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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.


In the fifth edition of Adventures of Superman: Jon Kent, the narrative takes precedence, skillfully weaving a link between the long-standing Injustice narrative of Tom Taylor and the core universe of DC Comics. For aficionados of Injustice and its myriad spin-offs, the unfolding of a fresh chapter, particularly in the aftermath of the major alterations brought about in this issue, will certainly incite enthusiasm. However, the plot alone isn’t enough to sustain a story’s momentum, and those readers who haven’t been immersed in a decade-long journey of video game-based spin-offs may find this particular issue underwhelming. Key DC characters, including Jon Kent, outline their plans, affording brief opportunities for character development. However, many of these interactions appear strained, with insufficient room for natural progression. Jon Kent’s haste to engage in combat hinges on a superficial understanding of the concepts of good and evil as a pretext for skirmishes in superhero comics, with more profound explorations of this world’s nature and potential improvements taking a backseat. While Adventures of Superman: Jon Kent #5 does promise more for those curious about future developments, there’s little to appreciate apart from the intricate storyline.


Knight Terrors: Batman #1 introduces an intriguing concept – a villain exploiting dreams to locate its target, the somewhat cliché ‘Nightmare Stone’. However, almost everything else about this issue falls short of expectations. The narrative centres around the notion of heroes confronted with their most terrifying nightmares, but this takes Bruce Wayne into overused territory involving the death of his parents. This repetitive plot point forms the crux of the issue’s shortcomings. There’s a lack of originality and substance, yielding nothing novel to extract or explore. It’s predictable and results in a lacklustre exploration of the character’s psyche. Moreover, this narrative direction seems at odds with Joshua Williamson’s previous understanding of Bruce/Batman. Williamson’s treatment of the character now seems disjointed, as if he’s lost his understanding of Batman. Bruce’s character has evolved far beyond his parents’ death being his worst nightmare. By rehashing this concept, the storyline seems unimaginative and poorly researched. The visual representation also leaves much to be desired. As for the additional story? It’s equally muddled. Overall, this issue doesn’t warrant your time.


The inherent challenges of a two-month event comprising two-issue miniseries are glaringly obvious in Knight Terrors: Black Adam #1. The narrative begins with a concise synopsis of the “Knight Terrors” premise, offering little in the way of contextualisation for the ensuing events. Black Adam is relentlessly thrust from one attack by mysterious, monstrous attackers to another. It seems that the initial action scene precedes Adam’s entrance into a mystical sleep, but the nature of this sleep, or Adam’s objectives, are left unexplained. The story is carried along by dream-induced logic, with bizarre occurrences piling up, never solidifying into a comprehensible plotline. Only the final page, heralding Batman’s arrival, hints at a potential storyline developing in the second part. The baffling narrative, fuelled by nightmares, is paired with artwork that barely qualifies as adequate. The depiction of nightmare creatures and scenarios is recognisable but lacks the requisite menace. Consequently, it’s challenging to identify a compelling aspect of this particular “Knight Terrors” instalment. It doesn’t seem to bear any relevance to Black Adam’s current narrative, the main storyline of “Knight Terrors,” or any unique aesthetic value. Knight Terrors: Black Adam serves mainly as a reminder of the gap left by Priest’s Black Adam during its hiatus.


As DC Universe stands on the brink of ‘Knight Terrors’, a fresh, line-wide event that introduces an element of horror to every superhero’s perception, the curtain raiser is the highly anticipated Knight Terrors: First Blood. The creative team behind this issue, including writer Joshua Williamson, artist Howard Porter, colorist Brad Anderson, and letterer Troy Peteri, presents a masterful introductory glimpse into what the event has in store for fans. The shining star of this issue is undoubtedly the fan-favorite Deadman, who adds a distinctive touch to every interaction and appearance, becoming an engaging lens through which the legendary DC trinity is examined. Porter and Anderson’s artistic styles prove to be a fitting match for the eerie situations unfolding, and the various set pieces provide a plethora of opportunities for creative storytelling. In more ways than one, First Blood serves as the ideal springboard into the Knight Terrors event.


In Knight Terrors: Poison Ivy #1, the objective of delving into each character’s most horrifying nightmares is executed with unerring precision. Maintaining consistency with G. Willow Wilson’s comprehensive work on Poison Ivy, this issue presents an unyielding and disconcerting examination of reality. Ivy’s nightmare deviates from the typical terror-ridden dreamscape, instead offering a chilling portrayal of idealized perfection, thereby hinting at the terrifying possibility that sometimes, the dream itself is the real nightmare. The narrative’s strength is further bolstered by the introduction of Janet from HR, resulting in a disturbing scenario where Pam gradually capitulates to the illusion of perfection, compromising a part of herself for someone else’s perceived ‘happiness’. This unsettling scenario triggers a deeper reflection on the sacrifices one makes for their loved ones, almost akin to trading one’s soul. The narrative treads the thin line between insightful psychological horror and thorough examination, rendering it fascinatingly complex. The only aspect that slightly falls short of the overall brilliance is the artwork. While it isn’t quite perfect, it does possess a sense of unease that complements the narrative well.


“Knight Terrors” delivers a clever exploration of Rose Wilson’s place in the DC Universe in an effortlessly impactful issue. Ed Brisson’s script unravels amidst the somewhat straightforward pandemonium of a dream, culminating in a captivating ‘twist’ that, while not entirely unexpected, keeps the readers engaged. The issue gains additional depth with Ravager’s journey and her attempts to come to terms with her traumatic past under Deathstroke’s shadow. This emotional purge is effectively portrayed through Dexter Soy’s sharp artistry, which lends a palpable intensity to each act of violence or horror. While it might not yet be one of the most significant segments of the “Knight Terrors” storyline, it certainly holds considerable potential, promising compelling developments in the future.


Discerning the most terrifying nightmare for the Clown Prince of Crime is not a challenging task for anyone who has kept track of Joker’s nefarious activities. However, Matthew Rosenberg’s ingenious handling of the “Knight Terrors” crossover event offers an intriguing and entertaining exploration of Joker’s deepest fear. The narrative, instead of just presenting the idea of Joker losing Batman, adds an unexpected twist – Batman meeting an undignified end, and that too, without Joker’s involvement, forming a gripping storyline. Witnessing Joker navigating through an ordinary, mundane life replete with a nine-to-five routine, holds an immense potential for various outcomes. Rosenberg and Raffaele brilliantly steer this scenario with an unexpected turn of events. Although tie-in books typically pose a challenge to maintain character integrity, this particular “Knight Terrors” entry emerges as one of the strongest contenders due to its brilliant premise and often hilariously insightful character study of Joker. If there’s one “Knight Terrors” book that you shouldn’t miss, it would definitely be this one.


In the aftermath of his predictable betrayal and beatdown, Christopher Smith recovers in a comically striking manner in Peacemaker Tries Hard! #3. As he gears up to confront The Brain and rescue Bruce Wayne, Peacemaker comes across two distinct sets of DC Comics characters, aptly labeled as Z-listers. These encounters lead to two divergent face-offs, each packed with Kyle Starks’ trademark blend of action and humor, resulting in brutal scenes where every fatality or crushing impact is met with laughter. The artistic prowess of Steve Pugh compliments this tone perfectly, as he skillfully interweaves action and humor in each panel, including some close-ups that are guaranteed to trigger hearty laughter. A few tall panels create minor confusion in terms of reading order, but overall, Peacemaker Tries Hard! maintains its exceptional presentation with some of the most emotive characters in DC Comics’ current lineup. With the stage set for Peacemaker’s revenge mission, this miniseries seems to be gathering momentum even after three impactful issues. It certainly whets the appetite for the upcoming developments.


Similar to the debut issue of the new series featuring John Henry Irons and Natasha Irons, Steelworks #2 maintains the same strengths and weaknesses. The narrative truly flourishes when it delves into the intricate relationship between the members of the Irons family, their unique mission, and their fraught conversation with the Super Family about the possibility of Metropolis no longer requiring the Super Family’s services. The challenge lies in crafting compelling antagonists. Even though the main ‘phasing’ villain undergoes a much-needed transformation with a new costume and alias, there’s a lack of depth for both the Silver Mist and his benefactor. However, considering the engaging character dialogues and the more potent conclusion, this issue marginally surpasses the inaugural Steelworks #1.


There’s a bittersweet sentiment attached to Captain America #750, especially for readers who have reveled in the narratives of both Captain America: Sentinel of Liberty and Captain America: Symbol of Truth and must now witness their conclusion. However, this commemorative issue only serves to underscore the elements that made both series so captivating. With the announcement of a fresh Captain America series centered on Steve Rogers, I remain hopeful that Sam Wilson will also be gifted a title of his own. As demonstrated convincingly in Captain America #750, he certainly merits his own series.


Serving as a bridge between Carol Danvers’ recently concluded and forthcoming solo series, Captain Marvel: Dark Tempest #1 initiates with a verbose yet somewhat engaging premise. As Carol Danvers finds herself ensnared in an unconventional cosmic conflict, Ann Nocenti’s script paves the way for fresh perspectives on her personal life and presents a self-aware examination of the character’s cultural influence in recent times. Even though the end product is somewhat muddled, Paolo Villanelli’s artwork boasts a few creative sparks, and the story is intriguing enough to arouse my interest for future developments.


With the Psychopomp’s schemes fully unveiled and his final opponents in place, Clobberin’ Time #5 offers few surprises, allowing the narrative to unfold predictably. This results in an enjoyable reading experience, complete with the familiar humor and stylistic panache evident in the preceding issues. Nevertheless, the reason to keep turning the pages at this juncture is Steve Skroce’s rendition of The Thing and his intense showdown with a virtually omnipotent entity. Elements such as Doctor Doom’s concealed face and Tuvah Tu’s combat injuries serve as mere distractions from another agonizing episode of rock/skin-peeling, a trope that starts to feel overused after the previous four issues. As it stands, Clobberin’ Time #5 ties up its plot neatly and puts the spotlight on Ben Grimm, showcasing him as an emblem of superhero comics and a character memorable for his dialogue and spirit. However, it also makes clear that there’s limited potential left in this specific rendition of The Thing.


The 13th installment of Daredevil showcases Matt Murdock’s so-called “final confrontation,” a descent into Hell itself in a desperate bid to rescue his best friend’s soul, and others, from the clutches of The Hand. Marco Checchetto’s artwork imparts a sweeping grandeur, manifesting an expansive vision of Hell marked by towering edifices and spiraling staircases, reminiscent of scenes from classical epic poems. This offers a grand stage for Daredevil, now adorned in a white attire, to combat the massive figure of The Beast. However, this showdown between man and demons largely assumes a metaphorical quality as the series has veered significantly from Daredevil’s usual backdrop and capabilities. Given that Matthew is already deceased, the ensuing conflict lacks the palpable tension one might anticipate. It is only in the concluding pages, particularly in the stunning cliffhanger distanced from Hell’s blazing hues, that the issue finds its footing and paves the way for a riveting finale in the subsequent month’s issue.


Proudly embracing its mystical roots, Doctor Strange #5 brings together an impressive roster of Marvel’s magical entities, making for an eye-catching spectacle. There’s no contesting that Strange is in his prime when he’s vociferously casting his surreal spells, causing panel borders to disintegrate, and this issue offers an abundance of such moments. Even excluding the game-changing twist towards the end, this installment checks all the requisites of a captivating Doctor Strange narrative.


In the aftermath, the purpose of Edge of Spider-Verse remains nebulous. Was it merely a collection of disjointed Spider tales? Or was it intended to weave some interconnected narrative web as hinted at by the final story in this concluding issue? Regardless of its aim, the series didn’t quite hit the mark, and this issue provides a compelling testament as to why. The initial story, starring Dream-Spider, is peculiar yet intriguing (commendably penned by B. Earl and Taboo). Unfortunately, “The Spider-Reporter of Earth-1755” is a haphazard mishmash, which is disheartening considering Daniel Kibblesmith’s typically entertaining style. Lastly, while “Charging Station” isn’t unappealing, it appears abruptly and feels out of place. The issue as a whole is marked by glaring inconsistencies and, for a supposed web, lacks cohesive threads.


The fourth issue of Extreme Venomverse brings together a remarkable team of creatives to spin three unique short tales, each hitting its intended narrative target. “Bloom of Doom” by Peach Momoko is a visually arresting, silent journey of Venom’s corrupting influence seeping into the earth and morphing nature into something toxic. While this story enriches the Venom mythos, it simultaneously serves as an environmental allegory, employing Venom’s brutal imagery to powerful effect. In “The Teeth of Beasts,” we witness a noir-inspired Venom, where Eddie Brock takes on the role of a Catholic priest, rationalizing his often horrifying deeds through his extraterrestrial abilities. Despite being the most straightforward take on an alternate Venom, it sinks its teeth into readers by presenting a grotesque reinterpretation of Brock’s origins, potentially setting the stage for a fascinating crossover with Spider-Man Noir. The concluding tale, “Sparkle and Shine,” masterfully combines elements from the first two stories. Written by Alyssa Wong, it introduces Necroko, a magical girl version of Venom, brought to life with bright humor by Ken Niimura. Every page flip brings joy as Necroko, a captivating blend of lethal protector and shojo heroine, unveils her powers in her school setting. Extreme Venomverse, with its trio of distinct tales and styles, each divergently riffing on the same character concept, makes a compelling argument for its universal appeal to comic enthusiasts.


The opening duo of pages in Fantastic Four #9 initially seem disconnected from the nail-biting cliffhanger of the preceding issue. However, they masterfully pave the way for an issue centered around Alicia Masters-Grimm, her unique insights into the Fantastic Four, and the intersection of comics with vision-related disabilities. What ensues is a pulse-pounding showdown with Xargorr that propels Alicia, along with the Invisible Woman and Human Torch, to devise daring new tactics in their fight against The Thing and Mr. Fantastic. Throughout the issue, all three teammates, with their memories intact, implement ingenious strategies that unfold with a genuine spectacle on each page. Metatextual elements, such as a page portraying Alicia’s perspective, enrich the action rather than detract from it. When the dust settles, this local skirmish against a global invader leaves readers thoroughly satisfied, eager for more similar adventures in future installments.


Spider-Man’s “Maxed Out” narrative arc echoes the classic Spider-Man vibes, a sentiment which persists in Spider-Man #10. However, interestingly, it isn’t these familiar elements that leave the most significant imprint in the arc’s climax. Dan Slott and Christos Gage utilize Peter’s ongoing spider-sense conundrum to craft unexpected situations, with a memorable sequence involving Peter and Electro where he risks his life to quell the turmoil in his mind. When Electro takes center stage, Mark Bagley, Edgar Delgado, John Dell, and Andrew Hennessy truly shine. The issue’s standout element, however, is the character Spider-Boy. He injects a refreshing dynamism into the battles and stirs up intrigue with his power set and past relationships. Although the character’s debut didn’t sway me one way or the other, his vibrant presence in this issue is infectious. His immediate impact on Peter adds a refreshing twist to the storyline. The subsequent issue’s cover hints at more Spider-Boy involvement, raising my interest levels even further.


With Luke Skywalker engaged in his dealings with Aphra, readers get the opportunity to tune in to the activities of the remaining Rebel Alliance members, observing them in their natural element: in full rebellion mode. Eschewing the commonplace narrative of the original trilogy’s heroes on the run from the Galactic Empire, this issue pivots to the Rebels initiating an assault, aiming for a symbolic victory against Emperor Palpatine. Not only does the comic serve as an excellent commencement for a continuing arc, it also stands firm as a self-contained issue, regardless of the reader’s duration of following Star Wars comics. Exhibiting tonal similarities to television series like Star Wars: Andor and Star Wars Rebels, this issue provides a fresh variation to the Star Wars lore. It successfully underscores that the galaxy remains in a state of war, even when its main characters are not directly in harm’s way.


The climax of Yoda and Anakin’s face-off with a megadroid culminates in unexpected challenges for both heroes, as the dynamic of power and control within the Force fluctuates. Star Wars: Yoda continues to deliver steady entertainment and insight, without ever seeming like it’s artificially attempting to elaborate on the original trilogy’s events. Instead, it augments these events, enriching the overall experience in retrospect. What we glean about Yoda is his vulnerability despite his formidable prowess in the Force, a trait he shares with other Jedi. The closing pages of the book tantalize readers with potential significant revelations about the beloved character. With just one issue left, we are brimming with optimism that the conclusion will provide a satisfying closure, marking this series as one of the most stable runs for Star Wars comics under Marvel’s stewardship.


Collin Kelly and Jackson Lanzing possess a distinct knack for identifying and spotlighting the essential aspects of a character, resulting in fans gaining a newfound appreciation for their role within the larger narrative universe. This unique talent shines brightly in Marvel’s Thor Annual #1, although Thor isn’t the sole beneficiary of this thoughtful attention. The enigmatic MYTHOS also shares the limelight, and while I won’t disclose the identity here, the revelation was a pleasantly surprising twist. Over time, Thor has undergone substantial changes, yet he invariably measures his choices against those of his father, Odin. While this pattern persists in the Annual, it’s executed in a manner that evokes a sense of coming full circle rather than mere repetition of old themes. The combined efforts of artist Ibrahim Roberson and colorist Dan Brown play a significant role in ensuring these moments land with maximum impact. The issue’s most powerful sequences are those characterized by sparse dialogue, although when the storyline demands action, it delivers with a bang. The epilogue also sets the stage for promising future adventures, making Thor Annual #1 a must-read, whether you’re a long-time fan or a newbie eager to delve into Thor’s world.


Al Ewing has always been known for his audacious narrative concepts and unexpected plot twists. Despite Venom #22 beginning on a different trajectory, given the cliffhanger of the prior issue and the implications of the cover art, readers will find themselves eagerly anticipating the next installment by the time they reach the last page. As the issue progresses, artist Ramón F. Bachs finds his stride, presenting readers with grand-scale action sequences that are not only visually impressive but also keep readers guessing from an artistic perspective. In addition, Bachs exhibits a unique ability to make a character typically devoid of emotion appear vulnerable, which is no mean feat.


The mini-series, Venom: Lethal Protector II, concludes with a robust final issue. The unexpected blend of Venom symbiote and Doctor Doom is as formidable as anticipated, harmoniously aligning with the nostalgia-inducing tone of 90s comic book style that the series aimed to recapture. The series insinuates profound character ties between Eddie and the symbiote, a theme extensively explored in other Venom narratives, but this doesn’t detract from the experience for readers simply seeking a reminiscent journey back to Venom’s initial days as an antihero. While this miniseries might not carry the iconic legacy of its predecessor, it is undeniably an enjoyable read. Sometimes, sheer entertainment value can be a satisfying reward in its own right.


As we reach the conclusion of X-23: Deadly Regenesis, the series appears most appealing to avid X-23 enthusiasts. For others, there isn’t a great deal of content missed out on, barring a surprising cameo by Kingpin. The potential of recurring appearances from Haymaker would add a layer of intrigue, but even that seems doubtful. The artwork, while extensively detailed, often appears rigid across the majority of panels, which can detract from the overall visual storytelling experience.

X-MEN #24

As the X-Men series finds itself in a narrative pause, anticipating major forthcoming events like the Hellfire Gala, the announcement of a new X-Men team, and the inception of the ‘Fall of X’, X-Men #24 tiptoes on the precipice of major changes. Gerry Duggan’s scripting of a critical conversation between Rogue and Destiny notably echoes Kieron Gillen’s distinctive tone, albeit not quite capturing its essence. This issue finds the current team enjoying some downtime in Gameworld, which predictably doesn’t go as smoothly as hoped. Despite no significant advancement of a primary plot, the issue feels a bit disjointed, sowing various narrative seeds, including a glimpse into a storyline designed for a Marvel Unlimited Infinity Comic, which feels more like promotional material than an integral part of the storyline. The most noteworthy progress revolves around Scott and Jean’s deteriorating relationship. However, the character development feels nebulous, with Cyclops displaying a paranoia that feels like a regression from his recent evolutionary trajectory. The artwork by Joshua Cassara and Frank Martin enhances the storytelling, offering a visually pleasing experience alongside a few exciting action sequences. Nevertheless, some scenes can leave readers puzzled.


In ‘X-Men: Before the Fall – Sinister Four #1’, light is finally shed on the peculiar existence of the four clones of Nathaniel Essex – Mister Sinister, Mother Righteous, Orbis Stellaris, and Doctor Stasis. Kieron Gillen’s narrative elegantly untangles the complicated origin story of Mister Sinister, offering an explanation that manages to be both concise and broad-ranging. The pivotal element of the issue is a meeting between Doctor Stasis and Mother Righteous, the latter being designed in the image of Nathaniel Essex’s wife, Rebecca. As one might anticipate from a meeting between two Essex clones, the conversation becomes a strategic game of extracting information and gaining favors. Despite Paco Medina’s art style initially appearing too superhero-centric for the conversational subterfuge, it complements the issue well, especially during the action-packed climax. This issue adeptly ratchets up the suspense for the impending ‘Fall of X’.


Among all the issues in the latest Gargoyles series, issue #7 stands out as the most nostalgically reminiscent of the 90s, unabashedly embracing an over-the-top approach to its dialogues and scenarios. It welcomes the return of another favorite from the Gargoyles universe, along with the rich world-building that contributed to the original animated series’ cult status. Gargoyles #7 serves as a welcome change of pace, infusing fresh energy into this comic series.

GRIM #11

In Grim’s eleventh issue, the narrative is marked by intriguing scheming and double-crossing, which certainly appeals to those who revel in such complexity. Tracking alliances in Grim has admittedly become challenging, but this only adds to the surprise of Adira’s decision to seek assistance from Jessica. A new character, Life, is also introduced into the narrative fray. However, a question lingers – whose soul is Annabel intending to liberate from Hell, and what is so terrifying about this prospect that it drives Adira to seek Jessica’s support?


The fourth and final issue of Hairball takes an unexpected, chaotic detour, presenting a frenzied narrative pace that darts from one plot point to another. The story not only provides Bestie with a backstory but also attempts to tie up the narrative threads introduced in the first three issues. Although the origin story of Bestie is satisfactorily handled, the conclusion of the overarching story falls short of expectations, coming across as hastily assembled and somewhat rushed.


The grand finale of I Hate This Place arrives with a sense of mixed emotions, as readers bid farewell to a beloved comic book series. The narrative complexity that was set in motion from the first issue, involving a fascinating mix of ghosts, aliens, and a variety of monsters, is commendably addressed in the final installment. All lingering narrative threads find their rightful places as the cataclysmic confrontation comes to an end, with the final stages living up to the high-intensity standards set by previous issues. The terrifyingly detailed depictions of monsters, both literal and human, by Artyom Topilin, alongside the thrilling action sequences, contribute to a gripping conclusion. Still, the standout elements remain the central characters Gabby and Trudy, and their relationship. Amidst the prevailing fear, Topilin’s portrayal of this loving couple serves as the beacon that cuts through the surrounding horror, showcasing a range of emotions without the need for dialogues. The concluding pages pay homage to this relationship, underscoring how it has driven the narrative forward. Readers are left with an urge to revisit the journey from the very beginning as they turn the final page. I Hate This Place #10 firmly secures its place as one of 2023’s best miniseries, a comic destined to be remembered and revered in the years to follow.


In the fourth issue of Junk Rabbit, many unresolved questions are given some much-needed answers. However, the extensive exposition required to present these answers significantly slows down the narrative’s pace, particularly given the predictability of many plot developments. Jimmie Robinson delivers several memorable moments in this issue, including a striking five-panel page early on and essentially every scene where Junk Rabbit is in the spotlight. Regrettably, much of the comic is dedicated to two lengthy conversations that seem unnecessarily prolonged, with the artwork during these segments unable to distract from this fact. A particular dialogue sequence within The Dome also comes across as unneeded, as the supposed twist is glaringly obvious. While it’s hoped that Junk Rabbit #5 will regain its momentum, this issue feels somewhat out of sync.


Monstress is consistently a high-quality comic, but when it excels, it truly shines, as is the case with the 45th issue. Returning from a short hiatus, this issue is dense with content, effectively managing three parallel storylines – ghost Maika, Ren, and Zinn-Maika-Kippa – by anchoring the narrative around Zinn and evolving the threats based on that. Things take a significant downturn for all characters, yet Marjorie Liu expertly offsets this bleak trajectory with numerous emotionally charged moments. The storyline in this issue, and indeed the entire series, is characterized by a rich intricacy. It is an exceptional comeback issue.


As Joan’s life advances, Love Everlasting takes a turn towards its most somber chapter thus far. As Joan enters her later years, her partner Don falls ill, and the ninth issue primarily focuses on the concluding period of their marriage. However, the series’ deficiency in character development renders Don a somewhat unknown quantity for the readers and possibly Joan as well, resulting in his passing lacking the intended emotional impact. The tension instead centers on how his death will influence Joan’s uncanny journey, a question left lingering after several issues detailing their marital life. The most powerful moments occur when Joan is forced to grapple with her feelings, or their absence, particularly in the visually striking dark, fragmented panels crafted by Charretier, which capture her peculiar emotional state. Nevertheless, without a clear understanding of the reality or how to interpret Joan’s increasingly bizarre trajectory, the mystery continues to dominate Love Everlasting, with this issue offering few satisfying developments.


By the conclusion of the seventh issue of Once Upon a Time at the End of the World, it becomes clear why Golgonooza isn’t one of Blake’s most frequently revisited concepts. The narrative spotlights the expansive dimensions and novelty of Maceo and Mezzy’s newly created paradise, birthed from the remnants of The Wasteland, mirroring the originality of Maceo’s initial tower. While the issue is laden with a multitude of captivating concepts, the extended introductory tour ultimately lacks the momentum to maintain interest throughout. The total absence of any discernible conflict, coupled with the depiction of a new society distilled down to a small number of concrete ideas, stretches Golgonooza thin across an issue that struggles to uphold its delicate structure. Even the splash panels that aim to showcase the setting’s marvels sometimes fall short, although Del Duca’s visual execution manages to keep most of the issue engaging. It isn’t until the final moments that the narrative hints at some forthcoming development, a progression that will be eagerly anticipated in the forthcoming eighth issue.


The inaugural arc of Phantom Road reaches its climax with issue #5. Although it provides answers to several lingering questions, particularly relating to the characters, the enigma surrounding many plot elements continues to intensify with each turn of the page. However, Walta’s artistic contribution arguably hits a high point in this installment of the series, with every panel pulsating with human vulnerability and desperation, clearly depicted in the linework.


In the fourth issue of No/One, a seamless equilibrium is achieved amidst the whirlwind of emotional peaks and pulse-pounding moments. The conspiratorial thread within Kyle Higgins and Brian Buccellato’s script consistently intensifies at a steady, yet significant pace, transforming an intimate conversation into an event as thrilling, if not more so, as a high-octane combat scene. The artistic contributions from Geraldo Borges, alongside Mark Englert’s color work, adeptly navigate these polarizing extremes, resulting in a comic that continues to grow more captivating with every successive page.


In Survival #3, the narrative merges elements of Red Dawn and 30 Days of Nights but, unfortunately, fails to deviate significantly from the conventions established by its predecessors. Scriptwriter Sean Lewis continues to position his pieces on the chessboard, yet the human characters offer little profound insight, while the vampire universe unfolds in an all too familiar pattern. Bryndon Everett’s illustrative prowess remains the comic’s shining light, with his staging of action sequences providing engaging moments and distinctive, gruesome visuals. The concluding splash page, elevated by a collaborative color composition by Everett and Natalie Barahona, is a standout.


Swan Songs #1 beckons readers to delve into the concept of finality within a medium that ostensibly perpetuates without end. Yet Prince’s career stands as a compelling argument for the “less is more” approach, and the accomplishments of this inaugural issue validate his exceptional ability to craft a compelling standalone narrative in 2023. The issue’s appeal is amplified by Simmonds’ consistently breathtaking artwork and the stylistic tone that dovetails perfectly with the narrative’s theme. The comic provides a thoughtful examination of existential anxiety in the face of impending doom. Prince’s signature black humor and peculiar ideas are prevalent but employed to induce varied effects compared to his work in Ice Cream Man, encapsulating a tragic sense of optimism where beauty persists even amidst the direst circumstances.


The Teenage Mutant Ninja Turtles: The Armageddon Game miniseries has consistently been the workhorse of the overarching event since its inception, and this remains true in its climactic issue. The final installment attempts to serve dual purposes by delivering an epic conclusion to Clan Hamato’s clash with the Rat King while simultaneously laying the groundwork for the new status quo in IDW’s Ninja Turtles universe. The narrative decision to frequently switch between the Turtles’ struggle in the Thin Places and their allies in New York City dilutes the book’s tension (the publication of the first post-The Armageddon Game issue of Teenage Mutant Ninja Turtles a few weeks prior doesn’t help the situation, but such occurrences are to be expected). One can’t help but ponder if a clear separation into a climax and denouement would have better served the issue. While the content isn’t inherently flawed—Tom Waltz’s understanding of these character iterations is unrivaled, and Vincenzo Federici depicts them skillfully—the thematic departure from Sophie Campbell’s Teenage Mutant Ninja Turtles run that preceded it is noticeable. As the prior issue emphasized community building within Mutant Town, it seems incongruous for this community to now seek legitimacy and protection from established power structures. From the characters’ perspective, the official recognition of Mutant Town as a borough should theoretically extend certain rights and protections, and residents are now permitted to venture beyond its borders. However, it seems as if an important conversation about making this decision was overlooked. Ultimately, the creative team behind The Armageddon Game pledged an epic narrative, and they indisputably delivered on that promise.

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