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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.


Action Comics #1055 delivers a solid Superman comic, particularly in terms of the main story. While the two back-up stories feel somewhat stagnant, Phillip Kennedy Johnson’s main narrative stands out as one of the best in this run so far. In their quest to locate Tracy Corben, Superman and the Super Family resort to extreme measures that go beyond a mere team-up with Metallo. The Eradicator resurfaces, relentlessly pursuing Cyborg Superman. Although this combination could easily become chaotic and sensationalized, the resulting story is a tightly executed character study. It delves into Metallo’s transformation, exploring the repercussions of abuse, violence, and a single wrong turn on an individual. The storytelling and artwork harmoniously come together, creating a beautiful and exceptional issue. Overall, Action Comics #1055 is a fantastic addition to the series.


City Boy #1 may not revolutionize superhero origin stories, but its titular protagonist’s predicament and powers prove to be compelling enough. The issue tastefully delves into tragedy without overwhelming its readers, while also establishing a conflict that casts a captivating shadow on future narratives. With its clever execution from the creative team, City Boy #1 has the potential to carve out a compelling new corner within DC Comics’ canon.


There’s a lot to appreciate in Green Arrown #2, ranging from the masterful storytelling to the visually captivating artwork. The comic presents an intriguing contrast as Team Arrow embarks on a mission to uncover the truth about their missing family members on Earth, while Green Arrow finds himself playing the role of Robin Hood on a peculiar alien world. Joshua Williamson continues to introduce intriguing new characters, with Troublemaker being a notable addition. Throughout his recent works in the DC universe, Williamson expertly weaves these fresh faces into the narrative. Green Arrown #2 promises an exciting continuation of the series, filled with captivating storytelling and stunning visuals.


Harley Quinn #30 showcases fantastic and enjoyable artwork. However, as this particular run progresses with this issue, it becomes apparent that we are stuck in a repetitive cycle of Harley’s attempts to find herself. Unfortunately, it feels like the story never really goes anywhere or develops her character over time. In this issue, the narrative becomes chaotic and challenging to follow, making it difficult to engage with the introspection or take the story seriously. The introduction of Captain Carrot adds a wild and fun element, but the overall execution feels forced, with an abundance of zaniness that hinders the storytelling. As a result, Harley Quinn #30 feels messy and loses its narrative focus.


Justice Society of America #4 sets the stage for the climactic confrontation with Per Degaton, following a previous showdown with the past Justice Society. While the opening action sequence lacks cleverness in dealing with formidable characters like Green Lantern and Flash, it does establish a vulnerability for the villain and sends both him and Huntress back to their origins. The ensuing conversations primarily serve to provide exposition and explain the nature and stakes of the upcoming battle. Unfortunately, the characters feel somewhat interchangeable, lacking individual development within the story thus far. Huntress and Per Degaton serve primarily as focal points for the action without delving into deeper motivations beyond generic objectives. The issue is competently conveyed with occasional stylistic flourishes, although the art fails to create an exciting impact.


After months of exceptional work, Tom Taylor and Travis Moore bring their significant story to a satisfying conclusion. While the results may be predictable, the journey embodies the essence of Dick Grayson, demonstrating Taylor’s deep understanding of the character. Although Bruno Redondo’s absence is felt in this grand finale, Travis Moore maintains the dynamic art style established by their predecessor. Nightwing #104 delivers a fitting end to the storyline, allowing the character’s growth and strengths to shine through.


The latest adventure of the Dead Boy Detectives comes to a close, delivering a poignant finale that embraces childhood and the capacity of children to embrace new experiences. While the climactic sequences are filled with horrifying visions of Thai ghosts inflicting harm and eviscerating human beings, it adds to the tense atmosphere of the read. Characters are faced with difficult decisions and sacrifices, navigating a crisis caused by a deeply sympathetic actor. The absence of a clear-cut villain and the layers of complexity contribute to a moving conclusion. Jeff Stokely’s artistic contributions deserve recognition for skillfully portraying both demonic apparitions and expressions of innocence. Dead Boy Detectives seamlessly transitions between terrifying and uplifting moments within a few panels. While this mystery reaches its resolution, it also lays the groundwork for future Sandman Universe tales. Readers will eagerly anticipate the next Dead Boy Detectives adventure, particularly if it comes from Pichetshote and Stokely.


Static: Shadows of Dakota suffers from apparent rushed artwork. Nikolas Draper-Ivey’s illustrations appear hurried at times, with instances of rough outlines for figures on at least one page. Although the story remains compelling, it seems that Draper-Ivey is struggling to maintain the high energy and stylized art consistently throughout the miniseries. Hopefully, this is an isolated issue, as Static’s second miniseries has been more engaging and evenly paced compared to the first one.


Tim Drake: Robin #9 surpasses the rest of the series, demonstrating its potential if it had maintained this level of quality throughout. The issue presents an intriguing, well-paced story with the right amount of tension and strong characterization. The artwork effectively honors the characters and the narrative, while the tone perfectly aligns with the story. The only concern is that with this being the penultimate issue, there are several setups that may not receive full resolution. Nevertheless, overall, Tim Drake: Robin #9 is a strong issue that showcases the series at its best.


If you’ve ever dreamed of witnessing the clash between the Green Lantern Corps and the Doom Patrol, then The Unstoppable Doom Patrol #3 is the issue for you. The reason behind their confrontation is unexpectedly heartwarming, as Robotman and Negative Man assist someone whose metahuman abilities have merged with a Starro. The narrative predominantly follows the adventure through the perspectives of Robotman, Negative Man, Starbro, Guy Gardner, and Kyle Rayner. Watching them utilize their powers throughout the issue provides ample entertainment and keeps readers engaged.


Bishop: War College hits its stride with issue #4, skillfully weaving several intriguing storylines together into a compelling mix. The series has introduced a plethora of inventive ideas, but until now, they haven’t fully realized their potential. Issue #4 changes that on multiple fronts as writer J. Holtham explores the societal dynamics of Earth 63 and how the world deals with the X-Gene. The narrative also propels various characters forward, offering satisfying progression. The interludes featuring emails and text chains further enrich the storytelling, effectively blending the narratives of both Earths. The artistic team of Sean Damien Hill, Alberto Foche, Espen Grundetjern, Victor Nava, and Travis Latham deserve credit for seamlessly merging the two Earths, although the distinctive style and look of Earth 63 particularly captivate. Bishop: War College feels like it’s reaching its peak just as we approach the final issue, promising an even better finale.


While many fans are thrilled to witness the collaboration of Daredevil and Echo once again, Daredevil & Echo #1 presents a mixed bag. The primary antagonist is revealed to be the Demogoblin, and Marvel’s abundance of Goblin-based villains is starting to border on overexposure. However, the issue does feature intriguing scenes where characters from different time periods simultaneously explore the same area, as Matt Murdock, Echo, and their ancestors visit a church in an attempt to thwart similar serial killers. These moments provide a captivating element to the story.


Extreme Venomverse #2 delivers a visually stunning and dark tale with its delectable art and coloring. This latest installment continues to explore the multiverse as Venom symbiotes from different dimensions find themselves in peril. The stakes escalate further as Live Model Decoys enter the mix. As always, Extreme Venomverse skillfully navigates its back-and-forth plot, accompanied by gnarly artwork that fans will devour.


Fury #1 brings together a writer who deeply appreciates comics and superhero history with an impressive lineup of artists who apply their distinctive styles in suitable settings. The issue possesses all the necessary elements to thrill Nick Fury fans. However, it falls short in terms of its story or purpose, prioritizing style over substance. It becomes an issue that few Marvel readers would even notice if they had missed it.


Janine Godby embodies the classic Peter Parker vibes as she crosses paths with Spider-Man in Hallows’ Eve #3. Down on her luck and trying to do the right thing, she finds herself perceived as a menace by almost everyone around her, adding a well-constructed element of irony. This portrayal provides readers with a clearer perspective on Janine—an ex-con with powers derived from Hell—presented as a hero in the timeless Marvel fashion. Her ongoing quest to save the life of a man she put in harm’s way remains compelling due to its limited scope and scale. Despite the obstacles posed by Beyond Corp. and the police, the story revolves around one woman’s heroic journey to set things right with another human being. As a reader who grew up cherishing old issues of Amazing Spider-Man, this resonates deeply. The portrayal of quick identity switches continues to impress, with panels effectively conveying information about the various masks and their associated powers, surpassing the need for excessive narration. Hallows’ Eve remains an unexpected treat with plenty of tricks still up its sleeve.


Hellcat #3 takes readers on a disorienting yet satisfying journey through Patsy Walker’s past, present, and future. As the central conspiracy begins to unveil itself, the issue offers enthralling character moments for Patsy, Sleepwalker, and others. While not the most polished installment of the series so far, it still leaves me eagerly anticipating what Christopher Cantwell, Alex Lins, and the creative team have in store for us next.


New Mutants: Lethal Legion #3 carries a commendable message that it seeks to convey. However, the delivery of the message becomes almost too explicit, with one character bluntly verbalizing it to another within the pages of this issue. While it is hopeful that the message reaches those who need to hear it, this approach makes other aspects of the story feel somewhat superfluous. With the heist angle resolved, the sewer monster tamed, and the scattered characters reunited, the narrative evolves into a straightforward showdown between the New Mutants and Count Nefaria’s new Lethal Legion. The story is slightly burdened by awkward and unnecessary references to recent continuity, which feel forced into the plot. The line work and colors effectively serve their purpose in a current Marvel house-style manner, making this a decent but forgettable read.


Steve Orlando masterfully utilizes the 2099 setting in Spider-Man 2099: Dark Genesis #4, exploring new spins on beloved Marvel characters without impacting ongoing stories. The creative freedom offered by the time period allows for remarkable reinterpretations of classic characters. While Spider-Man 2099 has always been a beloved figure, the fresh takes on Blade, Ghost Rider, Moon Knight, and others continue to impress readers.


The second issue of Star Wars: Darth Vader – Black, White & Red features two standalone Vader stories that effectively showcase the power of the Dark Side in different ways. In one story, Vader confronts and defeats a monstrous horde, highlighting the immense power granted to him by the Dark Side. The second story explores the perspective that the Dark Side, while associated with villainy, can also be a means of delivering revenge to those who have wronged you. The ongoing narrative focuses on Darth Vader’s capture and the potential chaos he can cause even when physically immobilized. The use of a black, white, and red color scheme throughout the issue enhances the storytelling, with red effectively drawing attention to key narrative and visual elements. While the restricted palette occasionally leads to a more subdued experience, overall, this issue provides some of the best Darth Vader content in recent Star Wars comics, making it just as engaging as the premiere installment.


Among the various High Republic comics available, the flagship series consistently features the most compelling characters. The comic knows how to end at the right time, leaving readers satisfied yet longing for more.


Storm #1 pays homage to the X-Men of the 1980s, embracing the melodrama that defined that era. Writer Ann Nocenti expertly weaves interpersonal conflicts into the story, with Rogue striving to prove herself and Storm finding her footing as the team’s leader. The issue captures the feel of a classic X-Men team book rather than a solo series, featuring appearances by other X-Men members. Nocenti skillfully delves into the characters’ foundational cores, presenting their raw essence upon which their modern nuances were built. Sid Kotian’s visual depictions, particularly of Rogue and Kitty, perfectly complement Nocenti’s tone. Storm #1 will likely resonate with readers who have an affinity for ’80s X-Men, delivering a story that captures the essence of that era and executes it well, providing a refreshing departure from the current Krakoa era focus.


As this Thor run approaches its conclusion, the once fresh ideas have long disappeared, leaving the series to stumble towards the finish line. The inclusion of Thanos, Doctor Doom, Loki, and Hela feels unnecessary and appears to be a desperate attempt to grab readers’ attention by featuring popular characters on the covers. It’s a disappointing and lackluster ending to a tumultuous run.


Warlock: Rebirth, with its focus on Warlock and the High Evolutionary, seems to serve primarily as a promotional tool for Guardians of the Galaxy Vol. 3. While the second issue is more engaging than the first, it still lacks the spark of creativity needed to truly captivate readers.


The X-Cellent demands readers who are willing to fully embrace dark humor. If you’re prepared to witness the success of the most despicable person imaginable through cruelty, then The X-Cellent #3 is surprisingly funny. The issue revolves around Zeitgeist’s team and even includes metatextual commentary on his takeover of the series’ story and title. It’s a constant onslaught of egotism and malice, with occasional broad doxxing commentary that doesn’t quite hit the mark. However, the shocking and memorable moments driven by Zeitgeist’s inexplicable charisma are portrayed in a terrifying fashion, beautifully rendered in Allred’s excellent pop style that suits this material perfectly. The X-Cellent targets those with a distinct appreciation for irony and twisted humor, consistently delivering punchlines in that darkly comedic zone.


First and foremost, I must applaud the stellar cover of 007: For King and Country #2. This issue is packed with drama as James Bond and Gwendolyn Gann find themselves on the run from their former allies. It’s thrilling to see Bond, outnumbered and cornered, fighting tooth and nail to stay ahead of his pursuers. The theme of “Who can you trust?” permeates the story, with every 00 agent setting their sights on Bond and Gann. It’s an engaging and action-packed installment.


All Eight Eyes #2 may not stand out as a standalone issue, but it effectively sets the stage for future developments. The comic delves deeper into the concept of giant spiders as an allegory for economic inequality. It introduces a new character to join the team and utilizes the early 2000s New York City setting in a meaningful way beyond justifying the absence of camera-equipped cellphones. My only criticism is that Vinny and Reynolds seem woefully unprepared to fight these creatures, yet the issue fails to acknowledge their lack of readiness.


Blue Book #4 finally deviates from the well-known Barney and Betty Hill incident, presenting a lead story that delves into Betty’s repressed memories during her time on the UFO. The comic offers a unique and detailed conversation, providing more depth than a simple online search can offer. This makes it the most intriguing installment of the miniseries so far. However, the overall narrative still lacks stakes and a stronger driving force, preventing it from reaching its full potential.


Dynamite’s latest take on the beloved character, Darkwing Duck, once again captures the essence of the original animated series, both in its strength and weakness. Deibert and Lauro successfully recapture the aesthetic of the show, appealing to die-hard Darkwing fans. In this issue, Drake Mallard returns to his crime-fighting career, facing numerous threats in St. Canard. Deibert showcases a deep understanding of the characters and the series’ setting, making it a must-read for fans of Disney Afternoons. However, if you weren’t originally a fan, your mileage may vary.


The creative team behind The Expanse: Dragon Tooth demonstrates a profound understanding of the source material, resulting in an issue that is surprisingly engaging despite being filled with tense negotiations and subtle dialogue exchanges. Writer Andy Diggle masterfully captures the unique dialects of James S.A. Corey’s sci-fi universe, and the distinct voices of the Rocinante’s crew shine through. Fans of the show will find plenty to enjoy as new conspiracies and shifting allegiances are laid out. However, at this early stage, the issue lacks the excitement typically associated with comic books, predominantly featuring groups conversing in boardrooms. While the charming likenesses and well-defined locales enhance the experience, the issue may not be the most thrilling read, despite being part of one of the 21st century’s best sci-fi sagas.


“Dreary” is the most fitting word to describe Neighbors #3. This issue delves into the backstory of Oliver and Janet, highlighting their initial encounter through infidelity and their subsequent downward spiral. The narrative culminates in one of them falling victim to the haunting presence in the small town, further adding to the gloomy atmosphere. The issue takes an unsettling turn with the introduction of a child wearing a torture device. While it’s anticipated that the plot will progress in the next issue, the pacing in this installment leaves much to be desired.


In Rick and Morty #5, the latest adventure of the iconic duo maintains the expected gonzo energy that fans have come to love. The issue delivers a plethora of humor, utilizing the medium of comics to its advantage, including a delightful opening gag and numerous cosmic torment moments. While this installment feels like a stepping stone in the larger narrative arc, it remains worthwhile for those following the ongoing series.


The true villain in Vanish remains elusive, adding to the deliberate mystique of the story. However, Vanish #7 takes the series to another level with its major revelations. Writer Donny Cates skillfully raises the importance of the supporting cast, particularly Elyn and Dustin, allowing readers to form a deeper bond with these characters. The creative team, including Ryan Stegman, V Ken Marion, Sonia Oback, and John J. Hill, delivers exceptional artwork that combines heartfelt moments with tense creepiness and visceral brutality. As the series sheds its ambiguity, it gains momentum, and issue #7 stands out as one of the best in the series.


The latest arc of Time Before Time has been building up in a satisfying manner over the past few issues. However, the 23rd installment brings a somewhat abrupt halt to the storyline. While the conclusion may not align with expectations, it doesn’t diminish the quality of the issue. Despite minor complaints, Time Before Time continues to engage readers and generates excitement for its future developments.


What’s the Furthest Place From Here? #13 focuses on Alabaman and Lafayette as they navigate their roles as prisoners, highlighting the resilience of the human body and mind in the face of impossible odds. Although the issue ends on a sour and depressing note, it remains a compelling read throughout. Readers will find themselves rooting for Alabama and Lafayette, hoping for their eventual freedom.


In a world where stories often continue indefinitely, writer Justin Jordan and artist Brahm Revel deserve credit for recognizing the perfect time to bring their tale to a close. Harrower has been a remarkable journey from start to finish, and its concluding issue not only sticks the landing but also acknowledges that this is the definitive end. This horror comic will undoubtedly leave a lasting impression on fans, and its timeless qualities make it an easy recommendation for readers for years to come.

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