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DISCLOSURE: The following is a synopsis and reviews of this week’s comic books from multiple publishers. If you like our reviews and would like to purchase these books you can do so by visiting our partners at If you decide to buy anything through our provided links we get a small commission which helps keep our website alive and running. Thanks for your time.


The relentless din of Batman Incorporated reverberates at an exhilarating pace, resulting in a performance that’s gratifying, even though it bears a formulaic touch. The intense battles between Batman Inc. and Joker Inc. unfold amidst a haphazard, yet dynamic backdrop, a spectacle that is rendered coherent by Ed Brisson’s keen sense of characterization for the ever-expanding ensemble. This installment may sit in the middle of the broader narrative, yet it surpasses the merely satisfactory, achieving a distinct appeal of its own.


Danger Street #7 serves up a genuinely captivating issue, a remarkable feat given its focus on the seemingly mundane concept of waiting. The series makes a triumphant return after a short pause, picking up a month after the events that transpired in Danger Street #6. This juncture witnesses the assembly of various players for the first time, setting the stage for a suspense-filled encounter that defies reader predictions through dramatic splash pages and sharp-witted one-liners that disrupt existing dynamics. The narrative is intricately setting up the board for an anticipated climax as it strides confidently into the latter half. But what stands out in issue #7 is its crisp humor. Lady Cop, or Chief Warner, spends the entire episode in a waiting room, providing the series with its most humorous and relatable situation to date, and one that elicits more than just chuckles. It is these minute exchanges, such as those involving Lady Cop, that serve to propel the action forward, with every piece of dialogue expertly used to breathe life into these enigmatic characters. It is evident, from the direction Danger Street is taking, that the most exciting parts are still on the horizon.


While Knight Terrors #1 falls short of being a disaster, it unfortunately exemplifies how the overall event feels congested and rather artificial. The presence of unnecessary repetition, a somewhat lackluster plot, and overused clichés overshadows the compelling artwork and skilled color utilization, rendering it an average comic book. The extent to which Insomnia’s pursuits will exceed being a mere fancy macguffin remains unclear—though there are strong suggestions that the true narrative involves the joy he’s doggedly striving to suppress. Regardless of the quality, this issue manages to launch us onto the next phase of the journey, for better or worse.


Hal Jordan has embarked on a fresh chapter in the recent DC’s Green Lantern series, a saga that has skillfully revealed and celebrated his most humanizing attributes. This exploration extends into Knight Terrors: Green Lantern, not just for Hal, but for Sinestro as well. Writer Jeremy Adams offers an uncommon peek into Hal’s familial relationships, painting a picture that, while distorted by fear, exhibits an under-represented raw vulnerability in Hal’s story. The artistic team, consisting of Eduardo Pansica, Julio Ferreira, Luis Guerrero, and Dave Sharpe, deserves praise for their ability to dramatically shift the mood of Hal’s fear sequences, giving readers a real jolt, particularly during the funeral scene. While some sections feel somewhat dreary (like the Guardians), others maintain a creative and occasionally unsettling momentum (cue Abin Sur). A similar sentiment extends to Sinestro’s spotlight, skillfully handled by Alex Segura, Mario ‘Fox’ Foccillo, Prasad Rad (Pressy), and Dave Sharpe. Sinestro’s dispirited state marks new territory, with Segura portraying a detailed image of a character attempting to navigate without the power that has frequently defined him. The artwork comfortably fits the disturbing elements introduced later, with the final page serving as a compelling teaser. While certain aspects in the book may feel slightly overexplored, enough novelty exists to balance this, creating an adventure that’s definitely worth the ride for the daring.


Although “Knight Terrors” as a whole event has yet to completely convince me of its merit, Knight Terrors: Robin #1 delivers a solid performance. The issue abides by the overarching premise of the event — that the villain Insomnia has plunged everyone into a dreamscape where they grapple with nightmares — but it incorporates an intriguing twist. Here, Tim Drake and Jason Todd are ensnared together, meaning they aren’t simply confronting their individual nightmares but are pitted against each other’s fears while interconnected. This innovative addition allows for a more nuanced exploration of the concept of nightmares, delving deeper into the intricate personas of these two “Robins”, which proves captivating. The artwork in this issue shines in its ability to reflect the unique identities of the characters and the terrors they encounter, lending a visual allure that aligns seamlessly with the narrative.


Knight Terrors: Shazam serves as an extension of recent Shazam family arcs, roping in the current series’ writer, Mark Waid, and spotlighting Mary Marvel’s position at DC Comics in the aftermath of The New Champion of Shazam. This installment distinguishes itself from the others by swiftly and effectively laying out the architecture of this nightmarish realm, seemingly entrapping Mary in layers of nightmares from which there appears to be no escape. Despite Mary’s confusion, there are sufficient cues enabling readers to ascertain that the events are detached from a reality-bound logic. The narrative shines when it underlines Mary’s personal fears concerning her family and an image of Billy garbed in Black Adam’s typical attire. While the precise stakes of the story remain ambiguous, readers with existing connections to the Shazam family will discover abundant emotional hooks as Mary spirals further into her own terrors.


The challenge of crafting a two-issue narrative where the hero is ensnared in a nightmare has been tackled in myriad ways by DC Comics this month. Yet, the strategy employed in Knight Terrors: The Flash #1 holds a unique appeal. Instead of letting Barry Allen wrestle with the nature of his nightmare — a topic destined for exploration in a separate comic — the story capitalizes on the irony of Barry remaining oblivious to his dream state while alerting readers to the truth. At the heart of the tale lies Barry’s dread-inducing fear as he grapples to save his nephew Wally from a severe injury. The scenarios, while filled with super-intelligent apes and costumes, resonate with readers on a human level, and Barry’s reaction exposes the intense emotions often laid bare in dreams. Everything he does adheres to the peculiar logic of dreams, even when time shifts almost a decade and snow descends in the midst of summer. Readers are treated to the best of both worlds through artist Daniel Bayliss who accurately depicts action sequences — with exceptional super-speed moments as Wally squares off against Grodd — and introduces a warped, surreal atmosphere that gradually engulfs Barry before consuming the entire page in the issue’s cliffhanger. No other “Knight Terrors” installment has woven the concept of dreaming so harmoniously into a hero’s narrative as The Flash, yielding one of the most compelling Barry Allen stories in recent memory.


The challenging nature of large comic book crossovers often lies in justifying the existence of numerous tie-ins that typically span a spectrum of quality. Fortunately, Knight Terrors: Zatanna not only validates its existence but also greatly surpasses expectations with an immense dose of creativity. Writers Culver and Baldeon weave an intriguing magical narrative, teaming DC’s most celebrated magician, second only to John Constantine, with Doom Patrol’s Robotman. Even though Zatanna’s enchantments don’t redefine the boundaries of innovation here, and there might be a touch of confusion for readers unfamiliar with the characters when confronted with the resurrection of their past ghosts, it unquestionably earns its place within this nightmare-infused event.


Spirit World #3 is an invigorating addition, demonstrating the boundless and often fearsome potential of DC’s magical universe. The unexpected alliance of Xanathe, Constantine, and Batgirl is delightful in theory, and writer Alyssa Wong skillfully ensures that the trio’s execution brilliantly lives up to its promise. The narrative strikes a delicate balance between genuine stakes and tension, and a lighthearted, almost whimsical tone, creating a harmonious blend that truly comes to life when married with the vivid and dramatic artwork of Haining, Sebastian Cheng, and Janice Chiang. The antagonist of the book notably amplifies the eeriness, and the narrative is punctuated with several revealing moments. Spirit World’s excellent beginning continues with issue #3, epitomizing the compelling direction of the series.


Superman: Lost #5 delivers a haunting examination of the trauma incurred from enduring two decades of isolation. The raw intensity of Clark’s bewilderment on Earth and his desolation in the cosmos seep through the pages, even as Superman refrains from openly confronting these profound emotions. Silent and near-silent frames capturing the hero’s gaze set against the backdrop of his diverging timelines make for poignant scenes that are enriched by the reactions of Lois and other characters empathizing with his suffering. The introduction of a new ally, Hope, in New-Ark alters the dynamics in the space-oriented timeline and sparks questions about loyalty and optimism, before eventually raising further queries about Hope herself. As the maxi-series approaches its midpoint, it appears to have discovered the emotional core of its narrative.


The midpoint of Unstoppable Doom Patrol offers an intriguing departure from its typical action sequences, reminiscent of the classic “Personal Files” editions of Suicide Squad. It affords a unique pause, exploring therapy sessions with its diverse heroes to unravel their histories and ongoing struggles. Guest artist David Lafuente is instrumental in bringing the fifth-dimensional therapist, JERRY, to life, who morphs her patients’ thoughts into an effervescent visual tapestry. Lafuente’s simplified lines and bold character impressions contribute to a captivating dreamlike realm, a visual feast certain to captivate any Doom Patrol history enthusiast. Although the narrative somewhat lacks continuity with a slight repetition, each character is given ample space to encapsulate their history and distill their most immediate concerns within this series. The seamless transitions between characters might escape notice due to the lack of prominent climaxes. The individual components of Unstoppable Doom Patrol #4 outweigh the whole, paving the way for the anticipated return to the series’ customary intense action in the upcoming issue.


WildC.A.T.s teems with an abundance of activity, and at times, the narrative seems to falter under the sheer volume of concurrent subplots and elements. In this particular issue, around four different storylines involving various team members intersect, often resulting in a confusion of allegiances that may have slipped past readers. As indicated in my earlier reviews, when the narrative centers predominantly around Grifter, it thrives. Regrettably, the remaining storylines appear somewhat less compelling in comparison. WildC.A.T.s could benefit from a more focused, intimate approach, rather than trying to incorporate the entirety of the Wildstorm universe into its pages.


The Batman/Superman: World’s Finest series is widely regarded as the benchmark in not only the DC universe but also the contemporary superhero comics domain. Building on this revitalization of the Silver Age, can Mark Waid recreate the magic without Dan Mora’s artistic collaboration? The answer is a resounding “yes.” World’s Finest: Teen Titans bears the immense responsibility of modernizing the silver age designs of DCU’s most powerful teenagers, imparting a timeless essence while simultaneously incorporating contemporary elements. Beyond the exceptional rapport among the young team members, Waid and Luppacchino adeptly articulate the contrasting styles of their respective mentors. This book expertly appeals to both long-time and novice fans, making it a must-read. It’s worth positing that if the entire DC comic book universe fell under the “World’s Finest” label, it would undoubtedly enrich its overall quality.


Ed McGuinness infuses the pages of Amazing Spider-Man with an electrifying vitality that makes every twist and turn in Spidey’s saga a captivating spectacle. The prevailing storyline is akin to a ticking time bomb, with Peter in close quarters with three of his most ardent adversaries, two of whom have since turned a new leaf. Osborn, Jameson, and even Octavius are depicted with a profound degree of empathy. The first two wrestling with their revamped lives, and the latter grappling with the sorrow of an unknown loss. This deep-seated pathos amplifies the villainous exploits of Doctor Octopus, adding an emotional undercurrent to his most rudimentary evil schemes that bear intensely personal implications. Ock’s newly minted arms bring about striking splash sequences, their demeanor and capabilities unfolding in the backdrop of a titanic showdown between the series’ infamous villains. Amazing Spider-Man #29 expertly navigates the delicate balance between dynamic action sequences and heartrending character developments, offering one of the most enthralling Spidey issues of the year.


Regardless of how readers might react to the events that unfolded in The Amazing Spider-Man #26, there is no denying that Fallen Friend: The Death of Ms. Marvel provides a profoundly moving homage to Kamala Khan and an incisive meditation on the premature loss of a young life. The creative teams draw from their deep-seated connections to the character and her values to convey a powerful message. In the face of a situation often rendered speechless, they manage to craft words and images that encapsulate profound sentiments. While the eventual return of Ms. Marvel is inevitable, her temporary absence creates an opportunity for this issue to underscore how superheroes can serve as beacons of inspiration in life.


There are few experiences in comics that match the thrill of Dan Abnett taking the helm of a cosmic tale and spinning it in his unique style. Groot #3 solidifies Abnett’s reputation as one of the finest narrators of stories involving Marvel’s cosmic characters. Despite unfolding in the remote corners of the universe, Abnett’s deft storytelling brings an unexpected human touch to his alien characters—even those restricted to a three-word vocabulary.


Marvel has been weaving the narrative of the “Fall of X” with calculated suspense, slyly playing with the notion that it could signify the conclusion of the Krakoan era or a clever wordplay as the X-Men saga delves into the autumn season. Kieron Gillen cleverly inscribes this ambiguity into Immortal X-Men #13, the concluding issue before the 2023 Hellfire Gala special, as Krakoa’s leaves depart their branches. The first inkling that we might be witnessing the denouement of the X-Men version that sprang into existence with the transformative House of X and Power of X surfaces when Professor X relinquishes the Cerebro helmet that has become synonymous with Krakoa. The sight of Xavier sans his headgear isn’t novel, but the way Lucas Werneck renders the scene – Xavier, teary-eyed, apologizing for reneging on his principles in pursuit of a borrowed dream – instills a sense of Xavier breaking free from a sustained facade, shedding an act he’s been confined to for an extended period. The helmet now feels like a mere veil for his silent tears. Xavier’s recommitment to human-mutant integration, the premise that mutants are indeed humans, is bound to trigger a fresh round of discussions among fans and readers debating the nature of Krakoa as a hope-inspiring refuge for a long-oppressed community or a self-centered, villainous ethnostate contravening the enduring dream that has fortified mutant narratives. Rather than choosing a side in these polarized classifications, I am inclined to admire what Gillen and Werneck manage to evoke, the impression of an epochal shift unfolding within a fleeting moment.


Despite Loki being relegated to a somewhat auxiliary role in this particular issue, it doesn’t diminish its intellectually stimulating and engaging nature. Dan Watters’ script ingeniously juxtaposes Loki’s heritage and the burden of his mythmaking, culminating in a remarkably distinctive confrontation and an unanticipated narrative twist. German Peralta’s artistic rendering is an excellent addition, laying an intriguing foundation for forthcoming issues.


Miles Morales: Spider-Man is gearing up for a narrative reset following the “Carnage Reigns” saga, as Miles grapples with his brush with death and the recent wreckage of his family’s home. This issue takes a step back from these monumental conflicts to offer Miles a brief respite, not particularly riveting, yet reminding readers of the stakes in his life, prior to introducing a fresh villain to the series. The emergence of Hobgoblin is always a pleasure, and artist Federico Vicentini imbues the iconic design with a fervor and frenzy that hint at underlying enigmas. The antagonist delivers some exceptional action sequences and maintains an imposing demeanor in almost every panel. It’s apparent throughout the issue that a new mystery looms over Miles, a mystery that doesn’t fully take shape within this issue, instead offering glimpses of a revelation due next month. This sets the stage for a promising reset, although readers will be eager to dive into the new story that the cliffhanger teasingly holds back.


Moon Knight #25 takes you on an unforgettable journey through the life of Marc Spector, a ride no fan should bypass, but brace yourself for an emotional roller coaster. Celebrating the series’ 25th milestone, writer Jed MacKay masterfully engineers an issue that propels an array of characters and their intricate relationships, while simultaneously diving into the past to furnish valuable context and weave additional narrative strands. This balanced fusion is a triumph in all aspects. The issue showcases the combined artistic prowess of Partha Pratim, Alessandro Cappuccio, and Alessandro Vitti, complemented by the vibrant palette of colorist Rachelle Rosenberg and the precise lettering of Cory Petit. The team conjures a harmonious experience, despite the fluctuating visual styles within the issue. A highlight is a Cappuccio and Rosenberg sequence depicting a boat scene, one of the most visually arresting pages in recent memory. Equally noteworthy is the issue’s persistent momentum as it oscillates between past and present, making each of the book’s primary threads equally compelling. As a cumulative piece, it’s a marvel to behold, harking back to previous issues of the series, gratifying longtime followers. The presence of 8-Ball? It’s hard to imagine anyone not being drawn to this character after this issue. Moon Knight #25 radiates style, grit, and intrigue, making it an essential read for every comic book aficionado.


It’s somewhat disheartening that Planet of the Apes is confined to a five-issue stint, given its remarkable contribution to the franchise’s mythology. The unseen dialogue adroitly drives the plot, facilitating a surprisingly easy read, considering the complex subject matter. Its entertainment value remains undiminished, even amidst discussions of a global pandemic and extreme right-wing convulsions, an achievement considering the precarious balance this entails.


It’s somewhat disheartening that Planet of the Apes is confined to a five-issue stint, given its remarkable contribution to the franchise’s mythology. The unseen dialogue adroitly drives the plot, facilitating a surprisingly easy read, considering the complex subject matter. Its entertainment value remains undiminished, even amidst discussions of a global pandemic and extreme right-wing convulsions, an achievement considering the precarious balance this entails.


Rogue & Gambit’s concluding issue highlights several peaks of the series. Carlos Gomez renders Rogue in a condensed, transient-memory version of Stuart Immonen’s now legendary Jean Grey splash—an image of such grace that Rogue herself playfully chides Gambit (and by extension, us readers) for unabashedly gazing. Simultaneously, Gambit lauds Rogue in such an eloquent manner that he transcends his role as a mere mutant spouse, evolving into a new figure I’ll label the Claremontian Wife Guy. The remainder of the issue brings a typical superhero narrative to a close in anticipated and customary ways, with one exception: Rogue’s interaction with Destiny. This episode serves as a weight dragging the entire narrative down, owing to Rogue’s ill-founded trust in Destiny that persuades her to commit an obviously immoral act. This discord not only lacks justification but also conflicts thematically with the book’s main arc, rejuvenating Rogue and Gambit’s marriage despite Destiny’s disapproval. In the intricate process of creating comics—especially within a shared universe—it is challenging to attribute specific faults. However, the amplification of this moment in the most recent X-Men issue implies an imposition of editorial necessities over the genuine narrative.


Scarlet Witch effortlessly stands out as the finest ongoing Marvel series currently available. The sixth issue presents another thrilling adventure for Wanda Maximoff, delving into her relationships with Wiccan, Hulkling, and a surprising cosmic ally. Steve Orlando’s script adeptly crafts a self-contained yet consequential chapter, complemented beautifully by Lorenzo Tammetta’s artwork which meshes seamlessly with Sara Pichelli’s existing work. This series remains unerringly excellent, further solidifying its reputation.


Following Boba Fett’s introduction in the previous issue and the inauguration of a new arc, Star Wars: Bounty Hunters embarks on an ambitious plan to rehabilitate Valance. The looming complication is Boba Fett’s notoriously unreliable reputation, as his personal agenda might endanger the entire crew. Without jumping the gun, two consecutive issues of relatively engaging adventure kindle hope that future chapters of the series will adopt a more satisfying tone. The characters finally seem worthy of investment, no longer merely vehicles to deliver a gritty narrative. By prioritizing character development and enhancing the book’s overall aesthetics, the series ceases to resemble fan fiction, evolving into a distinct storyline enriched with unique characters. Given the series’ historically low expectations, it appears to be making positive strides towards earning a spot on the bookshelf.


The forthcoming significant crossover event for Star Wars comics, Dark Droids, begins to take shape in this issue of Star Wars: Darth Vader, as we witness an array of… Dark Droids. These are droids that have suffered at the hands of Vader, brutalized and disfigured by his force. Considering Vader himself is part droid, they plan to exploit this shared vulnerability to retaliate. Beyond paving the way for Dark Droids, this issue doesn’t contribute much in terms of narrative thrill. However, the unique sight of betrayed droids forging alliances in manners previously unexplored in the galaxy far, far away does offer an engaging reading experience. With a history of delivering captivating action, Darth Vader continues this trend in this issue. But instead of the usual standoff with characters resulting in predictable stalemates, observing Vader unleash his full might against determined mechanized adversaries serves as a refreshing detour from a weightier storyline. If the Dark Droids event carries the same spirit of this single issue, we might find ourselves forgiving its inherent oddities.


Warlock: Rebirth appears more preoccupied with shoehorning as many recognized Marvel characters as possible than striving to weave an engaging narrative. Perhaps this strategy was the requirement imposed to grant the book’s publication, yet it doesn’t mitigate the frustration of sifting through a story devoid of excitement.


Despite the multiversal web spun in this new Carnage primer being overshadowed by its intriguing characters, they are sufficiently captivating to retain your attention throughout. This new exploration of the Carnage entity presents a unique and compelling take, which alone stokes enough curiosity for the impending series. These fascinating characters, coupled with the fresh perspective on Carnage, might just be the factors that hook readers onto the series waiting to make its mark.


Marvel’s newest series, What If…? Dark, commences with a rather inconsistent stride. The narrative takes us back to the Stan Lee/Jack Kirby era of Thor, featuring an alternate reality where Loki finally succeeds in seizing Mjolnir, thereby setting the cataclysmic chain of events leading towards Ragnarok into motion. However, curiously, the term Ragnarok is glaringly absent from the book. Familiarity with Norse mythology (or having played God of War: Ragnarok last year) gives a clear hint towards the book’s direction early on. But the real shortcoming lies in the chosen timeframe for the story. Loki, as a character, has undergone massive transformation over the years, developing complexity and depth. Opting to place the narrative in a period where Loki lacked this depth makes for a monotonous reading experience.


The final projection of Beast’s potential dystopias manifests with Nimrod-Beast in X-Force #42. This alternate reality offers another enjoyable deviation that doesn’t outstay its welcome, yet the hasty retreat to Krakoa in preparation for the forthcoming Hellfire Gala leaves “The Ghost Calendars” seeming unfinished. Readers acquainted with the plot pattern of this storyline will find that this issue does nothing to challenge that mold. However, it may offer the most entertaining climax in ending Beast’s rule. The conclusion arrives earlier than in past issues to facilitate the team’s return and reevaluate their imminent threats. Yet, these threats remain only hinted at, for the umpteenth time, with virtually no advancement made even after this time-travelling bloodbath. The narrative seems to make little effort in advancing the current status quo, reducing the vivid excursions of the past three issues to mere diversions.


Entrusted with the task of crafting an origin for one of the most beloved X-Men narratives ever spun, Marc Guggenheim and Manuel Garcia present a stunning first issue in X-Men: Days of Future Past – Doomsday. While stories featuring anti-mutant propaganda are not rare at the House of Ideas, Guggenheim’s pared-down script strips away the superfluous elements, transforming it into a deeply human tale. Given the frightening times we live in, Doomsday #1 offers a profoundly haunting read that resonates with the readers’ sentiments.


With its debut, Antarctica offers what could easily be seen as the most straightforward, fast-paced first issue of the year. The narrative doesn’t reach its climax until the final few pages, yet there’s never a moment where one feels stuck or bored. The dialogue is efficient, and the layout is effectively designed, ensuring your engagement is sustained from the first page to the last. In a comic landscape where lengthy monologues are often used for exposition in debut issues, Antarctica is a breath of fresh air, demonstrating the power of brevity and proving that less can indeed be more.


Following a debut that showed promising potential, Cat Fight #2 elevates this potential exponentially, showcasing the vast narrative scope this series could encompass. Writer Andrew Wheeler intensifies the action and simultaneously sprinkles intriguing seeds of future storylines. Emotional flashbacks create a deeper empathy for Felix, while surprisingly, Kitty doesn’t become a character to loathe. This balance also lends more credibility to the mercenary army hunting Felix, as each has had some connection with Kitty in their past. This is most evident when Agnes enters the scene, a character whose future involvement in the narrative is eagerly anticipated. The artistic team consisting of Ilias Kyriazis, Dennis Yatras, Auguste, and Hassan Otsmane-Elhaou, brilliantly executes classic spy action with a sprinkle of lighthearted charm. While Felix’s decisions might seem questionable for a professional, it appears tied to an overarching narrative. As it stands, Cat Fight has hit the ground running, captivating me, and stoking curiosity for where this spy adventure heads next.


With Dark Ride having firmly established its narrative footing, it takes the bold step of peeling back layers to reveal the proverbial “man behind the curtain” – thus creating one of the most spine-chilling issues yet. The past, present, and future of the Dante family are suddenly thrown into a bewildering turmoil, a state of chaos deftly brought to life by Joshua Williamson’s script. Andrei Bressan’s artwork mirrors this quality, whether in the depiction of terrifying action scenes or unsettling still images. The anticipation for where Dark Ride will take us next is palpable and undeniable.


The anthology framework of Deep Cuts shines in its third installment, paving the way for a captivating and emotionally resonant family tale. This issue delves into the childhood of Alice Leslie, a girl entranced by mysteries, her latest intrigue being her father’s forsaken jazz career. The end product is a story of timeless appeal, borne out of the potent combination of Joe Clark and Kyle Higgins’ impressively captivating script and Diego Greco’s vivacious artwork. Whether or not you’ve been tracking the previous issues of Deep Cuts, this one stands out as a must-read, with its self-contained brilliance making it easily accessible.


Duck and Cover is the newest venture from the renowned duo of Scott Snyder and Rafael Albuquerque, brought to life under the banner of Comixology Originals. The narrative follows the fate of three erstwhile childhood friends in an American small town who find themselves among the survivors of an unexpected Russian onslaught during the peak of the Cold War, sharing their survival with several other “daytention” delinquents penalized for a brawl. The comic explores themes of racial disparity, the death of youthful aspirations, and ingrained prejudice. Adding a layer of the supernatural, the Russian forces are depicted wielding alien, tripod-like machinery, culminating in the appearance of a demonic doberman. This narrative brings to light Snyder’s strengths: a cast endowed with distinct personalities and the deployment of a potent nostalgia for a time that never existed, making the depicted violence and brutality all the more impactful. Albuquerque’s artwork, consistent in its excellence, reaffirms his position among the industry’s finest. Altogether, this debut is solid and hints at the potential for an American Vampire-like success.


Earthdivers #8 seems scattered, with abrupt transitions between scenes causing a disorienting narrative whiplash for readers. Despite the promising premise Jones laid out for this second arc, the erratic pacing dilutes its effectiveness. Moreover, Burchielli’s line art within the issue seems uneven, with characters losing their consistency throughout. The absence of a coherent artistic and narrative structure leaves this issue feeling somewhat disjointed.


Jeff Lemire, once again, takes inspiration from his own upbringing with his newest venture, Fishflies. The series captures the very real occurrence in certain North American regions of fishflies blanketing small communities, their omnipresence almost suffocating. Yet, the flies are merely atmospheric, serving as the backdrop for a narrative that weaves together a robbery-turned-unintentional-homicide, the trials of an abused preadolescent girl, and a twist of the supernatural. The book’s sketch-like artwork, its utilization of watercolors and sound-word effects, collectively elicit a palpable sense of disquiet. Yet, even when it veers into the mildly macabre, it never dissuades the reader’s interest. Despite its double-length, the issue’s gripping narrative ensures that you’ll likely breeze through it. It’s an unusual tale, but its idiosyncrasies make it undeniably memorable.


The first comic spin-off of Gargoyles has made its entrance, and it’s instantly clear that it’s a much-anticipated addition to the broader universe. Greg Weisman’s storytelling prowess shines brightest when he’s unfettered in crafting his worlds, a freedom he exercises to its full potential in Gargoyles: Dark Ages #1. Set a millennium ago, Weisman has a fresh canvas on which to shape the origins of the Wyvern Clan, providing readers with a fascinating insight into their earliest days. Complementing the engrossing narrative is Drew Moss’s exceptional line art, together creating a comic debut that delivers a strong impact.


The first comic spin-off of Gargoyles has made its entrance, and it’s instantly clear that it’s a much-anticipated addition to the broader universe. Greg Weisman’s storytelling prowess shines brightest when he’s unfettered in crafting his worlds, a freedom he exercises to its full potential in Gargoyles: Dark Ages #1. Set a millennium ago, Weisman has a fresh canvas on which to shape the origins of the Wyvern Clan, providing readers with a fascinating insight into their earliest days. Complementing the engrossing narrative is Drew Moss’s exceptional line art, together creating a comic debut that delivers a strong impact.


The Great British Bump-Off manages to resolve its captivating murder mystery and competition saga in an exceptionally engaging manner with its fourth issue. Following two attempted poisonings, the contestants have reached their final bake of the weekend, which culminates in an exciting climax and an array of delightful cakes themed on popular movies. Every page serves up a delightful concoction of visual humor and consistently witty dialogue, adding to the story’s charm. While not all the characters from the cast of around 15 reach a full resolution, those with the most distinct personalities certainly do. The satisfying conclusion to the mystery, which will undoubtedly gain further appreciation on re-reading, is coupled with a jubilant celebration that’s made this comedic series so enjoyable, despite the close shaves with death. Whether it’s the final face-off or the epilogue notes, The Great British Bump-Off leaves readers hungry for more, a testament to the fantastic collaborations of Max Sarin and John Allison.


Groo In The Wild presents the latest chapter in Sergio Aragones’ long-standing series centered around the dim-witted protagonist, Groo The Wanderer. The plot is as straightforward as the character itself, reinforcing that Aragones’ work never seeks to be anything more than a straightforward narrative. For those who have always enjoyed the character’s antics, this will be a fun read. However, for those unfamiliar or not attuned to Groo’s style, this issue may be a bit challenging to navigate.


In Haunt You to the End #2, the crew settles into their base camp and routines as they commence their investigation of the world’s most haunted island. The second installment does well to remind readers of the key characters and their unique perspectives, although none of them particularly stand out as compelling or engaging. The early appearances of ghosts help build tension, but their visual representation and hints of violence do little to inspire fear. The ghosts, identifiable by their resemblance to burn victims, are portrayed in a rather straightforward fashion that falls short in the creepiness factor. Apart from the mystery surrounding the island’s origins, the unfortunate outcomes in this afterlife are readily apparent to both readers and the crew. Similar to its debut issue, Haunt You to the End #2 offers a competent ghost story, but it’s still missing a compelling hook to reel readers in for future fright-filled adventures.


As Mike Mignola and Christopher Golden’s romance-infused series reaches its conclusion, it becomes apparent that not every story in this universe necessitates adherence to the same template. The romantic aspects of this narrative outshine the adventurous segments, yet they cleverly weave together towards the same goal. Matt Smith, with the backing of colorist Chris O’Halloran, continues to showcase why he is an artist to watch, especially in relation to Hellboy titles. Smith masterfully merges his unique style with the sensibilities that underpin Mignola’s artistry, bestowing this series with a visual continuity that enables it to sit comfortably alongside classic Hellboy titles. For future endeavours, a humble plea to the creators: please incorporate more romantic nuances such as kissing and flirting.


Despite the intermittent nature of Immortal Sergeant, its peak moments are astoundingly profound and outweigh the tumultuous lows. Immortal Sergeant #7 truly takes flight as the series’ most accomplished issue yet, as the formerly grumpy title character gradually evolves into, if not a likable, at least a comprehensible persona. The dynamics between him and his son start to mature, infusing the narrative with fresh vitality and making it more engaging.


The ambiguity surrounding Hell’s depiction continues in In Hell We Fight #2, and this lack of clarity makes it challenging to engage with the series’ blend of action and humor in a setting that evades any tangible stakes or suspense. Isolated sequences, such as a heartfelt dialogue between Midori and Xander, stand out but feel disconnected from the broader context of the issue. Characters’ relationships and attitudes appear to be moment-driven, reducing each teenager to a recurring gag or an undefined stereotype. This notion extends to all new elements introduced in issue #2, including a house and its various pests that exist solely to drive the plot towards an uncertain and seemingly unengaging end. The series paints an afterlife that intimates that the worst children can expect in Hell is minor boredom punctuated by random antics, and it doesn’t offer many compelling reasons to continue reading. Coupled with a deterioration in the artwork, with characters usually depicted in a flat style with barely noticeable features or reactions, the series struggles to maintain reader interest after just two issues.


Rick and Morty: Heart of Rickness #1 appears to understand its target audience seamlessly, serving up an array of belch-laden gags to keep fans entertained during the wait between seasons of the animated series. This premier issue swiftly lays out its premise—Rick and his grandchildren are stranded without the aid of technology on a brutal, primitive planet—a concept that could easily be restructured as a script for an episode on Adult Swim. Although the debut lacks substantial depth, with sparse nods to Joseph Conrad’s works or its various adaptations, the barrage of snappy one-liners and harsh humor present throughout make for top-tier comic writing. However, the artwork does not quite capture the meticulousness and dynamism that keep the series’ relatively straightforward style consistently engrossing. Action sequences often come across as flat, background details are either ill-defined or lackluster, and unusual shading tones add a slightly off-brand vibe. Nonetheless, the artwork is proficient enough to ensure that all design elements are instantly identifiable and the sequence of events is lucid. Heart of Rickness #1 might not reach the peaks of a superior Rick and Morty episode, but it retains enough of the series’ trademark humor to keep fans engaged while awaiting the next season’s arrival.


The Rocketeer: In the Den of Thieves is a new series that offers something for everyone, regardless of whether you’ve seen the movie or read every previous page of The Rocketeer. Longtime readers will appreciate the integration of story beats from previous comics, and newcomers will find the narrative welcoming. This is a testament to Stephen Mooney’s knack for quickly and effectively tapping into the essence of the character and his universe. Artist David Messina, responsible for both pencil work and coloring, perfectly captures every crucial moment of the story in each panel, enhancing the narrative with the kind of compelling visuals that characterize many other great comics.


Savage Dragon #266 takes readers on a swift tour through Toronto, allowing the Dragon family to tie up all loose plot threads in Canada before relocating to San Francisco – creator Erik Larsen’s real-life home city. The artwork shines with crisp details, and the inks and colors appear richer and smoother than in recent times. Whether this is a one-off feature for this farewell issue or a new stylistic direction for Larsen remains to be seen. The transition from Chicago to Toronto led to a series of issues that acquainted audiences with the city, including recognizable real-world locations. However, this time Larsen seems intent on completing the process in one fell swoop, akin to a montage. For fans who enjoyed the intense action of the recent issues, this installment offers a character-focused interlude, complete with family drama, but it also lays the groundwork for the thrilling superhero action to come, marking the return of the SOS to the narrative in a significant way.


Previous installments of Something Epic have often come across as a celebration of artistic self-importance. However, with issue #3, this tendency escalates, drawing a comparison between the iconic Madonna cradling the Christ child and the protagonist as he mournfully holds his dying mother. This allusion is then further emphasized with a close-up depiction of the crucifixion, serving as a visual repetition for any readers who might have missed the initial parallel. Unfortunately, this sense of exaggerated significance detracts from what should have been a deeply moving narrative about a son grappling with the loss of his mother. The grandiosity of the imagery appears more focused on underlining the protagonist’s extraordinary nature, rather than genuinely exploring the profound emotional impact of such a loss. The protagonist’s characterization as an orphaned child, despite its potential for sympathy, fails to convince due to his advanced introspection, which feels more like the reflection of someone much older. Starting the issue with a seemingly ironic tirade about the elevation of imagination using sleep science only further confounds. The narrative’s excessive pretentiousness threatens to overpower any elements that might have been engaging or endearing, urging the reader towards dismissal. While certain technical skills are evident, such as the mirrored framing of dream and real-life conversations and the poignant use of the sunset’s red glow to symbolize the mother’s life fading, these are overshadowed by the overly pompous tone of the issue.

TMNT 141

Despite their victory in The Armageddon Game, the Teenage Mutant Ninja Turtles appear more divided than ever in this new chapter. The unity of Clan Hamato is disrupted, with Donatello preoccupied with futuristic visions in his lab, Michelangelo lost in dreams of escape from the city, and Raph and Leo at odds over their respective strategies for safeguarding Mutant Town, now officially recognized as a New York City borough. Sophie Campbell further explores the intriguing concept of QNA, a measure of the soul’s gravitational pull based on quantum mechanics, which initially seemed like a narrative compromise. Campbell now suggests this idea may have originated from the mutagen integral to the Turtles’ genesis, thus making it more relevant within the narrative universe. While Campbell’s ultimate destination with this concept is yet unclear, the journey promises to be riveting. Complementing this, Gavin Smith’s stellar artwork, coupled with Ronda Pattison’s crisp coloring and straightforward layouts, successfully blurs the boundaries between the mundane and the mutant, except when separation is intentionally highlighted.


Launching this week, Stoneheart #5 offers an enticing blend of playful banter and intense combat scenes. Shayde struggles to contain her burgeoning emotions as she and her newfound ally each face their own confrontations. Shayde grapples with a fearsome enemy, while her comrade engages in a verbal duel with his brother. Furthermore, the budding romance between the two characters infuses the fast-paced issue with a series of flirtatious exchanges, adding a lighter note to the otherwise intense narrative.

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