disappoint in the slightest. The introduction of a powerless, middle-aged Peter Parker, now married to MJ with two kids, was such a refreshing take on all the various incarnations of Spider-people we’ve seen over the years. We’re not just looking at a mirror- or alternate-version of Peter Parker and the world around him. Hickman does a tremendous job of showing us the mental struggle Pete’s facing due to a lack of meaning in his life, without ever knowing what was missing. It makes him a very tragic and sympathetic figure, especially given how it is impacting his relationship with MJ. This is a character who will feel instantly relatable to superhero/Marvel/Spider-Man fans who were children of the 90s and have no aged into a point in their lives where its not too early for a reflection on one’s life, but its also not too late to make a major change. Outside of the kids, it was so easy to see myself in this version of Pete. Marco Checchetto continues to trend of top-notch artistry on these new Ultimate universe titles, following Bryan Hitch and Stefano Caselli’s past work. His detailed panels make you feel like you’re an onlooker, not a reader, fully present in each scene, as Peter’s life unfolds before you. It’s a masterful visualization of Hickman’s character-first story and puts a beautiful bow and the already wonderful script. It’s not going to be easy to follow this up at the same level consistently, but I have full faith in Hickman and Checchetto to give us their all for as long as Marvel lets them.

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

I probably loved Hickman’s Ultimate Invasion more than most and this exactly the type of follow-up I was hoping for. There was less space to tell expand the story in this one-off, but Hickman used every last bit of this issue to keep the momentum going for the new universe that is set to further expand in the coming months. This issue oozed with elements of grandeur — everything felt important. Hickman loves laying breadcrumbs to revert back to months down the line and I found myself trying to figure out where those might be hidden in this issue. In terms of characters, I loved the addition of Thor’s personality to the duo of Tony’s Iron Lad & Reed’s Doom. They play off each other really well and each of them add a unique perspective to the mix. This version of Thor has the immediate gravitas of a classic God of Thunder and was equally matched with an impressive design to add to his intensity. One area where Hickman’s pacing felt rushed was when Tony & Reed were convincing Thor & Sif about Maker’s scheme. You have to suspend disbelief to assume these characters would blindly trust two strangers they’ve just met, but it was necessary plot advancement which didn’t spoil the ultimate outcome. I also really enjoyed all of the nods and winks to this universe’s version of superheroes we’ll be meeting in the upcoming series, including the radioactive spider which will come into play in Hickman’s own Ultimate Spider-Man series and a shadowy panel of teasing Black Panther ahead of Bryan Hill’s series. Add in the tease of Peach Momoko’s Ultimate X-Men as a backup story and I am so ready to dive deeper into this new universe and all the tension and drama that is bound to come with it. The lack of Bryan Hitch’s cinematographic-style wide-screen panels were noticeable, but Stefano Caselli’s designs are more than serviceable in matching Hickman’s grandiose story. As mentioned already, his design for Thor specifically was impressive. Hickman’s task of launching Marvel’s new Ultimate universe couldn’t be off to a more intriguing start. And if this special issue is any indication on what we can expect from Marvel’s new Ultimate universe, we’re in for a real treat. Editor Will Moss has shown that he’s capable of crafting a multi-series arc in the past and let’s hope he’s up for the task again.

Who knew the X-Men universe could get a makeover this stunning? Peach Momoko's Ultimate X-Men #1 is unlike any X-Men story I've ever experienced because this ain't your typical mutant comic. Momoko throws us headfirst into a world steeped in unsettling horror vibes, but it is so much more. Momoko weaves a narrative rich with emotional depth and touches on serious mental health topics. Beneath the surface of shadowy figures lies the beginning of a powerful coming-of-age story. Hisako/Armor’s struggles with self-acceptance and the weight of extreme, traumatic guilt. Momoko handles these serious themes with incredible grace and heart, making you truly invested in Hisako's journey. She didn’t try to do too much with this first issue and I think it really helped her introduce us to this new world. Of course, no Momoko comic is complete without her signature artwork. The classic manga style is simply gorgeous, adding another layer of depth and intrigue to the narrative. The way she portrays the fantastical elements alongside the grounded reality of Hisako's world is nothing short of breathtaking. I felt like I was watching a Studio Ghibli movie play out on the pages in front of me. Ultimate X-Men #1 is a phenomenal launch for this new series. It's a haunting reinvention of Hisako’s origins with her powers, packed with horror, heart, and Momoko's stunning artwork. I can’t wait for the next issue and to finally meet Maystorm!

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.

After seeing the atrocities committed by Orchi first-hand, Captain America goes on a recruiting mission to form a new Unity Squad in this week’s UNCANNY AVENGERS #1 by Gerry Duggan and Javier Garrón. I was actually surprised at how much this book complements the work Duggan is doing in the main X-Men title, so much so that we see the two teams meet-up for a strategy session. I can see some interesting cross-over potential between the two books in the future and if it means we somehow get a Psylock, Monet, & Shadowkat trio I would gladly take it! But I digress… Duggan’s script was a lot stronger in the first half of the issue compared to the second half. There was a lot of exposition early on that gave a succinct and important recap of events, offering new readers a necessary on-ramp if they haven’t been following all the recent X-titles. It all helps to build palpable tension quickly and Duggan also packs a lot of emotion into Psylocke’s current mindset. I wish we got to spend more time with her and Monet as a duo as they are an interesting pairing and are two characters with very passionate fanbases. However, the story becomes rushed and begins to fall apart at the seams once we get to Captain Krakoa building the New Mutant Liberation Front and their showdown with Captain America’s new Unity Squad. When Captain Krakoa heads back to Krakoa to recruit the Fenris Twins, I was left wondering why Xavier’s island defense system shown in last week’s IMMORTAL X-MEN #14 didn’t activate? Also, how/why did the Fenris twins show up at the Limbo Embassy in this week’s DARK X-MEN #1 if they immediately joined Captain Krakoa’s crew after be broke them out from the Pit? I was willing to let their appearance in DARK X-MEN slide since it was a throw-away, but the continuity bothers me now with them a part of this series’ main villain group. We also arrive at the final battle between the two sides rather abruptly and don’t get to spend too much time with it before Captain Krakoa breaks Captain America’s arm on the last page’s cliffhanger. It all felt sloppier than the very well paced and slow-build of the first half. I have a feeling the art in this book is going to be divisive. Garrón’s designs are have a very distinct look and I personally thought they worked very well, especially during action sequences. They do lend to some odd facial reactions for a few of the human characters, notably Captain America. There are certain panels were his eyes look off and they took me out of the moment. Morry Hollowell had a major task with colors throughout the book. There is practically a shade of every color under the sun in here given that variety of characters, environments, and settings. Character costumes all look great and keep the reader’s eye focused on them during action panels. Travis Lanham’s lettering work is magnificent as well. There are multiple color boxes employed for different sources of exposition are provided, allowing readers to easily understand when a change in tone or voice has occurred. The sound effects are also done supremely well, including a really effective sequence where Psylocke’s stealth swordsmanship is on full display. I understand there’s always a lot of table-setting to do in the first issue of any new series, especially when a brand new team is being formed, so I’m willing to give Duggan a break after his strong work in the run-up to Fall of X and the post-Hellfire Gala X-MEN #25. Rating: 7/10

The ability to turn an interesting premise with awesome characters in the lineup so milquetoast is truly uncanny. Nothing about this book has piqued my interest yet and Duggan seems to be wasting Rogue, Psylocke, and Monet. I did appreciate the X-Men calling out Steve for being the leader of the group, but I don't know if I think anything will actually come of it. Captain Krakoa and his team are icky. The shower scene made me so uncomfortable, even though Andrea seemed to be consenting.

Gerry Duggan looks to be having fun writing these characters, but that hasn’t leant itself to being an interesting or high-stakes story. Captain Krakoa, the main antagonist, was completely missing from this issue besides a few mentions, and Captain America again took the spotlight away from the actual mutants that make up the rest of the Unity Squad. A different “Fall of X” limited series, but a similar refrain. Uncanny Avengers offered a ton of promise when it was announced and had a debut issue that was decent enough to whet my appetite, but issues since then have felt devoid of purpose in the larger scheme of things.

These Fall of X miniseries really failed to deliver, huh? Another series with what felt like unlimited potential closes with a giant “meh” as it fails to add any major momentum to Krakoa’s final days. Captain America loves being part of a team? Cool. We knew that with the Avengers. Outside of Deadpool (who eats up A LOT of scenes), it never felt like Duggan was interested in writing for any of the mutant characters as more than supporting pieces. And that’s a damn shame because this had one of the more intriguing casts of this era. I also could never get used to Javier Garrón’s art on this series. There were some scenes were it played will, particularly this issue’s major battle, but more often than note it just never felt right for this story.

I wasn’t a fan of most of Si Spurrier’s previous Krakoan work, but his writing on Uncanny Spider-Man has so far managed to surprise me in how contained and linear it’s been. That doesn’t mean his writing his now perfect, women still feel like they’re written by a caveman and I don’t think Kurt would ever curse, but the plot itself is at least interesting and can be followed without need a guidebook.

I feel so icky reading and seeing horny Kurt do the dirty with an equally horny (and one-note) Silver Sable. It’s also quite jarring to see Mystique wallowing around like the beggar woman in Sweeney Todd. It’s a really off-utting packaging for an interesting development in the new techno-virus adjacent weapons used by Orchis. I would hope this could be done in a way that doesn’t continue to degrade female characters at the expense of making Kurt look like an enigmatic himbo, yet alas, here we are. I want to like this book for the story, but the execution is keeping me from enjoying it.

Spurrier’s assassination of Mystique’s character continues with the former Quiet Council members continuing to be reduced to a vengeful mother out for blood. I don’t know who at Marvel allowed this to happen to such a beloved character, but shame on them. If this is really the set up for X-Men Blue: Origins, I may need to skip it. I don’t need to see Mystique continue to be presented as nothing more than a broken down mother. I still don’t find Spurrier’s version of Kurt to be compelling or thought-provoking and I continued to be completely uncomfortable with the Kurt/Silver Sable “romance.” Those two together are all sorts of ick. The real Spider-Man is the best part of this issue by a mile.

Si Spurrier has had a particular fondness for Nightcrawler throughout latter half of the Krakoan age and navigates the finale to his years-long narrative with finesse, balancing action-packed sequences with introspective moments for Kurt. I haven’t always been the biggest fan of Spurrier’s work with the character but I can appreciate the dedication and long-term storybuilding he’s done with the character and how much of what Kurt deals with from an internal perspective was introduced much earlier on. The issue wraps up plot threads which have lingered throughout Uncanny Spider-Man, offers intriguing developments for future stories, and leaves readers with a newfound appreciation for Kurt Wagner's resilience and moral compass. It also acts as a fine follow-up to the events of X-Men Blue: Origins and provides a sense of redemption for Mystique after seemingly minimizing her character in the previous issues.

This is the perfect story for Martin Simmonds’ art to take center stage. The world of Bram Stoker is beautifully brought to life in all its horrific glory via Simmonds’ distortedly complex designs. James Tynion IV’s writing is no slouch, though the author smartly keeps the words on the page to a minimum and trusts his artist to carry the story visually. This creative duo is clearly well suited for each other and readers should sit back and enjoy this genius output for all it’s worth.

Stan Sakai notes in the issue’s concluding remarks that the titular rabbit rōnin is nearing his 40th anniversary and yet, somehow, Ice and Snow #1 is the first one I’ve ever read in the series’ 270-issue library. With such a vast world already established, I’d by lying if I said I wasn’t intimated to jump in at this point. Sakai, however, crafts such an approachable story that I immediately felt like I was returning to spend time with old friends. There’s still plenty included leaving me wanting to keep up with this next saga while also digging into the vaults to catch up on and learn more about Miyamoto Usagi’s past adventures. It blows my mind that in today’s comic book world, there is a “mainstream” comic still written, illustrated, and lettered by the same person. It lends a personal touch that can sometimes be lacking in books where there are too many cooks in the kitchen. You get to experience the story in every way Sakai’s genius intended you to. His designs leap off the page like an elevated Saturday morning newspaper cartoon, giving the book a welcoming nostalgic feel. It all blends to become a near perfect issue that will capture your heart from the first snowflake.

Usagi Yojimbo: Ice & Snow #2 is a masterclass in sequential storytelling. Stan Sakai continues to amaze with his ability to craft complex and engaging stories that feature rich characters, stunning artwork, and heartfelt moments. In this issue, we follow up on the two stories introduced previously: first focusing on Jei and Keiko’s usurping of a band of outlaws and then Usagi and Yukichi’s run in with an evil spirit while seeking refuge from the freezing conditions. Sakai does a masterful job of balancing action and suspense with humor and character development across both stories. Jei and Keiko's portion of the story is particularly well-developed in this issue, as Jei continues to amass more trust by wielding his supernatural powers and showing no mercy to those who try to stand in his way. Keiko’s blissful ignorance while eating peacefully as the action happens around her is pure hilarity. Sakai is building the duo up as a major threat to Usagi and Yukichi and I can’t wait to see what happens when their paths eventually cross. As you can expect from any of Sakai’s books, the artwork in this issue is simply breathtaking. The linework is crisp and expressive, and Sakai’s ability to convey emotion through facial expressions and other visual cues is unmatched. The action sequences are dynamic and exciting, especially during the back half of the issue focused on Usagi and Yukichi. Overall, Usagi Yojimbo: Ice and Snow #2 is a wonderful follow-up issue after a successful debut for this next arc in Stan Sakai’s seminal rabbit ronin series. We get great plot development, as well as exciting action and humor that balance the issue wonderfully. For those who have yet to jump into the world of Usagi Yojimbo, these first two issues serve as the perfect starting point.

Stan Sakai continues to deliver a masterclass in comic storytelling, weaving together action, suspense, and emotion with the grace and wisdom of a seasoned storyteller. From the first page, the tension is palpable. Sakai's masterful use of panels and pacing creates a breathless anticipation as the yokai Yuki-Onna descends upon Jei’s group of unsuspecting bandits. The ensuing action is a visual feast, showcasing Sakai's dynamic artwork and his incredible ability to convey movement and emotion through line and color. Sakai's artwork is nothing short of breathtaking. His detailed panels bring the snowy landscape to life with stunning realism, and his expressive characters are filled with emotion and depth. The use of color is masterful, with each panel carefully crafted to evoke the mood and atmosphere of the story.

What a fun culmination to the set up of the past three issues. Stan Sakai’s artwork is a dream as always, though the fight sequence on the ice wasn’t quite as intricate and well choreographed as some of his previous ones. Either way, the action was intense, the characters were well-developed, and Sakai’s art is so welcoming and endearing to any reader who picks up his work. The ending wrapped up a bit too fast but that’s just me nitpicking. Even though this is the pentultimate issue, the next one will be an epilogue to the main story which concluded here. With 2024 being the rabbit ronin’s 40th anniversary, I can’t wait to see where Sakai takes us next!

Jed MacKay and Alessandro Cappuccio don’t waste time dwelling on the absence of Marc Spector in their new follow-up series. Instead, Vengeance of the Moon Knight #1 throws us headfirst into the aftermath of his death with a touching first act focusing on the Shiva organized by the remaining members of the Midnight Mission. We see them grapple with grief and uncertainty while trying to maintain their mission's purpose. Reese takes focus and we get to see her raw and emotional, showcasing the toll that the aftermath has taken on her, with a final twist that may or may not come as a surprise to most readers. This was a thrilling and emotional first chapter in this new arc and shows the Moon Knight story still room to grow, with or without Marc Spector.

W0RLDTR33 #5 marks the culmination of the first arc for James Tynion IV’s sci-fi horror series. Choices are made that elevate the stakes and seemingly set the course for the next arc. The cliffhanger ending appears to be so important to the advancement of the series that Tynion himself asked his social media followers not to spoil it for others. For me, even though I can’t wait to see how this all unfolds, the major reveal felt unrealized in it’s intended impact. It felt like Tynion was trying to bridge the gap between an emotional weight and grim realization, but didn’t lean heavily enough into either to make land effectively. Which I’m guessing was Tynion’s intent as it closely mimics how information has been revealed in his other works, namely The Department of Truth and Something is Killing the Children. Fernando Blanco’s art and Jordie Bellaire’s colors are again strong. At times the violence in this issue edged on torture porn territory (think Hostel meets The Purge), which felt like overkill and turned me off. However, the scenes set in the future stood out because it painted the picture that things turn BLEAK after the events we see unfold here. Bellaire consistently shows why she’s one of the best colorists in the industry (with an Eisner Award to prove it). So far through these first five issues, W0rldtr33 has been quite the thrill ride that has followed a typical Tynion (Tynionian?) arc: hook you with a fascinating concept, then peel back a layer or two while simultaneously introducing new elements within each issue, until an arc’s finale moves the story forward even if everything isn’t completely revealed. It’s a credit to Tynion’s ability to craft captivating worlds yet frustrating to know exactly how things are going to unfold. You may not know what’s going to happen, but you know the blueprint it will follow. It’s partially why I find myself enjoying trade paperbacks or collected editions of Tynion’s work more than individual issues. I know I’m not getting a full picture in any given week, but Tynion’s brilliance is abundantly evident when I can enjoy entire arc in one sitting. We don’t yet know when the next arc for W0rldtr33 will be released but suffice it to say that I’m hopeful it’s coming soon. As frustrating as the wait for answers to his stories can be, Tynion has again created one of the best new worlds of the year and shows why he was an extremely deserving winner for this year’s Eisner Award for Best Writer. Rating: 7/10

This does little to connect with anything happening in Krakoa. Instead, it feels like a desperate attempt to capitalize on the upcoming Deadpool & Wolverine movie with a forced injection of Wolverine content. The narrative itself offers nothing new other than Jane Howlett, a female Wolverine. It’s a predictable Wolverine tale with a team of forgettable mutant grunts thrown together for a plot that also feels thrown together at the last minute. It felt like they took the playbook from Dead X-Men and replaced those mutants with a lineup of different Wolverines, swapped in Onslaught for Moira, and used Jean as their timeline pilot instead of Askani. I don’t care for Dead X-Men and I cared even less for this. The only saving grace was that artists Yildiray Çinar & Noah Woodard made parts of the book really cool to look at. The action played well and there was a great mixture of different color palettes. Other than that, I don’t have many other positives for this one.

Weird is definitely a word that works for WEIRD WORK #1 from writer Jordan Thomas and artist Shaky Kane, which hit shelves this past week from Image Comics. The publisher billed the miniseries as a “crime epic” which combines “the hard-boiled noir of LA Confidential” and the “alien-filled worlds of Futurama.” It sounds enticing on the surface, but the delivery fell flat due to what felt like a contrived attempt to shock readers with an over-the-top approach to every element of the issue. We’re thrown in the seedy criminal underworld of Stellar City, where the walls are closing in on a top crime boss who is believed to have ordered the hit on a foul-mouthed (literal pig) politician. Dead bodies pile up from early on, including the triple homicide which introduces us to our main characters — a detective with the shakes and his new partner with a shady past. The issues follows these two as they’re tasked with solving the crime and are an eclectic pairing to say the least. There is an “in-your-face” approach to the writing that took a bit getting used to. Not to say I appreciated it by the end, but at least I understood the tone Thomas took throughout the book. There’s vulgarity, abrasiveness, and cynicism dripping from every character we meet. I wish there was as much time spent in giving these characters some depth as there was in trying to make them sound like gruff cops. The “introduction” to our main characters basically ended at learning their names and a few lines on their personal warts. They were one-note and lacked any level of complexity. On the other hand, Kane’s artwork was beyond complex. There were so many different species on every page, that each change of scene could have been confused for a different story altogether. The artwork screams Kane through and through but it all felt cluttered. Some of the panels with wider shots of Stellar City had a vintage aspect to them that were intriguing, but that was about it for world-building. Most panels were of random species filled with bullet holes. I will say the colors were fun though. The lettering by LetterSquids did nothing to help the visual aspect of the comic. With Kane’s thick lines and obtuse characters, the serif fonts and large speech bubbles only added to some panels feeling claustrophobic. There are text boxes meant to be excerpts from a newspaper story that appear early in the book which were extremely off-putting due to the font choice. WEIRD WORK #1 started to hit its stride by the end of the issue when the crime took center stage and our main duo began their investigation. If that’s the focus for the remaining issues, I could see this becoming an interesting story even with some of the pain points along the way. But this may be WORK I put off if Thomas and Kane go back to trying to “show” more than “tell” going forward. Rating: 3/10

Robert Venditti’s pulpy interpretation of Sandman’s Golden Age origins would make the likes of Dashiell Hammett and Raymond Chandler proud. While the tone was spot on, we’ll see if the actual plot holds up under further scrutiny in future issues, but Venditti has shown a knack for taking previously niche characters and creating backstories that make them feel more timely and of great importance. Riley Rossmo’s art can be polarizing, but his brand of eerie, unnatural designs fit perfectly with Venditti’s script. Overall, a decent first issue that offered a unique take without much setup for what we should expect in terms of the series' plot, other than that it's an origin story.

This was a rough start for Yelena Belova in her first time stepping out as a solo hero. Sarah Gailey’s script felt like it had the heavy hand of MCU powers-that-be establishing Yelena’s tone and personality to match the character we saw in the Black Widow film and will see again in Thunderbolts. Gailey’s attempt at humor came off forced and heavy-handed and the identify of the issue’s eventual villain was telegraphed a mile away. Alessandro Miracolo’s designs were serviceable, but they weren’t done any favors by the color palette. I’ll be interested to see if it translates on physical copies, but the advanced PDF I received for review did nothing for Matt Milla’s colors. Yelena had such a harsh red shading that she looked sunburnt the majority of the issue. My biggest problem with this issue is that you could have swapped Yelena out for Kate Bishop and I wouldn’t have noticed due to the similarity in tone. There was a point where I thought to myself “they’re trying to recreate Kelly Thompson’s Hawkeye series and failing miserably” and then two pages later there was literally an ad for the Kate Bishop episode of Marvel’s Women of Marvel podcast. Yelena deserves better, but I’m not sure she is going to get it here.

We’ve reached the conclusion of the “Weapons of X” storyline that has cemented Beast as a full-fledged supervillain. WOLVERINE #35 by Benjamin Percy pits Wolverine against an army of Beast & Wolverine clones as he tries to stop Beast Prime from continuing to enact atrocities unchecked. As has most of this story arc, the issue is an extension of the X-FORCE series, with the full X-Force roster playing a role in the mission to put an end to Beast’s maniacal rule. WOLVERINE #35 (and the broader conversation around Beast’s worldview throughout the Krakoan age) was an interesting read after seeing Oppenheimer this past weekend. The debate on how far a nation should go to defend itself will likely never be settled, though we can all likely agree that the choices Beast has made to keep Krakoa “safe” have been questionable at best and irredeemable at worst. Percy does a great job keeping Beast from becoming a complete supervillain caricature and that may be best displayed in the opening scene where Beast tells a “joke” to his clones that acts as a euphemism for his plan to use said clones as a meat shield. Percy also writes Deadpool, another character who easily becomes a caricature when overused, well here by leveraging his sense of humor in just the right amount. There’s one page where a reader’s natural tendencies on how to read a comic are subverted when Deadpool reveals it was all meant to be read in reverse. Juan José Ryp’s art & Cory Petit’s lettering help this “gotcha” moment land brilliantly. This visual tone of the book continues to walk a line between action, science-fiction, and horror. Ryp’s design and Frank D’Armata’s colors don’t hold back during action sequences and they create a visualy fascinating environment for Beast’s headquarters. Every element is finely detailed with an element of organic horror that felt straight out of HBO’s The Last of Us. Elemental effects like the rain drops as the two sides meet for a parlay are done with masterful precision. The final scene was a tad of a let down knowing that it had to happen to set the stage for Wolverine’s crossover event with Ghost Rider, though I’m hopeful Percy and team will get the chance to revisit the Wolverine vs. Beast conflict in the not too distant future. Rating: 8/10

Somehow we’ve already reached the penultimate issue of Benjamin Percy’s “Weapons of Vengeance” arc featuring Wolverine and Ghost Rider. After the event’s prologue presented an interesting concept, Percy’s story continues to spiral into irrelevancy and absurdity with WOLVERINE #36. For some reason, Wolverine and Ghost Rider let their guards down and are easily captured by the run of the mill villain, Father Pike. It all felt rushed in order to set up the issue’s ending revealing Hellverine, the demonic-possessed Wolverine. The event’s finale is now set up to be a confrontation between Hellverine and Ghostrider, which seems like the idea Percy pitched to Marvel to get this event greenlit in the first place. There haven’t really aren’t any ties to these two characters’ current stories in this event, which underscores the idea that this was entirely some Benjamin Percy fanfic for two of his favorite characters. Geoff Shaw’s designs and Rain Beredo’s colors are keeping things interesting, but that should be expected in an event featuring two characters now possessed by flaming demonic-forces. Their art is continues to evoke heavy metal horror and it suits things so well. Adamantium claws on fire? Michael Bay would be SO proud. Not every “Fall of X” title has to be super heavy, Ms. Marvel: The New Mutant #1 showed us that just this week, but it sure feels weird to have Wolverine, one of the most popular mutants ever, wrapped up in a completely separate story. And with the “Sabretooth War” just around the corner, I’m not sure when Logan will get back to interacting with his fellow mutants. Rating: 6/10

Logan’s holding patter continues with another solo mission, this time featuring a team-up with Captain America. These are fun one-offs, but I’m ready for Wolverine to get back with his X-Force team members though how/if that ends up happening long-term remains to be seen with the upcoming Wolverine vs. Sabretooth minievent. We get nice homages to different points of the Krakoan era, but this has the feeling of a feel-good mashup of Marvel legends than anything relevant to the Fall of X endgame.

Logan continues to live in his own little world crafted by Benjamin Percy as he goes on his episodic tag-team adventures which feel completely removed from Fall of X. Taking one of the most popular and recognizable mutants out of the main titles will never make sense to me, but hey what do I know? As an individual issue there was nothing wrong here, but it is entirely skippable if you want to be budget conscious and only read issues that move the Fall of X needle. I thought Juan José Ryp’s art here was a lot more effective compared to his work on this week’s Immortal X-Men. His designs allowed Black Panther’s new costume to shine.

Logan’s run of team-ups comes to a close with his final partner being none other than Spider-Man. It’s an odd inclusion since Spidey’s been keeping busy saving Manhattan from the chaos of the Gang War event (there’s even a mention of it in the issue), so how he had time to take a space-ride with Logan is a giant question mark. Wolverine also spends a good chunk of the issue incapacitated after losing consciousness in space. Benjamin Percy writes a lot of Spider-Man dialogue, which is a mix of genuinely funny moments mixed with been-there-done-that one-liners at Logan’s expense. It’s all just a pointless issue that reminds readers that Wolverine has basically been MIA from the rest of his mutant family throughout Fall of X. The ending makes it seem like he’ll be back with X-Force in short order, but he’s also about to get preoccupied with the Sabretooth War event coming up as well.

First off, I found it strange to see the editor’s note specifying this issue takes place in between X-Force #50 and the FofHoX/RotPox event. The last X-Force released was only #47, which means we’ve now jumped ahead 3 issues there even though FofHoX/RotPox has already started. Perhaps this will make more sense as things unfold across the board, but this made me wonder if something got jumbled on Marvel’s release schedule and things were meant to release in a different order originally. Other than that, this was one of the best issues of Percy’s Wolverine run in a long time. While I had my reservations about another Wolverine vs. Sabretooth showdown, this blew me away in every way possible. Marvel’s solicitation didn’t lie when it said this would be the most violent Wolverine story ever told. Sabretooth isn’t messing around with his plans for Logan and he’s laying the groundwork for what will be a BLOODY confrontation once these two come to blows. Even beyond the gore, there was some great character moments for Wolverine as he interacted with his kids (some for the potentially the last time). It was all so well paced and balanced, kudos to Percy and Victor LaValle. Even more kudos should go to Geoff Shaw and Cory Smith who took this story took the next level with some truly gritty and gruesome visuals. We’re may be in for a treat with this event!

Dear lord is the creative team going all out to live up to the hype of this being the bloodiest Wolverine story ever told. There are some BRUTAL scenes throughout this issue, including Sabretooth squeezing the head off a young mutant and Wolverine clawing off body parts to escape his imprisonment. This series is definitely earning its Parental Advisory rating. In a weird way, it looks great and none of it feels like torture porn. It’s all believable for a war between two bloodthirsty characters hellbent on destroying each other. For as well done as it’s been so far, did this story need to be told though? I’m not convinced yet even though Percy & LaValle’s story has been top notch through two issues. I’m loving the family-first version of Wolverine (even if he hasn’t been a good father to date) and the utter heinous actions of Sabretooth. Everyone else, including the Sabreteeth (h/t to Aurora for the name), seems to be disposable in this story and I’m oddly ok with it as long as this stays wholly removed from the other storylines. I’m really enjoying this mini event so far after I was a bit resistant when it was first announced. Everyone involved is ensuring this isn’t just another Wolverine vs Sabretooth showdown by pushing the envelope at every turn. The end of Krakoa means any major death is liekly to be retconned or reversed in short order but that doesn’t make the story itself any less fun to read.

We got a bit of a break from the heavy-handed brutality of the first two issues (though there’s still plenty of blood and gore to go around) and Wolverine himself is notably absent from most of issue, save for a few flashback scenes. Instead, we get a bit more insight on Sabretooth’s motivations, what he plans to do next, and how he’s using Wolverine’s closest friends and family to further his plans. We also catch wind of some simmering discontent amongst the ranks of alt-Sabretooth and see the Exiles enter the plot. Add those all together and there was quite a bit packed into this one, though the combined package didn’t feel overly clunky or rushed — it actually felt a bit slow in some places with so much exposition. Sabretooth has been cemented as a pure a$$hole, almost to the point where no bad ending for him may be enough. This story has been a great distraction from everything else happening over on the main titles and I’m just going to keep enjoying this for as long as I can!

After last issue's closer look at Sabretooth's motivations, this latest chapter in the "Sabretooth War" focuses on the emotional and physical toll the conflict has taken on Wolverine and other members of X-Force. We see a stark depiction of the aftermath the brutality from the Sabreteeth attacks. Wolverine, severely injured, reflects on the losses suffered & we see raw emotions and vulnerability displayed by this usually stoic character. We get additional moments of reflection from Aurora, Phoebe, and Sage, who are all processing what's happening in different ways. I audibly cheered when Phoebe took matters into her own hands & exacted some revenge on Captian Sabretooth. Perhaps the most gut-wrenching scene of all though was Wolverine opening up the present Laura left for him. The note she wrote was so sweet & is what puts Wolverine's next decision into motion. A the end of the book we see Wolverine plans to go solo in his personal battle against Sabretooth Prime, not wanting any more of his family (blood or chosen) to pay the price. "Sabretooth War" continues to be a captivating storyline and shows it can still hit high notes when it's not throwing gore in our faces. Though the next confrontation between Wolverine & Sabretooth, whenever it happens, is likely to be an absolute bloodbath. I can't wait!

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.

Another week, another end to a historic run on a female superhero title. Last week it was Kelly Thompson’s run on Captain Marvel coming to a close and this week we have Becky Cloonan and Michael Conrad’s final time with Diana with the conclusion of the ‘Whatever Happened to the Warrior of Truth?’ arc in Wonder Woman #800. Cloonan and Conrad have been at the helm for the ongoing series since Wonder Woman #770 back in 2020. Without turning this into a rehash of my ode to Thompson’s work on Captain Marvel, it’s hard not to get sentimental when a creative team spends so long with a character without readers becoming fatigued or uninterested. Cloonan and Conrad have kept the concept of hope alive and well during their run and Diana was always it’s beacon. Their run will be remembered for showcasing the truest form of who the Wonder Woman character was and allowed Diana, the person, to rise to the occasion time and time again. The issue itself provides one last chance for the duo to give Diana a final chance to show what she means to a long list of people within her life, including: Yara Flor, Donna Troy, Cassie Sandsmark, Bruce Wayne, Clark Kent, and Hippolyta, her mother. Each of these interactions is showcased by a rotating list of artists who breathe fresh life into the individual scenes. At times the issue can feel like an artist “best of” showcase, with each artist taking one final victory lap to celebrate the 800th milestone and the passing of the torch to a new creative team. While not taking away from the main story, it would be hard to ignore the additional story at the end of the book. Written by Tom King, ‘Trinity’ fast forwards 20 years into the future and provides the long-awaited introduction to Elizabeth Marston Prince, a.k.a. Trinity, Diana’s daughter. In the short story, we see Trinity on a quest with Damian Wayne and Jon Kent. The new Justice League trio must each face a battle and we’re left with a tease for the next generation of Wonder Woman which will play out as part of King’s run, starting with Wonder Woman #1 (Legacy #801) later this year.

This was a wonderful read and a visual masterpiece. Wonder Woman #1 plays into so many of Tom King's strengths: espionage, government overreach, superheroes with their backs against the wall, commentary on today's society. It was a joy to read what felt like the culmination of so many years writing so many limited series in these veins. I loved the inclusion of the mysterious, unknown narrator to provide exposition throughout the book and the reveal at the end had my jaw on the floor. It added to the mystique and uncertainty of what was happening in the world. King's depiction of the 24-hour newscycle rotting society's brains and warping their views is a scary and far-too-real reflection on what our own society is faced with on a daily basis. Daniel Sampere's art is truly divine, like belonging in the Sistine Chapel level of divinity. His attention to detail stands alone in every scene. I love the action scenes, especially the one where Wonder Woman gets to show of her stealth and combat abilities.

To say I loved Tom King’s debut on Wonder Woman in the last issue would be an understatement. It had everything I want in a Wonder Woman story and everything I’ve come to love from a Tom King book. And then Issue #2 came out and I discovered this new run could get even better. Every turn of the page comes with the feeling of something momentous awaiting you. Every panel drips with grandeur from King’s writing and Daniel Sampere’s art. The juxtaposition between Wonder Woman’s two very different lived experiences is a masterclass in storytelling. Few can build a tender tension the way King does and he deploys it exceptionally well here. Sampere’s depicts Wonder Woman’s strength through two beautifully brutal battles — one on a modern battlefield and one in the ancient fighting pits of the Amazon. I got goosebumps multiple times throughout this issue because I was so in awe of what I was experiencing. This may be the best all-around Dawn of DC book on the market currently.

Tom King’s take on Wonder Woman continues its strong start, though this issue took the smallest step back from the absolutely perfect first two issues. I still love the uneasy dichotomy King creates with the exposition-rich, third-person narration occurring during the tension-heavy scenes featuring Wonder Woman hunting for info on Emilie’s case and the evil man-behind-the-curtain showcasing the Lasso of Lies full power. Where my slight dislike of the issue came in some of Daniel Sampere’s Wonder Woman designs and reactions. A few of the early panels made the character appear too aloof and sassy for what we’d expect, but Sampere more than made up for it with some of the best non-action, action sequences around. His panel transitions throughout Wonder Woman’s confrontation with the armed forces unit was spectacular. This is a Tom King book through and through and will definitely have its detractors because of it, not too mention how much the toxic comic male culture will have fits with the overtly feminist tone. But for this reader, it’s everything I could ask for! I also loved, loved, loved the backup story with Jon, Damian, and young Lizzie. It was so much fun and did a lot of work setting the stage for how the trio’s relationship will transform over the course of their lives. I can’t wait to see more of these three together! Also, two words: WONDER ROBIN! Adorbs!

I’m not sure what it was, but something felt very off with Diana here and it made this issue one of the first clunkers in what’s been an amazing first few issues from Tom King. Diana’s interactions w/ the parents of a dying child felt out of character, including her asking them to call her Wonder Woman when it felt like she’d allow them to call her Diana. How she even ended up involved in this weird Make-A-Wish style situation was never explained and felt like a really strange way to set up the conversation towards the end about her being a mother given Trinity/Lizzie’s involvement in the series (her introduction via backup stories with Damian and Jon continues to be utterly endearing). The political subplot was still well written, if not redundant to what we’ve seen so far. Daniel Sampere’s art was limited given the lack of meat to work with in a rather uneventful issue, though it’s still one of the better drawn comics on the market. I love his little newscast pages where we get to see his interpretation of our 24-hour newscycle.

Wow. What an issue! Tom King’s narrative soars, but the art by Daniel Sampere and Tomeu Morey's steals the show. This wasn’t just a comic; it’s a visual experience. Linework dances with an ethereal grace, capturing Diana’s power & elegance. Her transformation into WW is instantly iconic. Giganta’s hand emerging from underground? Seeing Diana catch the Washington Monument & then use it as a spear? Watching an epic battle between WW & Grail? Pure comic book magic! Morey’s colors elevate Sampere’s art to new heights. Bold hues crackle with energy during fight sequences, while softer tones imbue quieter moments with depth and intimacy. Together, Sampere & Morey weave a visual story that’s as captivating as King’s script. They take this world & infuse it with a level of detail & emotion that transcends the medium. The emotional weight of the script is palpable. Diana’s determination, her vulnerability, her unwavering hope - it all shines through King’s masterful storytelling. Wonder Woman #6 is an absolute must-read. Also, the “World’s Finest” backup story continues to be pure joy. The dynamic between Damian, Jon, and Lizzie is so innocent and sincere. Belén Ortega’s panel of them in space might be my favorite panel of this mini arc!

Tom King throws us a curveball w/ a delightful detour to the series’ larger story. WW & Superman go on a quest unlike any they’ve faced before: finding the perfect birthday present for Batman in a giant alien mall (which has VERY strict parking rules). Seeing these two longtime friends traverse the mall’s 594,838 stores in search of a gift for the brooding billionaire is a fun way to explore their dynamic & throw in some fun Easter egg jokes along the way. The dialogue highlighting their genuine friendship adds a layer of humanity to these god-like heroes. I’m loving King’s characterization for Diana & it continues here even in a lighter situation. However, Superman’s portrayal felt a touch off. King injects a dose of goofball humor into the Man of Steel that goes a tad too far IMO. His jokes come across as overly juvenile, a strange fit for the typically stoic hero & his facial reactions don’t look like natural for the character. Though it was hilarious to discover he enjoys a good self-care day. 💅🏻 Guillem March does an admirable job filling in for series regular Daniel Sampere. March’s style is a good fit for a story w/ so many classic references, but there’s no denying that Sampere’s sharp lines & detailed action panels have become a hallmark of this WW run. I definitely missed him here. Overall this was is a decent slice-of-life story, but its placement in the larger narrative is questionable. While the glimpse into WW & Superman’s friendship is enjoyable, I wonder if now was the right time to show it w/ WW’s showdown against The Sovereign awaits.

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!

Mark Waid proves to be the master of reinvention after introducing the World’s Finest concept with BATMAN/SUPERMAN: WORLD’S FINEST when it debuted back in March 2022. That series has received nearly universal praise for it’s modernization of DC’s most popular characters while staying true to their character development established in the Silver Age. This week, Waid is back with WORLD’S FINEST TEEN TITANS #1 and he delivered another instant classic with everyone’s favorite team of DC teenage superheroes. Waid, artist Emanuela Lupacchino, and colorist Jordie Bellaire seamlessly integrate classic character dynamics within a modern environment that kept the issue feeling both nostalgic and fresh at the same time. Waid had a tall task in writing an entire team’s worth of characters while also including the Titans’s mentor in the first issue. The dialogue and interactions between characters come across authentically, and is most evident in the intertwined conversations between individual Titans and their respective mentor (or training dummy in one case) as they discuss group dynamics. Robin’s internal and interpersonal conflicts are specifically highlighted throughout the book after he gets into an argument with Roy Harper/Speedy. He’s faced with trying to lead a team with very different personalities and perspectives, while also dealing with becoming his own superhero and stepping out of Batman’s looming shadow. Waid does a phenomenal job creating a palpable sense of weight on Robin’s shoulders that I’m excited to see developed further in subsequent issues. While Robin’s story does take center stage, Waid makes sure to give each Titan time to shine and we get to see each character’s unique personality at some point throughout the book. While I loved Waid’s story and care for the characters, the work by Lupacchino and Bellaire may have stolen the show for me. I had to keep reminding myself that this wasn’t pulling panl;s from previous Bronze Age Titans issues because it was such a spot-on adaptation of classic looks with a modern interpretation. Costumes had minor updates and looked amazing. Action scenes and dialogue scenes alike were drawn with bountiful details to bring them both to life. Overall, WORLD’S FINEST TEEN TITANS #1 was an impressive start to this next chapter of Wold’s Finest storytelling. It introduces the Teen Titans in a way that’s approachable for new and existing readers alike without sacrificing plot or character development. If the writing and art weren’t enough to bring me back for the next issue, the cliffhanger ending sealed the deal. Rating: 9/10

After a strong debut issue, Mark Waid and Emanuela Lupacchino deliver another rousing adventure in WORLD’S FINEST TEEN TITANS #2. The creative duo’s knack for modernizing classic characters in modern storylines has been truly impressive so far and in this second issue they also reintroduced more classic characters and added new layers of depth to our main heroes. For this issue, the focus shifts to Wonder Girl’s POV for the opening act and we get to see her sheer exuberance for all the human world has to offer that Paradise Island didn’t offer. Aqualad and Bumblebee met up her and Mal Duncan, her “new friend” as she calls him, for a day of fun around Washington, D.C. and we get to see them partaking in some fun festivities. Throughout the scene, Waid writes some great dialogue between these characters as we get to see how a few superhero teens would spend a day if the only thing they had to do was have fun. He writes each character with a sense of innocence and humanity that we don’t often get to see from those who don a hero costume and it’s immensely refreshing to read. Titans business breaks up the fun and the three members of the team are forced to call it a day. They meet up with Robin and Speedy at a house in North Carolina that appears to be haunted and is the last place a missing girl, Dalisay, was seen. Two more Bronze Age Titans appear in supporting roles to help solve the case, Lilith and Gnarrk. I’m loving the small cameos that Waid is including and I’m excited to see how he continues to use them in the future. The team splits up with half the members going to interview Dalisay’s friend and the other half exploring the house to see if they can find her. Waid flexes his writing muscles as we follow the team through the possessed housed. Wonder Girl and Aqualad are forced to confront their inner demons as Dalisay’s own fears are projected on them. Wonder Girl must deal with the idea that she’s no longer welcome on Themyscira due to her embrace of man’s world, while Aqualad has to confront his own feelings of being inferior to his fellow Atlanteans due to the physical differences he possesses. While Aqualad is able to overcome his demons and help convince Dalisay to embrace her own fears by accepting herself for who she is, Wonder Girl is left shaken. Making the Waid’s writing even better are Lupacchino’s artwork, Jordie Bellaire’s colors, and Steve Wands lettering. Lupacchino nails the homage to the art style you’d expect to see these characters in while also adding modern flair to keep things current. Bellaire’s color palette shines throughout the book but stands out most during Speedy and Aqualad’s nightmare scenes. Fluorescent colors saturate pages giving the illusion that they’ve been viewed under a blacklight. It’s ironic that Waid managed to write a better Titans story about nightmares than the current Titans Knight Terrors tie-in while the event is still happening. That may speak more to the underwhelming first half of Knight Terrors Titans but it shouldn’t take away from the near-perfect issue that Waid wrote in WORLD’S FINEST TEEN TITANS #2. Rating: 9/10

We’re somehow already at the midway point of World Finest: Teen Titans and yet it feels like we’ve had enough content to fill volumes and volumes of trades. In this week’s issue, we get an intensely enjoyable commentary on modern convention culture through the eyes of our titular superhero group. PUBLISHER’S PITCH TITANSCON! As the Titans fandom converges on Metropolis by the thousands, the team crashes the con as a surprise--knowing it will leave the Titans (and their secrets) exposed. While Kid Flash and Speedy show off for the crowds, a new teenage villain, the obsessive Toyboy, shows up to wreak havoc and claim Bumblebee for his own! REVIEW Mark Waid and Emanuela Lupacchino’s partnership keeps getting better and better with each issue of the series. This week’s WORLD’S FINEST: TEEN TITANS #3 pushes the Titans team into the spotlight at their own convention and quickly subverts the excitement by showing how toxic fandom can become. With the real-world comic convention season in full-swing, it’s a relevant and on-the-nose reminder of the fragile balance so many creators deal with when innocent passions can turn into danger obsessions. As he has done well in each issue, Waid continues to give attention to every member of the team and in this issue he focuses on their individual relationship with being in the public eye. Needless to say, it’s a sliding scale from Speedy feeding off the attention of an adoring crowd to Bumblebee becoming overwhelmed when overbearing fans nearly unmask her. There are so many great character moments throughout, including Kid Flash pulling a hilarious prank on the overzealous Speedy. One noticeable absence from the festivities though is Robin, who is stuck in the Batcave after Batman ordered him not to go. I’ve really enjoyed how Waid has constructed the relationship between the Dynamic Duo as it allows Robin to realize what he views as the necessary traits of a good leader and shapes how he approaches decision-making with the Titans. Lupacchino’s art and Jordie Bellaire’s colors also continue to provide a fresh take on these classic characters in fun and interesting ways. Each character is so well drawn and expresses emotion in distinct ways. The convention goers reactions were also done so well and you felt like you were bumping elbows in a densely packed exhibitor alley. I loved all the easter eggs and sight gags sprinkled throughout the issue, including the convention cosplay, Garth using a lightsaber to defend himself, and the blink-and-you’ll-miss-it confirmation of an in-world Teen Titan TCG. FINAL VERDICT Waid and Lupacchino have been doing an amazing job modernizing the classic Teen Titans team and while the first two issues have been stellar, the creative duo outdid themselves this week. The duo continues to make this series nothing but pure fun in both story and visuals. Someone at DC needs to upgrade this to an ongoing because every issue has been a home run so far and I can’t believe we only three more issues before it ends. Say it ain’t so! RATING: 10/10

It may not have been the best of series to date, but Mark Waid’s story is still a great read even on a bad day. The issue eschews heavy action sequences (until the final few pages) for a deeper look at the interpersonal dynamic between different subsets of the group, including a very astutue reflection on what makes Speedy act the way he does around others by Aqualad. The Karen/Mal story was also a joy to read and it’s great to see Karen getting more focus. The cliffhanger implies we’re about to get into some serious plot as we approach the end of this run and I can’t wait to see what this creative team has in store for us.

This issue marks the bittersweet conclusion of Mark Waid's wonderfully fun adventure that reintroduced a classic teenage superhero team for a new generation. This final chapter delivers a satisfying payoff, full of heart, humor, and action, reminding us why these teenage heroes have endured for decades and hopefully opens up the door for additional reinventions for Golden and Silver Age characters. Emanuela Lupacchino's artwork shines throughout the issue. Her expressive characters and dynamic action sequences perfectly complement Waid's writing. The fight scenes are thrilling, while the quieter moments are imbued with genuine emotion.

X-FORCE #43 is out this week and it reveals what Benjamin Percy agreed to so he could write his dream pairings in WEAPONS OF VENGEANCE, PREDATOR VS. WOLVERINE, and the upcoming Sabretooth War arc in WOLVERINE — Marvel made him take Colossus back and finish the drawn-out sleeper-agent storyline that as first introduced all the way back in X-FORCE #24. Poor Percy. Poor Sage, Domino, Kid Omega, Wolverine, Deadpool, and Omega Red. Most of all, poor us. When it was first revealed that Mikhail had been controlling his brother as part of a master plan to accumulate power for himself and Mother Russia, many thought it was the original groundwork being laid for the end of Krakoa. However, that was nearly two years ago and over that time period Orchis grew into the larger threat to mutantkind leaving this plot point to live on the periphery ever since. It made for an easy crutch any time one of the X-writers wanted to introduce an element of uncertainty to their narrative (e.g. Colossus joining the Quiet Council) and was never really explored deeper on its own. That appears to be changing now that Percy made his deal with the devil as X-Force will be following this plot for at least two more issues based on Marvel’s advanced solicitations through October. The issue refocuses our attention here after Colossus was appointed by the Quiet Council to oversee X-Force after all the Beast drama came to a head during the previous “Weapons of X” arc. We see that the brainwashed Colossus had his own plans for this year’s Hellfire Gala, which were thwarted when Orchis unleashed their own attack. He calls an audible and the issue ends with the first major movement related to Mikhail Rasputin’s grand plan in quite some time. I don’t have much to say on this issue other than Percy’s writing (and the issue itself) shined whenever any character not-named Colossus was talking. Percy continues to write the rest of this rag-tag cast of characters so well. Aside from a few panels that will cause readers’ to feel some heavy Hellfire Gala PTSD, there wasn’t a ton for artist Robert Gill to sink his teeth into. GURU-eFX elevates the art in the book with some fun colors. I loved the pinkish-purple telepathic “husks” that Kid Omega chooses between for his Gala outfit. One last thing I wanted to note is the apparent lack of consistency that’s beginning to pop up around which mutants actually died at the Hellfire Gala. Madelyne Pryor alludes to only Jean Grey dying in last week’s DARK X-MEN #1, yet a data page in this issue indicates Frenzy, Jubilee, Prodigy, Cannonball, and Dazzler are deceased and has no mention of Jean. I’m willing to give some leeway here there probably hasn’t been a moment for the surviving mutants to compare notes but I hope it’s addressed at some point in-universe. If you couldn’t tell, I’m ready for this Colossus storyline to be wrapped up and hopefully it will all end with the no-fun Piotr far, far away from this title. This was my least favorite Fall of X issue so far and it all has to do with the focus on this story that feels like it’s beating a dead horse now. Rating: 5/10

After Colossus kidnapped the rest of their team and brought them to his brother in the previous issue, Domino, Sage and Black Tom enact a covert plan in this week’s X-FORCE #44. PUBLISHER’S PITCH X-FORCE NO MORE?! X-perience the FALL OF X at its most dire! X-FORCE is captured - but what power could possibly keep them off the grid, and who is truly to blame? With SAGE, DEADPOOL and DOMINO on the outside, will the WOLVERINE SENTINELS beat them to their quarry, or can X-FORCE reunite to take down the enemies of mutantkind once and for all? REVIEW Wolverine, Beast, and the “Weapons of X” storyline sucked up a lot of oxygen before this year’s Hellfire Gala, leaving the rest of the X-Force team to play supporting roles over the past few months. Add in Colossus joining the team and the series having to now deal with the far too drawn out mind-control plot, X-Force hasn’t really been able to find it’s footing in quite some time. With that said, I was pleasantly surprised to see Benjamin Percy give Domino the spotlight and for the issue to get back to X-Force’s roots as the mutant’s version of a black-ops team. Percy also gives Sage and Black Tom some great moments as they help Domino prepare for her mission, though Sage’s acknowledgement of her past drinking problems is an unfortunate reminder of a very random and poorly handled character arc. The Colossus/Mikhail parts of the issue dragged things down. Maybe it’s just personal preference at this point but I’m so over this storyline and cannot wait to see it wrapped up soon. Robert Gill draws a fun sequence as Domino infiltrates a Moscow bathhouse to gain info on Mikhail’s whereabouts. She escapes an Orchis Wolverine bot by the skin of her teeth, but not before there are some great action panels. The colors by GURU-eFX are vibrant throughout the book and especially during those scenes. FINAL VERDICT It was great to see X-Force get back to the basics but it felt like a fleeting issue in the grand scheme of things. I’m really ready for this Mikhail storyline to be over. Mikhail looking to use the mind-control powers on Orchis offers an interesting wrinkle for the larger Fall of X story, but it doesn’t feel like it’s entirely relevant to this series. RATING: 7/10

This was a predictable yet satisfying advancement of the Mikhail/Chronicler plot which has been lingering for what felt like ages. Benjamin Percy teased Jun Wei a few weeks ago, so it wasn’t surprising to see her here, but I thought it was a pretty big cop out to introduce a random Orchi character for Mikhail’s target. Either way, I’m excited to see this plot line start wrapping up even though it looks like we may get another issue or two before a final resolution. I’m intrigued to see what Percy has in store when the rest of the team reunites and compares notes on Colossus, but what’s left for X-Force to do before the Krakoan Age ends? Robert Gill’s art was a bright spot, with some fun panels featuring Deadpool sitting by the pool and Sage/Domino seeking the help of Doctor Strange.

I didn’t think I’d feel so robbed of a climax about the end of the pain-stakingly drawn out Colossus arc, but this issue managed to go lower than even my own bottom-dwelling expectations. This felt like a “best” hits album of X-Force arcs of yore, with the team fighting the miniature virus which caused so many issues in what feels like a lifetime ago. None of it made real sense or added anything to the plot other than giving the team something to do while Colossus went through his feelings. I’d think there was nowhere else to go but up in the next arc, but I’ve been proven wrong before on this series.

So this is what an X-Force book can feel like when we’re not focusing on Colossus and Mikhail?? What a complete 180 turn! Percy’s story feels fresh and meaningful for the first time in a long, long time and each team member gets a chance to have a moment. The issue serves as a welcome change of pace, offering a glimpse into the challenges and triumphs faced by mutants trying to rebuild their lives outside the nation of Krakoa, though I wish this happened months ago. This team’s ability to work together would have made a difference in the fight against Orchis and its a crime we had to watch Wolverine meander with random team-ups and Sage & Co. deal with the Russian roadblock. Give me more of this any day!

#ncbd thoughts on X-FORCE #48 by @benjamin.percy & @robertgill_art Hank McCoy has become a bad, bad, bad person and his genocidal tendencies leave no room for rehabilitation. The introduction of a clone, with memories limited to pre-Krakoa, could have made for quite the philosophical analysis of this story was happening at any other time other than this era’s swan song. The best part of this issue was the scene involving clone Beast learning about Krakoa and his namesake’s actions through a conversation with Black Tom. Deep character explorations aren’t in Percy’s wheelhouse, so it wasn’t a shock to see this kept at a surface-level, but the issue also didn’t play to Percy’s strengths. There were limited moments of action and suspense, which left the issue feeling a bit hollow. I also cringed at the mention of Sage’s drinking problems as I still absolutely hate that unnecessary and poorly handled storyline. Another area of disappointment for me in this issue is the lack of story for X-Force characters not named Wolverine, Sage, Beast, or Black Tom. We see the full team but they aren’t given anything to do. Heck, they hardly even have any lines outside a few (lame) Quentin Quire lines. The art in the issue was fine, nothing really stood out to me in the positive. Other issues have shown the Krakoan techno-organic technology in more detailed and interesting fashion. It’s still cool to look at here, though. My biggest gripe with the art in this issue is Sage’s designs. There are a few panels where her facial depictions make her look like a weak leader unsure of her actions and plans. Sage has been a breakout character throughout Percy’s run on X-Force and it’s time she’s treated as an effective leader. What could have been an interesting exploration of nature vs. nurture, landed more like a means of resetting Beast’s future path ahead of Krakoa’s end and not really doing much for any other members of the titular team. Percy’s run on X-Force has often offered glimmers of intrigue but was far too often hijacked by needing to support plot points from other titles or dealing w/ the Colossus storyline which went on for far too long.

Loving the 80s era Beast and his team up with Wonder Man was a fun bit. Percy’s X-FORCE is at its best when the full roster feels utilized and that was mostly the case here with Wolvie, Sage, Kid Omega, and Domino getting some good lines in. Omega Red is being severely underutilized though. Crazy to think the next issue is going to wrap up this run when it feels like there’s so much that could be done still. What is Beast Prime planning to unleash and will it redeem the character? We’ll see.

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.

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

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.

There was a lot of anticipation for the first issue of X-MEN in a post-Hellfire world and Gerry Duggan showed that the X-writers’ room wasn’t going to hold any punches during the Fall of X. X-MEN #25 continued to show how bleak the mutants’ current reality is and offered little hope for an immediate fix. The main story of the issue primarily focuses on Kate Pryde’s new role in the mutant rebellion several weeks after the events of the Gala. She’s now adopted the Shadowkat persona — a more ruthless version of the Shadowcat persona she had during the 1980s. Through flashbacks, Duggan also reveals what happened to her immediately after Gala and how she ended up going down this darker sinister path. To start the issue, Duggan also writes a touching conversation between Krakoan era Kate Pryde & a rabbi that acts as an anchor to remind readers that deep down inside Shadowkat, she’s still a good person at her core. I’m really excited to see the development of Shadowkat as part of the larger mutant rebellion and I hope that Duggan can withstand the urge to turn this new persona into a caricature similar to what’s happened with Moira. While he has other characters mention it directly, Duggan does a great job writing the character to remind readers just how powerful and important Shadowkat is to the survival of mutants. The artwork by Stefano Caselli also goes a long way in reminding readers just how dangerous Shadowkat can be in hand-to-hand combat with some of the more disturbing visual depictions of her powers in use that I can remember. While it was great to see more of Shadowkat, we also got an initial glimpse of how the mutants who escaped the Gala with Emma Frost are building a network of resistance. It all felt very reminiscent of the original Star Wars trilogy and I can’t wait to see how Duggan handles telling this part of the story arc where the X-Men are the underdogs. Rating: 8.5/10

While the previous issue was used as a vehicle to set up Emma’s “wedding,” Kate Pryde and crew are back in the limelight with a…sidequest? Kate’s opening scene in the Orchis facility felt like we were finally getting some plot movement but things took a turn towards physical humor when Rasputin, Ms. Marvel, Talon and Synch take a field trip to visit the Fantastic Four and see if they can unlock Reed Richards’ memories. The tone and color palette were really jarring pivots from the tension and darkness we’ve come to expect from this era. I wish we spent more time with what’s going on with Cyclops and Juggernaut’s attempted breakout instead of seeing Rasputin continuously send Ben Grimm flying from a punch (ok, it was still kind of hilarious). X-MEN #27 would make for a fun padding issue if the stakes of Fall of X weren’t so high.

At times it’s felt like the Orchis’ downfall is coming into a clearer picture in other titles, so it was great to see the main X-Men title get back to the basics of foiling the evil organization’s plans. It was nice to see Firestar get a chance to make an impact since her role as a double agent hasn’t been utilized to the fullest since she first took on the job. The interactions between Shadowkat, Ms. Marvel, and a surprise guest-star mutant. The book closes with some great plot development and it definitely feels like the stakes are at an all-time high.

Knowing we were getting Doom’s X-Men in the issue, I was expecting for an epic clash. Instead, I came away with a giant “meh” after the story ended. The initial flashback to set up the issue felt completely contrived just for this issue, which immediately lowered my excitement because it made the rest of the story come off gimmicky rather than of importance to Fall of X. Wolverine’s inclusion in the story also sucks a lot of the energy out of the room for any hope that the other mutants who’ve been “part” of this series since Fall of X kicked off would get a chance to shine. What’s worse, the ending turns those characters into a plot tool more than anything else.

This wasn’t the best X-Men issue ever, but it gets bonus points for telling an interesting story about two characters who deserved a platform given the roles they were meant to be playing. I enjoyed this WAY more than both Fall of the House of X #1 and Rise of the Powers of X #1. What a great issue that gave background to two underutilized members of the X-Men team who were supposed to be major players in the post-Hellfire Gala plot. We get to see more from Talon and Synch’s time in the Vault, as well as the two on a present-day mission to retrieve something that could be a game-changer in the fight against Orchis.Much like his story on this week’s Invincible Iron Man, Duggan slams the fast-forward button during the duo’s mission and their interactions with the High Evolutionary happen in the blink of an eye, which was a bit of a disappointment. However, I audibly gasped when we see what actually transpired via a flashback at the end of the issue. I wish we got to see more of Talon and Synch throughout Fall of X but hopefully they get more opportunities to shine while the rest of the team gets the spotlight in Fall of the House of X. Their relationship is really interesting and I loved spending more time with them.I need to give a special shout out to Phil Noto for his art on this issue. It was GORGEOUS. Noto definitely has a style which looks amazing on cover art but doesn’t always lend itself to an entire issue’s worth of panels. Not this one. Every panel look absolutely stunning and I LOVED his version of “The Lovers” tarot card for Talon and Synch. And those initial panels of Scott being consumed by Jean’s Phoenix fire?? Divine. Simply divine.

It’s starting to feel like Gerry Duggan is so ready to be done with X-Men with the way these scripts feel like they’re being mailed in to get to the end of Krakoa. I was willing to give him the benefit of the doubt after the last issue in the hopes he wasn’t actually fridging Talon, but it confirmed here and done so in a way that somehow made it even more offensive to the character. Talon calling Synch darling? Really? Is that how Duggan thinks any female character would respond to their male love interest? It sounds like how he writes Emma in Invincible Iron Man. Sorry Gerry, but these are two VERY different women. Why was any of this necessary if the end result was going to be the X-Men turning off the Orchis kill switch anyway? Synch didn’t even do anything special with his post-fridge emotions. And what the heck was with the random Kingpin/Typhoid Mary scene? They were shown back together (with no explanation on where Mary had been) in a recent Spider-Man issue, so it was strange to seemingly go back in time to this reunion with little explanation. This all just feels very messy and a haphazard attempt to tie up loose ends. Phil Noto’s art isn’t for everyone but I enjoyed it again here. There’s a distinct subtlety to his art that limits the impact of action sequences and other panels which require motion to be conveyed, but I thought it was used effectively. I can’t blame Noto for the script, but he perfectly captured the kind of humor that Duggan was going for (even if I disagreed with the humor to begin with). Look no further than any panel involving Spider-Man and you’ll see how Noto can capture humor with his unique style. Noto’a style also shown brightest during the emotional scenes between Talon and Sync. Overall, I didn’t enjoy how this issue played out and I’m starting to really worry how much Duggan is going to mail in his remaining X-MEN issues before this ends. He seems to only be enjoying writing non-mutant characters at this point (i.e. Tony Stark and Spider-Man) and forcing his brand of humor into each book. I don’t think Duggan is a bad writer per se, but these books don’t fit his style.

This was a confusing hodgepodge that was the latest disappointment in the Fall of X. Gerry Duggan's script throws various plot elements at the wall, hoping some will stick, but ultimately leaving us with a disjointed mess. The issue lacks focus, bouncing from scene to scene without a clear narrative flow or explanation. Characters randomly show up from out of nowhere when they have either been MIA completely or are part of other ongoing stories. One glaring weakness is Duggan's portrayal of the female X-Men. Gone are individual, complex personalities. Instead, they're reduced to one-note stereotypes, trading snarky quips with little to distinguish them from each other. Its as though he's writing these characters for meme-potential and its infuriating. This shallow depiction is a disservice to the rich history of female mutants, especially for an issue released so close to International Women's Day. Perhaps the most frustrating aspect is the X-Men's casual approach to violence. Duggan portrays them resorting to a "kill-first, ask-questions-later" mentality, a stark contrast to the core principles of mutants, even prior to Krakoa's laws. The most egregious panel in the issue sees Magik "relaxing" in room of blood-stained walls left in her trail. This willingness to take lives, even in the face of extreme situations, feels like a betrayal of everything the X-Men have stood for for decades. Phil Noto's art, while generally stylish, doesn't fare much better. The action sequences lack the dynamism needed to convey the power and energy of mutant combat. The panels often feel static, failing to capture the urgency of the situations at hand. X-Men #32 is a disappointing issue through & through. I'm not expecting much from this series before Krakoa ends, but I'd at least like to enjoy reading an X-Men comic until then.

The issue feels like a rushed & messy conclusion to a phase that seemed to forget its main cast along the way. The biggest issue for me is Duggan’s treatment of the main X-Men lineup. Laura, Sync, Firestar, & to a lesser extent Shadowkat, have been so underutilized outside random missions. It’s as if the creative team realized they had forgotten about the actual X-Men team needing to be involved in the main plot & hastily shoved them into a new side quests to wrap up their stories before X-MEN #35 closes the book on this run. There were also a few head-scratching editing mishaps that made this all feel like it was an afterthought. One example is how we see Synch using Polaris’ powers to fight MODOK & then on the next page Laura tells him to load Polaris’ power up WHILE HES GLOWING GREEN ALREADY. 🥴 The only redeeming aspect of this issue is the continued addition of Ms. Marvel. Her character has been a highlight of this phase, and her mutant journey is genuinely compelling. Her ascension to one of the most interesting X-Men is a welcome addition to the team, & I can’t wait to see more of her growth in From the Ashes.

WHOA. I was not ready for what I just witnessed in X-MEN HELLFIRE GALA 2023 #1. Ever since the Fall of X was first teased, the current (I guess now previous) Krakoa arc, Destiny of X, has been criticized for advancing the Krakoan narrative at a snail’s pace mixed with some off-the-wall stories across the various titles that were nothing more than a distraction from the main plot. It wasn’t until a handful of the most recent issues from the “Core 3” as I call them (X-MEN, X-MEN RED, and IMMORTAL X-MEN) where we got back to understanding more about ORCHIS’s plans for mutant destruction and the upcoming civil war on Arakko. There is almost no way for me to talk about X-MEN HELLFIRE GALA 2023 #1 without giving away spoilers, so please be warned if you decide to read this article without having read the issue that was released today. So what transpired at the third annual Hellfire Gala? How did the Fall of X kick-off? Beware, there are spoilers ahead… The issue immediately kicks off with Kamala’s rebirth as an Inhuman AND mutant after her death in AMAZING SPIDER-MAN #26. As she emerges from her resurrection egg, she’s greeted by Charles Xavier, Emma Frost, Cyclops, and members of the Five. The scene plays as a mix between true excitement from all sides, anxiety from Kamala of the unknown and fear of how her family will react, and nefarious chess-playing by Charles and Emma on how they can use Kamala as a PR pawn to gain sympathy from humans. After a quick introduction to Krakoa, Jumbo Carnation escorts her away to work his magic on a new costume and last-minute Hellfire Gala outfit (spoiler alert: it’s STUNNING). A later scene begins to explain Kamala’s new normal and doesn’t immediately turn her into a full-fledged mutant…yet. We learn that because she was exposed to the Terrigen Mist before her mutant powers manifested, there is no way to know what those powers may be until they reveal themselves. Xavier informs Kamala that there’s no telling what may have had the order been reversed given the negative effects mature mutants have when exposed to the mist. We also see a cute exchange between Kamala and Rasputin IV, who was successfully indoctrinated to be a fan of Ms. Marvel in her future timeline thanks to Xavier’s planned charm offensive/propaganda. Gerry Duggan does an admirable job writing Kamala’s scenes, resisting the urge to reuse Kamala’s worst trope of being a star-crossed superhero fan and focusing more on her cautious embrace of her new life and keeping her family at the forefront of her thoughts. If this were an entire comic dedicated to Ms. Marvel these scenes may not have been enough, but in an issue that includes so much story, Kamala’s scenes still stood out and I’m excited to see how her story progresses. Suffice it to say that the Kamala’s writing as a X-Man is off to a strong start. Created by Krakoan architect Jonathan Hickman along with Valerio Schiti, two of Marvel’s G.O.D.S. make an appearance at this year’s Gala as previously teased. Wyn, a magician who has remained in the shadows for thousands of year, and Dmitri, a follower of science with his own secret plans, share an ominous warning with Magik before departing the festivities early. It’s a very quick scene that only takes up a page, but it lays the groundwork for the rest of the issue. “Pride goeth before the fall,” as the saying goes and Wyn seems to know all to well what is about to happen to the X-Men who have achieved god-like status with all of their new technologies and tools. As is tradition, the Hellfire Gala acts as a changing of the guard for the traditional X-Men team. This year’s fan vote saw Juggernaut elected to the team, along with Synch and Talon/Wolverine returning to lead the new team. Joining them to round out the new lineup are Frenzy, Jubilee, Cannonball, Prodigy, and Dazzler! Celebrations are short lived however as ORCHI has other plans… Without even skipping a beat, the celebration is cut short when Nimrod crashes the party on the page immediately after the new team is announced. Combined, the full page spread is one of the most jarring juxtapositions I have seen in comics and it marks a the turning point in Krakoan history. After Nimrod’s first strike, more ORCHIS forces arrive, including Doctor Stasis, Karima Shapandar, Moira MacTaggert, Stark Sentinels, and a whole bunch of ORCHIS soldiers in the organization’s attempt eradicate mutants. The Krakoans don’t go easily though, putting up a valiant effort by some of the island nation’s strongest inhabitants. Ice Man and Jean Grey are just two of mutants who have heroic moments to shine as they attempt to fend of the intruders. It’s all in vain though, as ORCHIS enacts what can only be described as a “mutant massacre,” which may be putting it lightly. ORCHIS shows no mercy for anyone at the gala and we witness multiple X-Men and human deaths alike. It’s weird to say that the villains get a time to shine here but oh boy does the creative team do an amazing job making you LOATHE every single member of ORCHIS who makes an appearance. They’re callous, they’re calculated, and they’re relentless in their goal of eliminating mutants from the face of the Earth. My only minor gripe is that Moira’s depiction teeters towards being a caricature of blood-thirsty revenge, though they have been building hers towards this mentality. I’m still not completely sold that this is who Moria would become but I’m willing to suspend some disbelief. In a last ditch effort to save the remaining mutants, Charles Xavier surrenders and agrees to have every mutant on Earth walk through a Krakoan gate to an off-Earth destination. While he’s able to telepathically convince the majority of mutants to abide by these terms of surrender, a small few led by Emma Frost use Xavier’s own Red Triangle technique to resist the mandate and flee to the Hellfire Club’s original NY headquarters to regroup and put a plan in place to retake Krakoa. Before her death, Jean is able to implant Firestar as an ORCHIS mole by altering Doctor Stasis’s memories. He’s made to believe that she’s been working with the organization since before she was elected to the X-Men during last year’s Hellfire Gala and even defends her against his co-conspirators who question why she’s still around. I’ve really enjoyed how they’ve used Firestar since her election and I’m glad she will continue to play a bigger role moving forward. Xavier stays on Krakoa with his ORCHIS captors for what is meant to be his execution by Moira but is saved at the last minute by Rogue who flies him away. Their escape is interrupted when Xavier realizes he’s lost communication with every mutant who left Earth due to ORCHIS corrupting the gates beforehand. X-MEN HELLFIRE GALA 2023 #1 provides readers with one of the most brutally intense acts of visual storytelling in recent memory. Page after page, scene after scene, and panel after panel are brimming with action and keep you at the edge of your seat. Gerry Duggan wrote a masterpiece. The combined artistic talent of Adam Kubert, Luciano Vecchio, Russell Dauterman, Matteo Lolli, Javier Pina, R.B. Silva, Joshua Cassara, Kris Anka, and Pepe Larraz drew a masterpiece. I audibly gasped at multiple points throughout this issue due to collective talent of every person who worked on it. My mind was truly blown and I cannot wait to see how this all unfolds. This is undeniably the most consequential issue since the initial HoX/PoX limited series when Krakoa began. It’s ramifications have the potential to impact the entire Marvel comic book universe for years to come. Rating: 10/10

I can’t deny there are some pretty powerful panels in the issue, especially Mystique’s thoughts on what the true lines of binary division, but there are still some problematic elements. What was the team thinking using an annoying Bamf character as the narrator? Did Spurrier really feel like the issue needed a layer of humor to balance the poignant tone of the rest of the story? If so, he failed miserably because it was a terrible attempt at humor and completely took me out of the moment every time the character appeared. The toxic portion of the comic book fandom will claim Spurrier went too far retconning canonical stories, but the reveal of Nightcrawler’s true parentage was always part of Claremont’s initial thoughts for all of the characters involved. So in reality, this was making the characters whole and I thought it was done really well. Overall, Spurrier masterfully weaves together the threads of Nightcrawler, Mystique, and Destiny’s histories, exploring the intricate dynamics between Nightcrawler and Mystique and Mystique and Destiny. He captures the emotional resonance of these two different relationships, highlighting the love, betrayal, and lingering scars that define each character individually.

X-MEN: BEFORE THE FALL: HERALDS OF APOCALYPSE #1 is a one-shot story meant to lay additional groundwork ahead of the upcoming ‘Fall of X’ event. It was written by Al Ewing with art by the trio of Stefano Landini, Luca Pizzari, and Rafael T. Pimentel. After reading this one-shot I feel like I’m the one who has fallen, specifically into a time machine and was displaced across multiple timelines. It’s a story that picks up seemingly after both the events of X-Men: Red #12 from earlier this month and the climax of the ‘X of Swords’ event from 2020. I’m not really sure what I just read but I guess I have to write about it… Fair warning to anyone who hasn’t spent a ton of time brushing up on their Okkaran history — this issue could get confusing. It assumes readers have followed some of the bigger storylines related to the timeline of Okkara, Arakko, and Krako, and the events that caused Okkara to split in two. Unseen in comics since the aforementioned ‘X of Swords’ event, Apocalypse, or “A” if you need a refresher, takes center stage in what can best be described as a philosophical reflection on what the meaning of strength is. In a tongue in cheek moment, we learn that Apocalypse’s name really meant Revelation, but it has been bastardized over the course of centuries due to those who grew to fear him. This discrepancy in the meaning of his name is rooted in real-world etymology, as the Greek word ‘apokalypsis’ literally means revelation. Juxtaposed against Apocalypse/Revelation’s views on what strength means are the views of his wife, Genesis. The two reflect on various moments in time from their lives and end up at swords against one another after their debate turns into a full blown fight over their diametrically opposed views on how strength is defined via times of war and peace. In the end, Apocalypse/Revelation survives what should have been a fatal wound only to yield to Genesis and allows her to leave via an Okkara gate. While not explicitly mentioned, it is implied that she is headed to war with the mutants on Earth. My biggest problem with this one-shot is that it felt like it’s purpose wasn’t to tell a new story. By no means was this the fault of Ewing’s writing, which tried mightily to lift a stale plot into an elevated conversation. However, it came off as a means of reintroducing certain concepts and characters that had been not been seen in some time, while putting pieces into place for events in the coming months. Which I guess is fine in the grand scheme of things, but it felt like a disservice to the the momentum Apocalypse/Revelation was building towards in 2020. The evolution of his character and worldviews was one of the more interesting developments of early Krakoa and there was always something missing when we lost his narrative after ‘Fall of X.’ For me, this was an underwhelming reintroduction to the character after so many years. It’s not easy to have three artists on one issue, but Landini, Pizzari, and Pimentel did what they could with the artwork. Styles and techniques felt consistent throughout the all 35 pages, though at times it felt too consistent. Given the timeline jumping that occurs throughout the book, varying the art may have helped readers transition between the in-story timelines more easily. Otherwise their lines are clean and their character designs are plenty detailed. The action sequences offer some of the best panels. Overall, I’m not sure X-MEN: BEFORE THE FALL: HERALDS OF APOCALYPSE #1 is a must-read for the current X-book narrative. Some of it’s major moments could likely have been one or two pages of backstory in other titles, allowing us to explore more meaningful plot development. This does give me pause for the upcoming Sinister Four one-shot, though how can you make Nathaniel Essex boring?? Rating: 5/10

Continuing the BEFORE THE FALL preludes to the upcoming Fall of X event (catch my review of last week’s HERALDS OF APOCALYPSE), SINISTER FOUR #1 hits shelves today. The one-shot, written by Kieron Gillen with art by Paco Medina, showcases the four major Essex clones we’ve been following over the current Destiny of X story arc — Mister Sinister, Doctor Stasis, Orbis Stellaris, and Mother Righteous. Full disclosure: Krakoan Mister Sinister has been one of my FAVORITE Marvel characters so this review will be influenced by that! ‘SINISTER FOUR’ is a slightly misleading title as the main story in this one-shot primarily focuses on two of the clones, Doctor Stasis & mother Righteous, and their attempts at wining, dining, and intertwining each other to gain insights into each other’s endgame plans. The book opens in a flashback to the OG Nathaniel & Rebecca Essex courting each other in Victorian London. We see their romance blossom into a marriage proposal and it’s a weirdly touching moment for a character who we have not seen show true emotion very often. The story then shifts to the present were Doctor Stasis, who has kept the original Nathaniel’s undying love for Rebecca, is planning a dinner “date” with Mother Righteous. Readers observe a tit-for-tat conversation between two clones who we initially think might actually be rekindling some version of the long-lost romance between their original selves. Ulterior motives are the norm for any good Essex and by the end of the issue we see that both Stasis and Righteous were using the time together for their own agendas, including connections to the broader Orchis plans. Throughout the book, Gillen’s writing offers readers a complex and character-driven narrative that fills in plenty of background and motivation for what’s ahead. Stasis is given a backstory and motivations that make him almost an ideal anti-hero, while Righteous is given much needed depth as a major player. Both of these characters have suffered through lengthy periods of being one-note caricatures, but Gillen has seemingly redeemed them both and given some much needed momentum to the plans that will likely unfold in (hopefully) short order. Medina’s art is equally on point in this book. The back and forth conversation over dinner is displayed as a quasi-fencing match featuring a wonderful mix of close-up shots to highlight detailed facial reactions and wide-angle shots of the full room that elicit a level of tension building with each panel. The color choices by Edgar Delgado and Fer Sifuentes-Sujo provided a perfect balance to the drama, with bright, bold colors on every page. While the Krakoan Age is on it’s last legs, I can’t help but wish we were witnessing it through the lens Gillen is offering for the Essex clan here. SINISTER FOUR and HERALDS OF APOCALYPSE are almost diametrically opposed stories that represent the fun yet complex political drama that Krakoa’s arrival offered (SINISTER FOUR) vs. the drawn-out, unnecessary rehashing of ideas without resolution that have come to plague the Hickman-less Destiny of X arc (HERALDS OF APOCALYPSE). Rating: 8.5/10

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.

**Joint review w/ Rise of the Powers of X #4** These two titles had so much overlap this week, it was impossible for me to write individual reviews. Both titles continue to suffer from an overload of dialogue & exposition, as Kieron Gillen tries to keep readers from getting lost in the (unnecessary) complexity of where this story has veered. Split across these two titles, each story is fragmented & incomplete on its own. Furthermore, the handling of Xavier’s character has been frustrating & yet Gullen seemingly does a bait and switch here. If you only read Rise, you’d continue to think he’s a complete monster. You NEED to read Forever in order to realize to understand the rationalization for his horrific decisions. And at this point, is Exodus’s plan, which will basically kill the majority of mutants in the White Hot Room, any worse? Yet nobody seems to question the philosophical grey area there. The only redeeming quality of these issues is the artwork by R.B. Silva in Rise & Luca Maresca in Forever. These were at least great issues to look at, but that’s about it.

While we’ve seen the Hellfire Gala fallout on Earth in X-MEN #25 and IMMORTAL X-MEN #14, X-MEN RED #14 reveals what’s happening on Mars after Genesis returned to reclaim the land she once ruled, and it turns out things are a bit messy on Planet Arakko. The book opens with two scenes showing the opposing sides of the Genesis War. The first few panels show Genesis brought the dead planet back to life, kicking off a propaganda machine that creates dividing lines between inhabitants across every inch of Arakko. We also see Roberto/Sunspot returning to the Red Lagoon in a state of despair, bringing news of the ORCHIS invasion and it’s incalculable mutant casualties. Storm processes the news and wonders if Genesis returning and the ORCHIS invasion were coordinated. Whether they were or not, she realizes she needs to respond with a show of force and announces that Arakko must go to war. We then get a helpful data page recapping which parts of Arakko support either Genesis or Storm, which ends up coming in handy later in the book, before we’re immediately thrust into battle. The rest of the book is action-packed as we witness the Battle of the Fallen occurring on Day 70 of the war. The sides appear to be at a stalemate until Storm arrives and unleashes her Omega-level powers, while still holding back to show that mercy (or weakness as Genesis would call it) is what defines those who wish for peace. After the battle, Storm and her forces are planning for Genesis’ next attack when a very different looking Fisher King arrives with an ominous declaration. I’ve been so impressed at how Ewing has continuously understood Storm’s character and given her one of the strongest voices in quite some time throughout X-Men Red. He’s resisted turning to one of her usual tropes — someone on a short fuse or one who succumbs to imposter syndrome — and in this issue we get to see Storm’s leadership evolve from deft political powerbroker to respected field commander. I’m really excited to see how he continues to showcase Storm as a leader in her new role against a very formidable foe. I also really enjoyed all of the exposition we get throughout the early stages of the book and Ewing makes great use of the two data pages. You really come away feeling like you’ve read a comic that was half action, half history. Yildiray Çinar takes over penciling duties this issue from Jacopo Camagni who had been on the title for the previous three issues. I’m not sure if the transition was ahead of schedule or if something else happened, but the cover still listed Camagni’s name on it. Either way, Çinar’s art doesn’t stray too far from what readers have gotten used to though there are some noticeable differences from Camagni. The first difference that caught my eye was a bit more use of shadowing throughout the book than Camagni, or even Stefano Caselli in the first ten issues, used. It made sense for the current dire situation we find on Planet Arakko but in certain panels it felt like a way to get them finished rather than for effect. The second difference was a less refined approach to wide-panel shots. Characters in these panels didn’t have strong details and it took away from the severity of the situation that Ewing was building with his story. Some of the action sequences had a staccato feel to them where we didn’t follow individual confrontations for more than a panel or two which also made me feel somewhat removed from it all. However, it was all saved by the gorgeous scene where Storm enters the fray and puts an end to the battle. Federico Blee’s coloring for Storm’s lightning power made this even better. I also had a bit of a hard time with Ariana Maher’s lettering for the issue’s exposition. She used a thick all-caps white font in a black box, with a white drop shadow that didn’t work for me. Ewing was giving us so much information on certain pages that this approach made the pages feel cluttered and too heavy. None of the outcomes depicted in the book are entirely unpredictable, yet Al Ewing’s story is another extremely strong entry into the Fall of X following the aforementioned X-MEN #25 and IMMORTAL X-MEN #14. He’s been building to this moment for awhile now, giving readers sufficient examples of how Arrakan peace was always tenuous at best. This is all likely leading to the return of Apocalypse and him creating a new team of X-Men, but I’m going to sit back and let Ewing continue to impress me with his Storm-focused storytelling. Rating: 8/10

Al Ewing dives deeper in the Fisher King’s past as a means of hope for the future as the Genesis War rages on in X-MEN RED #15. PUBLISHER’S PITCH SINS OF THE PAST! Under siege in Port Prometheus, Storm readies to hold the line against the ultimate bioweapon. Meanwhile, the Fisher King finds himself tormented by his strange new abilities...and the secrets in his memory might turn the tide of the Genesis War. REVIEW After debuting back in X-Men Red #1, more of the Fisher King’s past is finally revealed after he showed up to the Brotherhood’s war room in the last issue with a plan to defeat Genesis. On one hand, I’m so glad we’re finally get to see more on what Ewing has previously only hinted at. We always knew there was more than meets the eye given some of the tales he’s told others yet this is the first time we’re getting to see how he’s become the man he is today. It’s much-needed history to fill in the gaps for one of the more unique inhabitants who has been appearing in X-titles for the last few years. I wish would could get more of this for others on Arakko who are playing pivotal roles in the current confrontation. On the other hand, it was disappointing to see that much of the Fisher King’s motivation rests on the death of a female character from his past. This is a textbook case of fridging, the overplayed and sexist trope where which female characters are either injured or killed to allow for the growth of a male character or his story. While it was on a much smaller scale with a brand new character, it was still a shame to see this used after the very public outcry against Marvel for the fridging of Kamala Khan earlier this year in The Amazing Spider-Man. It also didn’t feel like the backstory was entirely relevant to the present-day story also happening in this issue. Storm’s battle with an amphibious creature sent by Genesis is a visual delight from Yildiray Çinar. There’s a full-page panel to cap off the battle that is not only awesome to look at but truly capture the power Storm wields as an Omega-level mutant. Çinar’s designs for the new characters we meet in the Fisher King’s backstory, especially Zsora, are unique, impressive, and left me wishing we got more time with them. Federico Blee’s colors complement the book well with a nice range of palettes. FINAL VERDICT This issue definitely takes a break from the battle-heavy previous issue to build up one specific character, but the ending indicates the war is far from over and Storm and the Brotherhood are going to be facing some very long odds. Given the work Ewing did here, I would be shocked if the Fisher King didn’t factor into the endgame somehow and I can’t wait to see how this all plays out. RATING: 7/10

Everything about this issue clicked for me. The Four Horsemen were menacing. Storm was a badass. The Brotherhood had moments to shine. Al Ewing made every page matter and used each one to add weight to the story. Yildiray Çinar’s art keeps getting better with each issue and the wide-panel view of Port Prometheus’ destruction by War was absolutely stunning. The Genesis War has been a fantastic run and reminds readers of the potential a cast of relatively new characters offers. X-Men Red continues to be the best X-title in Fall of X.

This issue lacks the complexity of the new Arrako mutants who have come to make X-Men Red such an interesting entry into the Krakoan Age, but the interactions between Storm and Apocalypse present a new twist on how the Genesis War might play out. Ewing is doing everything in his power to elevate Storm as one of the most powerful and important mutants and it’s such an impressive feat to watch unfold. Every time you think Storm couldn’t become a stronger mutant, Ewing has pushed the boundaries further. I’m very much looking forward to seeing how this plays out when Storm and Genesis come face-to-face for their final confrontation.

Stop me if you’ve heard this before, but Al Ewing wrote a climactic final chapter to the Genesis War that's equal parts action-packed spectacle and emotional gut-punch, leaving readers both satisfied and slightly melancholic as the best series throughout Fall of X has come to a close. While the physical conflict is exhilarating, thanks to Yildiray Çinar’s always impressive art, Ewing ensures it's not just about flashy powers or brute strength. The battle becomes a metaphor for the clash of ideologies, forcing characters to confront their beliefs, the choices they've made, and the paths they hope to lead. Storm's unwavering optimism clashes with Genesis' hardened hubris, leading to a poignant confrontation that resonate beyond the immediate conflict. While the ending for her vision for, and involvement in, Arakko felt a bit rushed at the end of this issue, no writer has given Storm the pedestal she deserves quite like Ewing has throughout this series’ run. I can only hope the next writer to take on the character is half as adept in giving her this level of dedication and care.

The penultimate issue of Michael Dialynas' charming epic serves up a delectable dish of suspense, revelations, & artwork. Within the previous 3 issues, Dialynas has used this series as an allegory for our own society's abuse of our planet and its natural resources. That allegory turns into a full blown damning critique in this issue as we see first hand how far humanity is willing to go to maintain a semblance of power and control over our domain — be it nature, animals, or other people. To frame this critique, we get to see some much-needed backstory on who/what Zawa is and represents within the story's context and in our own world. Dialynas is an artist first & foremost and it showed with some of the story being told in a clunky manner. The setup to the confrontation between the mayor and the angry citizens could have been paced better, but you knew what was happening. Even with a less than perfect script, the visuals in this issue were simply stunning (as usual). The flashback scenes steal the show with a different style not previously seen in the series, and it reminded me a lot of cave paintings or other relics from ancient civilizations. Just continued masterful visuals from Dialynas. If you're looking for a comic that combines stunning visuals, a heartwarming story, and a dash of environmental consciousness, ZAWA continues to be a must-read and will make for a scrumptious trade once its been collected in full.