Comic Book Reviews for This Week: 8/25/2021

DC #1

When it comes to Action Comics #1034, I’m torn. While Phillip Kennedy Johnson generally demonstrates a sound understanding of Superman and the characters in the hero’s general orbit, this issue feels a bit off. It’s something that can be attributed less to the issue itself and more to the idea that much of the story in Action right now feels kind of irrelevant given that Jonathan Kent has another title, Supergirl has another title, there’s Superman and The Authority, and everything seems to be fully divorced from this story. More than that, though, the issue sees Superman act in a way that is a bit rash and superior that feels almost out of character for the hero. What does work, however, is Lois’ response to the attack at the Fortress and while I don’t love that Thao-La is being used as a pawn in the “please don’t make me do this” sense of things because for someone who knows that Superman is the hero that he is, the idea of not having faith in him to the point they’d be used against him seems like an odd choice, the fight that opens the issue is fantastic, especially paired with the art. — Nicole Drum

Rating: 3 out of 5

Gene Luen Yang’s run on Batman/Superman has been not at all what I expected, but in the absolute best way. Batman/Superman has been an oddball journey through the multiverse with a vintage cinematic flair, and while the saga will continue in the Batman/Superman annual, this is quite the fun and satisfying finale we were hoping for. Think about it. Did you ever see El Diablo becoming one of the book’s biggest highlights? No, you didn’t, and you probably didn’t expect vintage versions of Superman, Batman, and Robin stealing the show either, with a classic feel to their dialogue and mannerisms without sacrificing more introspective moments, like Batman and Superman’s conversations about their creation and God. Ivan Reis and Sabine Rich’s artwork captures that tone perfectly but also knows when to let loose with darker set pieces that take advantage of Etrigan’s villainous design. This really was a world of fun, and while I’m sad to see the series ending, at least it went out on top. — Matthew Aguilar

Rating: 4 out of 5

Batman: Reptilian is proving to be endlessly and unnecessarily frustrating. This installment only barely begins to peel back the curtain on its central mystery, but does not make the effort to make that experience necessarily worthwhile. Instead, we get page after page of Batman being cold, calculating and mean to everyone around him, mixed with increasingly gruesome visuals or stoic exchanges with authorities. Liam Sharp’s art is dynamic in individual moments, but reading it with such an understated, but also heavy-handed, script bogs everything down, and certain sequences flow in genuinely odd ways. There is a nugget of a compelling, complex Batman tale in the center of this story, but it feels way too bogged down by both its brutality and its utter banality. — Jenna Anderson


Rating: 1.5 out of 5

After its awful second issue Checkmate finds a balance between servicing its narrative that made the first so strong and also the confusing time jumps that made its second so weak. Bendis’ work plotting and planting seeds to follow gets enough of a payoff here for the series to not be a total wash but frankly the intrigue has mostly evaporated. Maleev still does great work as usual even if he’s forced to mostly draw heroes standing in lines and having conversations, at least when he does it he has the grace to make them look cool and the mood feel just right. — Spencer Perry

Rating: 3 out of 5

The “Vile” storyline reaches its conclusion in a very fitting Batman-esque manner. At the end of last issue, Batman was seemingly taken over by the Vile parasite that has plagued him for several weeks. As Batman struggles to deal with the parasite’s effects, he still has to contend with both the Penguin and Roland Worth’s continued quest of vengeance. Things end on a mostly clean note, with a rather trite explanation that comes straight out of the “Batman with enough prep time can beat anyone” department. The Task Force Z backup story is only slightly better, with a whole lot of meandering towards a goal without revealing what that goal actually is. Honestly, this is probably the weakest Detective Comics in recent months. — Christian Hoffer

Rating: 2.5 out of 5

Harley Quinn #6 sees an artist change, with Laura Braga taking over for Riley Rossmo and while I wasn’t exactly a big fan of Rossmo’s art and I do enjoy Braga’s work, it’s a hard shift that feels a little unsteady with this next chapter of Harley’s story. The issue sees Harley and Catwoman team up, which is always a bit of fun to see given how very different the two characters are and it’s something that Stephanie Phillips writes very well. The real weakness in the issue really lies with the secondary aspect of the plot: the Hugo Strange of it all. This issue sees Scarecrow show up and thus connect the story to “Fear State” and while that was something that readers felt would happen from the jump, it isn’t particularly well-incorporated in what otherwise could be the beginnings of a great Harley/Selina adventure. — Nicole Drum

Rating: 3.5 out of 5

Icon and Rocket #1 served as a suitable relaunch for DC’s Milestone revival and now, the title’s second issue blows the lid off it all. It tkaes some time to get moving but once it does, the pace never lets up as it quickly reaches a breakneck stroll. There’s a few moments towards the end of the issue that are nothing short of incredible, just how the script is paced and how impactful Braithwaite’s lineart is. Two for two so far. — Adam Barnhardt

Rating: 4 out of 5

prevnext

DC #2

The flashbacks on film found in The Source of Freedom #4 provides a far more compelling story than that which preceded them in this story and proceeds in chronology. The true story of Thaddeus Brown speaks to history and quickly develops a complex character on the page – one enhanced by the changes in coloring and paneling that presents their arc from start to finish. It’s only after this story is concluded that readers are reminded that background does not make a character. Shilo Norman continues to announce his feelings and perspective to those around him (as well as readers), but his own story and lived (or, at least, remembered) experiences are left off the page. As a result he remains unengaging as a hero for this story, suggesting that those who preceded him would have made for a better focal point. — Chase Magnett

Rating: 2.5 out of 5

Robin #5 hits you over the head with sentiment and it absolutely works. On the eve of the League of Lazarus Tournament, Damian is chased by his predecessors as Robin across rooftops and confronts each of them in a series that understands these sibling dynamics wonderfully. As much fun as it is to see him confront the likes of Red Hood and Tim Drake, it’s the return of Dick and Damian—pulling from the brilliant Batman and Robin-era—which may bring a tear to some eyes. Their partnership represented the best of Morrison’s work on the franchise and its continuation in Damian and his relationships here resonates clearly. This last chapter of prologue sets the stage for a fighting tournament with plenty of earned anticipation. Even in an issue without a single fight, Melnikov fills these pages with excitement and the promise of what’s to come seems all but assured to be fulfilled. — Chase Magnett

Rating: 4 out of 5

Superman is my favorite superhero film ever produced. It was the first film to sincerely embrace the genre elements rather than toying with them through the lens of camp. Director Richard Donner famously posted the word “verisimilitude” where cast and crew could see it to remind everyone of their goal: To create a world in which Superman existed, not simply as a fantasy, but as a man we could see and, more importantly, believe was flying. The result was an iconic moment of American myth making that continues to inspire and influence film and media today. Just put John Williams’ “Main Title March” on and you can feel the power it still holds. I heard that song when reading a Wilfredo Torres’ panel in Superman ‘78 #1 as Clark Kent peels away his shirt to reveal the red, blue, and yellow emblem beneath and, in that moment, knew this comic not only appreciated, but understood its inspiration. The results are electrifying. — Chase Magnett

Rating: 4.5 out of 5

In Superman: Son of Kal-El #2, Tom Taylor really is pushing the idea of Superman into modern territory with Jon Kent in a way that feels of the moment and genuine while never losing the wonder that goes along with a hero of that magnitude of power. The issue sees Jon trying to find a way to live a “normal” life, but quickly ends up back in the public eye again and this time, with the responsibility of Earth now his, choosing to stand up for what he sees is right in ways that perhaps his father never would have. This includes saving a boat of essentially refugees and making a pretty dangerous political enemy in the process. There are real stakes here and while the book swells with hope, it’s clear we’re setting up for a ride that will have lessons not only for the young hero but for the reader as well. The art of the issue is superb, and really the only misstep is a moment that involves an attempted school shooting that feels a little too heavy-handed, so much so that any good intent that moment held was smothered by how overdone it was. Other than that, it’s another fine entry in what is shaping up to be a truly fantastic Superman series. — Nicole Drum

Rating: 4.5 out of 5

What does it look like when two of DC Comics’ most overcharged and recognizable characters engage in a series of increasingly disconnected sequences of observational humor on current political trends without providing a clear perspective? It looks a lot like Superman vs. Lobo #1, and the sort of comic that’s easy to skip. There are no redemptive facets to this comic, which isn’t to say that distinct elements like the lettering, colors, or endless panels of Superman and Lobo talking aren’t functional; they are. The problem is they function to provide absolutely nothing of value – no insight, no amusement, no shock. When Lobo is made out to be a Joe Rogan stand-in, there’s nothing more witty to be found than Lobo spouting nonsense as a broadcaster. Concepts like this receive minimal space as the story seems uncertain which ideas might stick and therefore assumes quantity will balance any lack of quality, but it’s all consistently bad. Even the occasional splash of Superman in the indulgent Black Label format underwhelms. If this were another one-shot vehicle for Lobo to deliver jokes, no matter how poorly crafted, it might be more forgivable, but the words “TO BE CONTINUED” left me wishing I’d never begun reading. — Chase Magnett

Rating: 1 out of 5

Diana’s pursuit of Janus has been a wild ride, which was interesting when it saw Diana have to explore different realms in the pursuit, but now that this story has gone on for a bit, we’re at a point where it’s just repetitive. Mercifully, Wonder Woman #778 is sort of a lightning round that drags Wonder Woman through a lot of realms only to get us to the end of the road and deliver a massive cliffhanger which takes the thrill of the storyline right back up. All I can say is that Conrad and Cloonan know what they’re doing here because it definitely invigorates the whole story. Highlights of the issue include the art, but more than that, the surprise appearance of Bat-Mite. It’s a bit crazy, and things get intense, but as we get closer to this story’s resolution, things are more invested than ever. — Nicole Drum

Rating: 4.5 out of 5

I felt like this latest entry was the weakest of the bunch, not able to capture some of the majesty when it comes to the character of Diana this go-around. The star of the show here is definitely the artists, with Steve Epting, Jack Cole, and others managing to really set themselves apart. While it’s certainly worth picking up if you’re a fan of all things Wonder Woman, this latest entry could have done more to break the mold. — Evan Valentine

Rating: 3.5 out of 5

prevnext

Marvel #1

Some stories begin with an ending in mind and that may very well be the case for the opening arc of Alien. No matter how much I disliked the build to these final pages, there’s something very compelling about the final panels showcasing Gabriel’s journey and the consequences of these final decisions. It certainly doesn’t hurt that a spacebound sequence plays to Larrocca’s strengths as cold exteriors cover any hint of human emotion. There’s still plenty of expository dialogue and plot-heavy foreshadowing to be found in the build to this final sequence. Overwriting runs rampant like the first few sessions of an RPG and the impulse to explain undermines any metaphors intended to be shown. Yet when the script finally opts to simply show these characters under unimaginable pressure, a diamond of a good idea can be seen. It’s enough to keep me reading because, despite how badly this franchise’s core strengths are regularly mangled in endless sequels, the results are rarely dull. — Chase Magnett

Rating: 2.5 out of 5

Amazing Fantasy only continues to grow more strange in this second issue. Although the backstory of this mysterious world becomes a bit more fleshed out in this follow-up chapter, the story of each major character (Captain America, Spider-Man, and Black Widow) continues to feel too disconnected from one another. With this only serving as a five-issue run, I’m starting to have questions about where this is all going and how it will come together. Still, if nothing else, Andrews and company are creating a series that is unlike anything else Marvel is putting out right now. For that alone, I continue to be interested in seeing where it goes. — Logan Moore

Rating: 3 out of 5

The Amazing Spider-Man #72 has gone live this week, and it is all about mindgames for our dear twisted villain. As Peter continues to fight for his life, fans will watch as MJ and Norman are thrown into a tailspin by Kindred. By the chapter’s end, the circular logic will have heads spinning, and its cliffhanger promises to make a big reveal about Kindred soon. The only question is whether the story makes good on this deal… — Megan Peters

Rating: 3 out of 5

Marvel has to have Infinity Stones. Infinity Stones have to have origin stories (apparently). As long as those things remain true, we’re going to have books like this. The Annual is about as interesting as it can be, given its premise, but it doesn’t do much to inspire any intrigue or excitement. — Charlie Ridgely

Rating: 2 out of 5

Partway through this issue, Natasha remarks that “this is the start of something, not the end”—an ethos that proves to be the case for the entire tale itself. While most final chapters of an arc either feel bogged down or unfold at a breakneck speed, this issue strikes a perfect balance, delivering action and character work (including some unexpected characters), with an effortless ease. Kelly Thompson, Elena Casagrande, and company are truly perfect together, and the work they’re doing on Black Widow and the other female heroes in her orbit is venturing close to being absolutely iconic. — Jenna Anderson


Rating: 5 out of 5

Following Duggan and Noto’s outstanding take on the time traveling Summers’ son, this new mini sees Nathan dragged into the “Last Annihilation,” with writer Al Ewing having both a firm grasp on everything Cable when it comes to the mutant’s past, but adds in a number of new wrinkles that make the character that much more interesting. Adding in a number of returning characters from the X-Mythos, this is a fantastic addition to not only the story of Cable, but this newest crossover in the world of Marvel Cosmic. — Evan Valentine

Rating: 4.5 out of 5

After the most recent Conan arc came dangerously close to dragging across multiple installments, there’s something incredibly refreshing about this issue, which both tells a standalone tale and tees up what’s about to come. Jim Zub’s plot manages to be compelling even at its choppiest moments, and a handful of lines in the script are almost awe-inspiring. The art from Cory Smith and Roberto Poggi largely rises to the spectacle at hand, but does get a little muddy at certain parts. All in all, this proves to be a good Conan story—and with the 300th issue right around the corner, we’re hopefully right on the cusp of a great one. — Jenna Anderson


Rating: 3.5 out of 5

prevnext

Marvel #2

Darkhawk is receiving another moment in the sun in a rare, new ongoing series, but there’s a new character inside the armor these days. Darkhawk #1 takes its time introducing readers to Connor before the superheroics kick in, and it’s that patient storytelling which allows Darkhawk’s bold, new era to achieve liftoff. — Matthew Aguilar

Rating: 4.5 out of 5

Even as someone who read every chapter of “Extreme Carnage” thus far, the one-shot format and its unfocused approach is making it difficult to trace this story. Talk of the Life Foundation and various characters who require explainer articles even for Marvel Comics fans certainly doesn’t help matters. There’s an assumption of interest with little effort to learn it. Characters fall into easily recognized archetypes – so much so that it’s probably not worth learning names. Depictions of carnage (and Carnage) do little to inspire terror or even offer unique spectacle. Instead, the same dull puns about bloodshed that could be bundled from comics in the 90s reappear without any exaggerated style offering a redemptive quality. Instead, a story without clear purpose and a mystery without a clear hook march towards a resolution that will almost certainly be forgotten before the next relaunch of Venom. — Chase Magnett

Rating: 1.5 out of 5

As the Marvel’s Voices anthologies go, they can frequently be hit or miss and often, more on the miss but Marvel’s Voices: Identity #1 is a brilliantly executed and wonderfully presented showcase of Marvel’s roster of Asian superheroes, both familiar and otherwise. While not every story in the issue is perfect, they are all well done and offer honest, human takes that take on some very real issues. Each of the creators bring their A-game here but there are some standouts. Gene Luen Yang and Marcos To deliver a Shang-Chi story that kicks off the collection that is both poignant and beautiful while Sabir Pirzada, Mashal Ahmed,and Neeraj Menon’s Ms. Marvel offering “Seeing Red” is a perfect mix of story, art, and color and the closing story, “New York State of Mind” from Maurene Goo, Lynne Yoshii and Sebastian Cheng featuring Silk and Brawn is both timely and action-packed. It’s a fantastic anthology overall, full of impressive work and stories. All of the Marvel’s Voices comics should aspire to be this. — Nicole Drum

Rating: 4.5 out of 5

Joe Kelly’s Crank-like tale of the friendly neighborhood Spider-Man reaches the best incarnation of the title’s pitch in its fourth issue. Eskewing the heavy exposition found in the early entires, Non-Stop Spider-Man #4 looks good and actually maintains its pace for all twenty-two pages. Artist Chris Bachalo continues to be the real selling point of the whole thing too, my line of thought being that no one else in modern Marvel draws Spider-Man action like he does. The Dutch-angle perspective across all panels might add the flair of unending action to the tale but it can be a chore to read. — Spencer Perry

Rating: 3.5 out of 5

J. Jonah Jameson is not a central figure in Spider-Man: Life Story and this annual provides both Zdarsky and Bagley a chance to expand upon their reimagining of the character, one Zdarsky has displayed a deft understanding of before. What’s most interesting here is how long they spend with Jameson in prison – watching him confront his own flaws over the course of decades. It ends with predictable superhero antics in a battle that lacks more than a superficial confrontation between its participants on the page. However, Jameson’s reflections and struggles, specifically his self-admitted failures, paint with a broader brush. This is a version of Jameson allowed to grow old and allowed to reconcile with himself. In this perspective he is permitted to become the rich character that Zdarsky has detailed before in the pages of The Spectacular Spider-Man and Spider’s Shadow, as well. It’s a character study that resonates almost entirely within cinder block walls and with small affected gestures and expressions as one of Marvel’s most human characters also proves to be one of its most resonant. — Chase Magnett

Rating: 4 out of 5

Ahead of the auction for Han Solo frozen in carbonite, Vader tasks Ochi of Bestoon with finding out who’s really behind the charade, putting Ochi’s mind and body to the test. While this book might have “Darth Vader” in the title, this installment serves almost more as an Ochi one-shot, helping give more layers and complexity to the killer, all of which make him a more compelling character. Part of the book’s strength is in how, even after spending time with Ochi on a solo mission, we’re still somewhat unsure of where his allegiances really lie, and if he really is devoted to Vader or if he’s just waiting for his time to strike. Ochi has had a passionate following among fans over the years, thanks to how little we knew about him, with this issue being a must-read for fans of the character, which also helps offer exposition for what’s to come as the “War of the Bounty Hunters” event keeps heating up. — Patrick Cavanaugh

Rating: 4 out of 5

As Aphra and Sana find a way to exploit the meeting held by Crimson Dawn to sell Han Solo, Lucky and Ariole are attempting to merely survive their time at the “party,” an outcome that grows less likely by the moment. Aphra and Sana’s hijinx are the clear standout of the book, as they bicker and scheme to find the best possible outcome for themselves above what it might cost others, though having to split the narrative with what’s happening to Lucky and Ariole slows down that narrative momentum. Additionally, despite unfolding in an environment that is obviously important to the “War of the Bounty Hunters” storyline, it doesn’t add any obvious context to the overall event, leading readers to wonder if Aphra is about to become less important in the event or if there’s still a chance to become a more active participant. — Patrick Cavanaugh

Rating: 3 out of 5

prevnext

Marvel #3

Strange Academy is back and is delightful as ever, even with a harrowing tale at hand. We’ve discussed throughout this entire run how Young and Ramos manage to balance an ensemble cast exceptionally well, and this issue is probably the best evidence of that. Certain characters get the spotlight at certain times but even then, most of them get a line throughout the book to serve as a subtle reminder it’s most certainly a team title. Here, a story involving two of the book’s most peculiar characters—Toth and Calvin Morse—comes to a head in heartbreaking fashion. It’s cliche as all get out to make a note of the “friends we made along the way,” but this whole cast is undoubtedly the closest thing to a family in the Marvel stable. — Adam Barnhardt

Rating: 4.5 out of 5

Of all of the Symbiote Spider-Man stories, Symbiote Spider-Man: Crossroads might be the wildest and #2 the best example of just how wild it is. After being taken into the Crossroads, Spider-Man found himself facing off with the Hulk while back in reality, Black Cat seeks out Doctor Strange for help. What really works here is that in both storylines, Spider-Man and Black Cat discover how truly complicated and dangerous the situation is and while rescuing Peter may be a real challenge for Doctor Strange and Black Cat, Peter finds himself thrust into another reality, where he’s met by a very surprising figure, all the while the stone seeks a stronger host and finds one in Hulk. Between the action and the small reveals of larger plot, this issue is well paced and well balanced. It’s wild, but so far, it’s a strong story. — Nicole Drum

Rating: 4 out of 5

There’s a killer tease at the end of this issue, and Cates writes some really great Jane when she’s on the page. But by all accounts this is just a whole lot of filler, setting up another arc still to come. Thor fans won’t be disappointed, but it certainly won’t be an issue worth running back to any time soon. — Charlie Ridgely

Rating: 3 out of 5

The United States of Captain America continues to be quite possibly the best Captain America comic to date and in issue #3, the story heads to the heartland as Sam and Steve make their way to Kansas. This time, they have a better idea of who they are chasing and what their adversaries’ goal is, but as we’re seeing as this series unfolds, this overall story is less about the villains and more about the everyday heroes at the heart of the American story. What works so beautifully about this issue is that it presents an indigenous hero, along with issues of race and politics. While perhaps a little more subdued as compared to the previous issue, what is powerful here is that we get to see through Joe Gomez just how important Captain America is, both as a man and a symbol. This book and everything about it is absolutely amazing. I’m not sure how each issue manages to be this good, but here we are. — Nicole Drum

Rating: 5 out of 5

If you saw watched Black Widow a couple of months back and were still looking to get your fill when it comes to Russian superheroes, Winter Guard should be right up your alley. This series centers around many of the same characters seen in Black Widow squaring off with the titular Winter Guard, which is essentially a Russian version of the Avengers with more nefarious tactics. While the idea behind this series is fun, my biggest issue with this opening book is that the storytelling doesn’t have a strong central push behind it. Although the conclusion is intriguing and makes me want to see where things go in the future, I do with that this first book would’ve been more cohesive. — Logan Moore

Rating: 3 out of 5

It turns out Wolverine’s investigation has traced its way back to one of the characters from the “X of Swords” event, Solem. The latest issues gives a bit more information about Solem’s backstory, but little else. — Connor Casey

Rating: 3 out of 5

prevnext

Other Publishers #1

Barbaric #3 ends the new series’ first arc on a high note, drawing all of its threads into a spectacularly bloody finale filled with satisfying connections—whether it’s the literal meeting of Axe and enemies or a new bond between comrades. What I found most surprising is how compelling Owen’s understanding of “goodness” is made to be as he confronts overwhelming darkness. There’s almost no romance or poetry to his understanding, but the honesty slices through so much bullshit as to make it resonate much more loudly than any overly long string of captions. This is reinforced in pages and panels that embrace the chaos of monsters, magic, and mad bastards swinging axes. Each character brings a unique flavor to the artwork and lettering alike, which makes their resulting clashes an absolute joy to behold. Between the first and final page, this is a comic which recognizes exactly what it is, providing readers with a lily and never daring to gild what’s already barbarously beautiful. Even as Barbaric #3 brings the series’ first arc to a satisfying close, it’s bound to leave readers hungrily waiting for more to arrive in 2022. — Chase Magnett

Rating: 5 out of 5

Chu’s humor often lies in its asides that set the tone for whatever actions are depicted, but those asides have to be used carefully and conservatively to avoid being too distracting. Chu #7 skews a bit further towards distracting here with several narrations which probably could’ve been nixed to let the artwork speak for itself. It does get points, however, for a truly unexpected ending. — Tanner Dedmon

Rating: 3.5 out of 5

After a fast-paced first issue, Dark Blood slows things down greatly in this second installment. Rather than having things expand much past the final events of the last chapter, this book takes us back to further flesh out the main character, Avery, and get us more familiarized with his backstory. While this is a pretty stark change in pacing, I do appreciate this opportunity to dial things back and make this a more character-focused series. I’m not sure how Dark Blood is going to play out in the future, but I continue to remain invested in everything that has happened up to this point. — Logan Moore

Rating: 3 out of 5

The Department of Truth #12 makes a shocking reveal as to who the real “villain” of the comic is, which makes a lot of sense within the context of the series. Ultimately, I think that it’s a good lean in on the “power corrupts” undercurrent of The Department of Truth, and shows how even the manipulators within places of power can be manipulated far too easily. I’m glad that the comic is paying off some of its storylines and this is easily one of the best issues of the series to date. — Christian Hoffer

Rating: 4 out of 5

The penultimate issue of DIE is a hefty one, with Ash finally confronting her own repressed feelings about her queerness in the context of a mini-boss fight. This issue is all about sacrifice, as each “party” member loses something precious to them in the hopes of saving their world from whatever DIE is. It’s Ash who has the greatest struggle, as we see her grapple with her genderfluidity within the context of the game and how that relates to real life. This issue really draws out one of the core themes of DIE, and how these tabletop and roleplaying games can really help us explore those corners of ourselves that wouldn’t otherwise come out. Sometimes, that can turn into something self-destructive, but other times it becomes a cathartic experience that helps us grow in the process. DIE ends next month, and I will miss this masterful comic, the best book Image has published in years. — Christian Hoffer

Rating: 5 out of 5

Dune: House Atreides begins its next act with its ninth issue, as young Leto Atreides must lead House Atreides in the wake of his father’s death. This issue is more cohesive than previous installments as Kevin J. Anderson and Brian Herbert’s scattered plot threads begin to coalesce. Dev Pramanik takes a darker approach to his artwork than in previous issues, employing heavy linework and deep shadows that suit the palace intrigue on Caladan well. It’s a shame that much of the text is delivered through brushed metallic captions entirely unmoored from the Pramanik’s textured, hatched pages. While the drama in this issue is more compelling than most of what’s preceded it, there are still some unfortunate indulgences. Baron Harkonnen remains pointlessly grimdark to the point of unintentional parody. Premanik sometimes overreaches with his layouts, such as one where a panel looks as if it may decapitate a character within. Still, it’s a more competently assembled issue than what readers have come to expect. — Jamie Lovett

Rating: 3 out of 5

When Blackman and Williams’ Batwoman run was on bookstands, I commented that it was perhaps the one comic book which I read solely due to the artwork. For me, the story didn’t matter in Batwoman – I picked up every issue to see how the pair of Williams and Blackman would innovate in panel designs and art. Echolands is experimental in the same way that Batwoman was – while it uses a more gimmicky innovation, it’s still a gorgeously rendered comic and instantly becomes a comic with a unique look and feel unlike anything else in monthly comics circulation today. It’s still too early to see how Echolands‘ story will play out, but this is definitely a comic you should try based on artwork alone. — Christian Hoffer

Rating: 4 out of 5

prevnext

Other Publishers #2

Far Cry: Rite of Passage’s final issue hits the hardest in a number of ways. Its recollection of the backstory of Far Cry 5’s Joseph Seed is an uncomfortable story to recall already made even worse by the tension between Diego and his father. While Seed’s story takes up much of this issue, it’s a fitting focus to put on the most recent Far Cry villain. The fractures between Antón and Diego become more evident through their dialogue and their reactions to each other’s behaviors to give those prepping for the new game a decisive view of where their ideologies split. — Tanner Dedmon

Rating: 4 out of 5

Firefly #32 is an interlude from the current drama on Earth That Was, flashing back to the Firefly crew’s days on Haven between the original series and Serenity. The plot sees Haven’s residents dealing with an outbreak of a deadly disease that spreads by touch. The focus falls on Shephard Book and sees him struggling with the appropriately named Serenity Prayer. Guest artist Jahnoy Lindsay applies a rich watercolor aesthetic that conveys Haven as a memory of lost paradise. Greg Pak’s plot is relatively simple, as Book, Inara, and the others have to deal with a man attempting to steal medicine from the settlement. Still, it provides an opportunity to see how Book’s faith put into action helped inspire those around him, even those who don’t share that faith, well past the preacher’s death. It’s a solid little character piece made all the more poignant by Lindsay’s inviting art. — Jamie Lovett

Rating: 3.5 out of 5

Good Luck #3 lays out the missing pieces of its luck-themed puzzle this issue, explaining why the Kismet Zone is so dangerous and how the quantification of luck can be turned into a weapon of sorts. Meanwhile, the Unfortunates find themselves with new lives and a major mystery surrounding one of its members is revealed. This comic is moving at a breakneck pace – I feel like holding back on some of its worldbuilding was a good call here, although I think this is the first issue to explain the greater stakes of the comic (and what the appearance of the Gods of Luck did to society) in wider detail. It certainly changes the scope of the comic and turns a comic about four “unfortunates” into a much more important and potentially bigger story. This remains a very experimental comic, but I’m enjoying what the creative team is trying to do here. — Christian Hoffer

Rating: 4 out of 5

The central premise of Ice Cream Man #25 is deeply compelling, especially within the horrifying, gonzo tone consistently evoked by the series—a man rushes about a plane falling from the sky as passengers and pilots alike peacefully accept their horrible fate. As a metaphor for ongoing catastrophes like climate change or the fall of American democracy, it’s stunning. Yet the issue’s extended length encourages a number of tangents that consistently distract the story from itself to minimal effect. A tangent focused on the pilots, as well as various vignettes of observers on the ground, provide too little context of their own or connection to the central premise. This is only redoubled in the epilogue which suggests a specific mythos for a series that has defied definition at every turn. Ice Cream Man #25 reads as an example of what may happen when creators refuse to kill their darlings as each tangent runs away from the most compelling elements to be found on the page. — Chase Magnett

Rating: 3 out of 5

The Invincible Red Sonja #4 finally takes readers to where Sonja is, in fact, made invincible, but the issue to that point is a messy, chaotic, action-filled run that tries to pull together the various story threads from the previous three issues with mixed success. The real issue here is just how chaotic it all, which isn’t particularly aided by art that is itself at times messy and chaotic as well. It’s that chaos that is the main flaw with not just the issue but the series on the whole, as it it’s very unevenly paced and while the idea of Sonja being unwillingly conscripted into service of a pretty evil dude will certainly lend itself to some butt kicking, the pacing weakens things greatly – and that’s without considering the uncomfortable subtext of a woman being forced to act for a man against her will. — Nicole Drum

Rating: 3 out of 5

Killadelphia #16 sees Seesaw petition God for help in the fight for Philadelphia while, in a paralell storyline, sees Thomas Jefferson confronted with the reality of his own life when he encounters his former slave, Jupiter. What Killadelphia as a series always does best is examine the truth about the American experience and humanity within it and in both narratives there is quite a bit of that truth to be examined, though there is also a strange amount of hope. That is perhaps what makes this issue feel a bit elevated and a bit like a still point in the otherwise high-energy, high-stakes “Home Is Where the Hatred Is” arc and Rodney Barnes executes it brilliantly, all while calling into question whether or not Jimmy can actually be saved. While this is a complex issue, it’s also fantastic and truly one of the better ones this entire series. — Nicole Drum

Rating: 4.5 out of 5

From the on-set King Spawn doesn’t seem to do much to differentiate itself from the regular ongoing Spawn comic book series, but writer Sean Lewis brings enough of a new energy and feel to the narrative that it’s a welcome addition to the line. Artist Javi Fernandez taps into the mood and violence that fans so often expect from Spawn titles and frankly this is a good jumping on point for anyone that has a passing interest and wants an entry. By the issue’s end, King Spawn makes clear why this is worthy of being its own solo series, if anything because it lets a new writer take the reins for a while. — Spencer Perry

Rating: 4 out of 5

prevnext

Other Publishers #3

After a stellar debut issue, I would have totally been content on M.O.M: Mother of Madness delivering more of the same—but instead, it completely exceeded my expectations. This oversized issue covers an impressive amount of ground—multiple key moments in Maya’s childhood, her new crusade as a masked vigilante, and some surprising and sinister details surrounding the series’ “big bad”—with a stunning ease, all while injecting some refreshing conversations about the misogyny in our society and the very idea of a “found family.” Never once does the series lose its step or its delightful sense of style, with Emilia Clarke and Marguerite Bennett’s script absolutely singing. Leila Leiz’s art and Triona Farrell’s colors inject even more personality into the series, giving a pop art flair to moments that could easily be trivial or trite in other creators’ hands. Mother of Madness is easily one of the most invigorating and satisfying comics I’ve read this year, and if you’re not reading it, you’re missing out. — Jenna Anderson

Rating: 5 out of 5

While the latest entry by Holt and Schall might feel a tad predictable when it comes to just how Jesse reacts to the horrifying situation she found herself in, the creative team is able to not only ratchet up the tension but also is able to use some interesting use of panel space when it comes to laying out how the tiny artificial life is able to make some major changes in the plans of her newfound “friends”. The “Proxy Story” by Wook-Jin Clark is also able to weave a heartwrenching story playing on the elements of this world, and is definitely a fantastic addition to the issue as well. — Evan Valentine

Rating: 4 out of 5

A lot of what occurs in The Modern Frankenstein #5 is barely arranged from the issues building to it. The clear analog for the monster feels shoehorned without enough personality or note to consider them a character. Every twist in an ongoing chase sequence is predicated on mad science explained only as it is applied. It’s not difficult to imagine each of these dramatic beats being arranged for its climax, but the work simply is not there. Even the emotional climax between two similarly murderous doctors is wrought with clunky dialogue that never earns the aboutface of its protagonist. When the story enters its epilogue, it’s clear that quick sentiment is preferred to anything earned and there’s not even the tone of pulp to cover up shoddy scripting and serviceable pages in this installment. — Chase Magnett

Rating: 1.5 out of 5

Ninjak #2 exceeds expectations as it continues to dish up high-octane spy action in some of the most invigorating layouts in all of superhero comics. Ninjak’s showdown with the G-3 relies on dextrous actions and thinking alike with Pulido’s pages assessing and addressing problems with the same precision as Ninjak’s blades. After delivering all of the expository groundwork needed for a new series in the debut, the sophomore outing slows things down. It offers another glimpse of Kingmaker, but this is primarily to expand upon the nature of his threat in a sequence that delivers all of its starpower to his bodyguard Dragon, instead. If all of the issues to follow in Ninjak were 90% stylized action and 10% plot that wouldn’t be a bad ratio, though, because every panel of this comic exudes confidence and more than earns it in stark silhouettes and jaw-dropping spreads. — Chase Magnett

Rating: 4 out of 5

The second volume of Neil Gaiman’s Norse Mythology continues with another classic Norse tale, and it might be the first one yet that’s not really made for sequential storytelling. Though there have been some missteps along the way, “Thor’s Journey to the Land of the Giants” simply doesn’t lend itself to the medium as much as other Norse tales have, but that’s not at the fault of Gaiman, P. Craig Russell, or artist Mark Buckingham. In fact, Buckingham’s artwork here is a saving grace of the issue. The sharp and fractured lines are complemented perfectly with simple coloring from Loverne Kindzierski, and carries this issue as far as it can. Ultimately, that’s hardly enough to save this issue from a painfully slow read to get through. — Adam Barnhardt

Rating: 3 out of 5

The issue opens with what is bound to be the least installment of Tales Through Time—a poorly told dirty joke that even a former Catholic school boy rolled his eyes at that wastes Rafael Albuquerque with endless drawings of nuns outside of a single searing spread. However the total misstep titled “An Old Soul,” is balanced with what I feel is bound to be the best entry in this short story collection. “Never Gets Old” brings the attitude and approach of My Dinner With Andre and distills it into a rare set of near perfect pages from Kano depicting a dinner between two intimate acquaintances. Their dinner carefully defines them as individuals and a pair drawing readers into their dynamics as much as the mystery and violence that always lurks around The Old Guard. Yet even when this brief story offers both of those elements up—so rarely that they strike a perfect chord—they add further to the dynamic at the heart of this story. It ends on a bittersweet note possessing a literary ring, but “Never Gets Old” is pure comics. — Chase Magnett

Rating: 3.5 out of 5

Just when you think Once & Future can’t get any better, Once & Future #19 hits and shakes everything to its core, creating a new status quo and landscape rich with storytelling possibilities. Gran, Duncan, & Rose have their worlds turned upside down thanks to the government’s screw-up, and now everyone knows about Otherworld and Arthur. This turns our fantastical trio’s adventures into a fight for survival, and Kieron Gillen plays on that tension and shift in tone brilliantly throughout, while also exploring new avenues of intrigue on Arthur’s side of things, revealing a new threat that opens up even more questions. Once again Dan Mora and Tamra Bonvillain’s work throughout is just stunning, and Faeries have never looked so threatening… well ever. This series somehow continues to get better, and with this issue’s arrival, it appears that is not changing anytime soon. — Matthew Aguilar

Rating: 5 out of 5

prevnext

Other Publishers #4

Project Patron ends with a bang, not only giving fans of the series that sees a team of jarheads piloting a Superman as if he were a mech suit, but having to accomplish something that said Superman never could. With a number of secrets brought to the open, Patron has the added incentive of shaking things up in the final moments of its first season, promising an entirely new status quo should the series return. Aftershock has done a great job of flipping the script on the average superhero story here and I look forward to seeing this one return. — Evan Valentine

Rating: 4 out of 5

The more unremarkable parts of Sam and His Talking Gun seem to be worth it, in order to have reached this issue. This installment condenses Sam and Colt’s rivalry across both the past and the present, culminating in an altercation that is stylish and just emotionally satisfying enough. While this series definitely didn’t unfold the way I expected it to all those months ago when issue #1 debuted, it still proved to be a small-scale, action-packed, but moving assassin tale. — Jenna Anderson


Rating: 3.5 out of 5

Seven Swords continues to swing back and forth between swashbuckling action and references to the literary characters that make up its cast. Issue #3 swings more towards the latter, so your mileage may vary. — Connor Casey

Rating: 3 out of 5

Silver City #4 absolutely doesn’t hold anything back, shoving a surprising amount of lore and character work into the span of twenty-or-so pages. The journey that that lore and character work takes you on is a compelling one, and while it occasionally reads as fragmented or disjointed, that’s never too drastic to derail things. And the art and colors from Luca Merli really get an opportunity to shine in this issue, taking the grounded and gritty nature of Silver City to some extravagant and earned heights. I have no idea where Silver City is going after this, but I’m absolutely excited to find out. — Jenna Anderson

Rating: 4 out of 5

I honestly thought that Something Is Killing The Children #17 and #18 were the pinnacle of this series, but then issue #19 hits and just somehow achieves a new level of greatness. James Tynion IV is on his absolute A-game right now, and this dive back in time has allowed a whole new appreciation for just how much Erica went through to become monster the slayer we know now. It’s not just seeing how the traumatic scene played out that makes it compelling, however. That honor goes to watching Erica analyze that traumatic moment and process it from a new point of view as she endures the initiation process for the Order of St. George, and Werther Dell’Edera and Miquel Muerto’s work in bringing these sequences to life is unbelievable. You feel every moment of terror, every pushback of fear, and every hug of hope because of their stellar work, and one two-page sequence was so good I re-read it three times. We didn’t even touch on what else is going on in the Order, and seeing how Erica comes back to shake that status quo up has me hyped like you can’t believe. This book has never been better, and September needs to get here ASAP. — Matthew Aguilar

Rating: 5 out of 5

This first issue of St. Mercy is a confusing one. The story centers around two young girls, both of whom have connections to the Incans. One girl’s story takes place during the midst of an ongoing Incan ritual, while the other finds herself in the Old West. How these two storylines relate to one another outside of the Incan threads found in each isn’t really made explicitly clear in this first book, which makes it hard to follow. It wasn’t until I read the author’s message at the end of the book that I began to better understand what the aim of this series is—which isn’t a positive sign. St. Mercy could have promise moving forward, but this first issue felt much too grandiose for its own good. — Logan Moore

Rating: 2 out of 5

Stanley the Snowman #1 is a preview comic for the larger Stanley the Snowman comic. This is an all-ages comic about a girl who can bring a snowman to life, in what’s billed as a once-in-a-lifetime event. It’s a cute comic that’s all about the magic of childhood and it has one of the cute twists at the end that sets up for a big dramatic arc akin to a Christmas movie. I was a bit put off by the heavily manga-inspired artwork in a winter-themed comic about snowmen, but I think kids will still enjoy this and the larger Stanley the Snowman series. — Christian Hoffer

Rating: 3 out of 5

prevnext

Other Publishers #5

Once again Summoner’s War: Legacy crafts a delightful mix of action and personal growth within the whirlwind of a thrilling train escape, containing all of the aspects of the series we love in just one issue. Justin Jordan layers moments of clarity and growth throughout a fun and lighthearted adventure sequence, and I can’t think of a better artist and colorist combo for the book’s tone and vibe than Luca Claretti and Giovanna Niro. The escape sequence is perfectly paced, and at times feels like an 80s animated adventure, complete with the charming and completely adorable Tatakana. I’m serious, if we don’t get a Pop of Tatakana I will write a very strongly worded letter… okay I won’t but you get the picture! Granted, this style of adventure won’t be for everyone depending on what you’re looking for, but for me it’s a truly enjoyable time, and it’s a series I look forward to every month. — Matthew Aguilar

Rating: 4.5 out of 5

One of the biggest strengths of Syphon is really its art, wherein Jeff Edwards and John Kalisz are able to find this amazing balance of weaving in the powers inherent in this world, creating quite the spectacle. However, the story seems to drag just a bit in this latest issue, attempting to move at lightning speed, which seems like an effort to check as many boxes as possible in rapid succession. Syphon has the potential to really offer something great, but it needs to take a moment to breathe. — Evan Valentine

Rating: 3 out of 5

The tensions bubbling in Mutant Town finally boil over in Teenage Mutant Ninja Turtles #120. Picking up right where the previous issue left off, Jodi Nishima and Ronda Pattinson bring the barroom brawl between the Turtles’ clan and the Mutanimal loyalists to vibrant life. Seeing the Turtles fight side-by-side with those they’ve trained a satisfying payoff to what Sophie Campbell has been building since taking over the series. It isn’t a straightforward route, though, as Campbell also brings a surprising, sympathetic complexity to Hob as he finally comes face-to-face with Raphael over what transpired to create Mutant Town. It’s a pivotal issue that ends on a tense moment that’ll have fans impatiently anticipating next month’s installment. — Jamie Lovett

Rating: 4 out of 5

This southern-fried murder mystery has had its fair share of intrigue, yet the suspense really only continues to grow with each passing issue. For as slow as these issues have been moving as of late, the tension between characters leaps right off the page. A major part in why that works is the masterclass narrative Condon and Phillips have weaved between two story lines, and the duo bounces back and forth at just the right time to make things fresh. In a world of a breakneck action sequences, That Texas Blood continues to be a refreshing change of pace. –– Adam Barnhardt

Rating: 4.5 out of 5

Transformers: Beasts Wars #7 switches up the art as Winston Chan comes aboard. With colors by Sidevenblu, the visuals are much weightier in this issue than in past installments. Erik Burnham’s script remains pretty light as Dinobot adjusts to his new place among the Maximals and the Predacons continue to play mind games with each other. Meanwhile, a new player falls to the planet, setting up the core conflict of the series’s second story arc. It’s all business as usual for the series, but it goes off without a hitch, and anyone who’s enjoyed the series to date should appreciate what this issue is offering. — Jamie Lovett

Rating: 3 out of 5

With Transformers: Shattered Glass #1, Danny Lore, Guido Guidi, John Wycough, and John-Paul Bove take readers to a new Transformers universe that’s something like Transformers meets Mad Max by way of Star Trek’s mirror universe, and it’s precisely as much fun as that description sounds. The issue follows Blurr, a bounty hunter searching for the few Decepticon freedom fighters still surviving in the Cybtertronian wastes called the Static Zone after losing the war and the planet to the Autobots’ iron fist. Lore interjects some clumsy exposition to get the needed backstory in and employs a modern colloquialism or two that feels out of place. Otherwise, they use the issue effectively as a grand tour of this fascinating new spin on the Transformers mythology. They also flirt with some compelling political questions to apply here concerning neutrality in a time of conflict and whether peace is a worthy aspiration during periods of injustice. The art team settles into a style resting at the midpoint between the old-school G1 Transformers comics aesthetic and the cleaner look of the current IDW comics that fits this darker reality well. Bove’s use of an acidic yellow helps bridge the gap between those styles, and Guidi frames some stellar splash pages that effectively ramp up the excitement. The issue may not end the way readers expect either, which only digs this fun new spin on a tried and true franchise’s hooks in even further. — Jamie Lovett

Rating: 4 out of 5

The tonal hairpin road of Vinyl reads more like mismanagement than zany delight. When Vinyl #3 takes a hard turn into outright horror in its climax—displaying gruesome dismemberment in a sequence designed well to inspire terror—it immediately loses the thread in a 180-degree turn into bizarre superhero serial killer plot antics. The result is disorienting, which is not to say confusing. It’s always plain what’s happening on these pages with a pre-delivered sense of where it’s all heading, but the purpose is rarely clear. There are moments when tone and execution align as the twins land a couple of genuinely funny jokes, but much of the time it’s unclear what this colorful array of unsympathetically sketched characters are about. Like a fever dream it’s impossible to interrogate any meaning from odd shapes undulating between terror, hilarity, and a coma. — Jamie Lovett

Rating: 2 out of 5

prev