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NOVEMBER 22 Comic Reviews

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.


This comic presents an intriguing beginning, with some elements reminiscent of Superman’s Warworld story. Despite some familiar tropes in Aaron’s storytelling style and instances where style seems to take precedence over substance, this issue stands out in the current Batman narrative landscape. It’s a fun and engaging read with potential for growth. The artwork is particularly noteworthy, adding a unique and compelling visual dimension to the story. While there are some similarities to familiar narratives, its distinct approach sets it apart, offering a fresh take on the Batman saga.


Mark Waid, known for his work on Kingdom Come, brings his expertise to this arc, enhancing the grandeur and depth of the story. This issue continues the tradition of bold and expansive storytelling in the World’s Finest series. The narrative includes unexpected plot twists, particularly regarding the origins of Mangog, adding layers to the storyline. Dan Mora’s artwork is a standout, demanding attention with its vivid and dynamic style. This issue is a superb example of superhero storytelling, appealing to both long-time fans and newcomers. It revisits the dark future of Kingdom Come while introducing new elements that keep the story fresh and engaging.


Post “Gotham War,” this issue sets Catwoman on a promising journey exploring her “nine lives.” The narrative strikes a balance between realism and the grandeur typical of superhero comics. Tini Howard’s script, taking Catwoman out of Gotham City, brings a refreshing change to the series. Stefano Raffaele’s art is mostly well-executed, particularly in action sequences, though there’s a noticeable emphasis on characters’ physicality. The “Nine Lives” arc shows promise, and there’s hope that it will continue to improve and delve deeper into Selina’s character and adventures.


In this issue, Judy Garrick, also known as The Boom, takes center stage, bringing a sense of wonder and excitement to the modern era. Her character adds a vibrant and fresh element to the story, providing much of the issue’s enjoyment. Jay Garrick, conversely, struggles with his overprotectiveness, leading to humorous situations where his emotions are displayed at super speed. The threat posed by “Ro-Bear” is somewhat confusing and lacks the impact expected from a formidable antagonist. However, the comic successfully blends silver age sensibilities with contemporary storytelling techniques. While it continues to build the overarching mystery involving the Garrick family, the issue falls slightly short in advancing the narrative set up in the series’ premiere. The comic strikes a balance between nostalgia and modern narrative elements but could benefit from a more cohesive and impactful plot progression.


This issue lives up to its wild premise, featuring a clash of iconic figures. Artist Christian Duce and colorist Luis Guerrero excel in portraying the immense scale of the battles, making characters like Godzilla and Camazotz truly imposing. Camazotz’s depiction is particularly notable for its overwhelming presence, dwarfing the Bat-family. Writer Brian Buccellato skillfully uses this size disparity to highlight the strengths and resilience of Batman and his team. The interaction between these characters is a highlight, showcasing the unique dynamics and strengths of the DC heroes. The Superman vs. Godzilla confrontation is also a standout, delivering on the promise of an epic showdown. The series promises even more excitement with the impending involvement of Kong. Its over-the-top, bombastic nature makes it an enjoyable read, appealing to fans of both the DC universe and these legendary monsters. The comic is a celebration of scale and spectacle, promising further thrilling encounters in future issues.


Seven issues into its run, “Justice Society of America” is still heavily focused on introducing new characters and forming its team. However, the pacing in this issue is notably slow, hindering the narrative’s momentum. Many characters appear briefly, contributing little to the overall plot before disappearing, leaving their roles and significance underdeveloped. The inclusion of a short interrogation scene with Jean Loring, the former host of Eclipso, is an example of this issue’s ineffective use of characters and DC lore. The excessive use of splash pages, some of which are underwhelming in their execution (such as Icicle in a jail cell), suggests a storyline being stretched thin despite a multitude of characters. The comic struggles to establish a clear direction or focus on central characters, making it challenging for readers to stay invested in the story. The narrative’s lack of clarity and the dilution of impactful moments due to pacing issues detract from the series’ potential to engage and captivate its audience.


Stephen Byrne’s artwork in this issue is a standout, immediately capturing attention and suggesting that he is exceptionally well-suited for Nightwing stories. His visual style adds a dynamic and engaging dimension to the narrative. On the writing front, Tom Taylor’s script is notably intense, putting Dick Grayson through a relentless series of challenges. Taylor’s approach might seem almost sadistic in its unyielding pressure on the character, but it’s this very aspect that makes the storytelling so compelling. The way Taylor handles Nightwing is a testament to his skill in crafting engaging and emotionally resonant superhero narratives. The issue is a thrilling experience, showcasing both Byrne’s artistic talent and Taylor’s narrative prowess, making it a memorable addition to the Nightwing saga.


This issue is a testament to the ongoing renaissance in Superman storytelling. Joshua Williamson’s writing is masterful, weaving new storylines with precision and depth. He skillfully pulls together various narrative strands, revealing new aspects of the ongoing story while setting the stage for future developments. The Chained’s backstory is particularly notable for bringing together disparate elements in a coherent and impactful way, enhancing the main narrative without overshadowing it. The art team, including Gleb Melnikov, Norm Rapmund, David Baldeon, Jamal Campbell, Alejandro Sanchez, and Dave Sharpe, delivers a collaborative effort that maintains a seamless and immersive reading experience, despite the diversity in styles. The comic skillfully balances multiple plot threads — The Chained, Lex Luthor’s history, Pharm and Graft’s backstory and plans, and Superman’s current situation — creating a rich and complex narrative. This issue not only excels in its storytelling but also promises exciting developments for Superman’s character and his world.


In this issue, Tom Taylor demonstrates his adeptness at handling dual storylines, seamlessly intertwining two timelines in a way that is both coherent and engaging. While the issue marks the end of the first arc, it leaves a sense of incompletion, suggesting that much is yet to be unveiled. This narrative choice is intriguing, as it sets up the stage for future developments in the series. The pacing is fast, keeping the readers on the edge of their seats as the story progresses. Taylor’s scripting shows a keen understanding of how to position characters and plot points for maximum impact in forthcoming issues. Even though some aspects feel unresolved, this approach keeps the readers invested and curious about what’s to come. Titans #5 is a strong example of Taylor’s narrative skill, particularly in constructing complex, multi-layered story arcs.


Tom King’s run on Wonder Woman, particularly in issue #3, is facing criticism for various reasons. The comic is described as a disconcerting mix of dullness, confusion, and offensive content. A significant point of contention is the portrayal of mental health issues, especially PTSD and suicide among soldiers, which is perceived as both cheap and insensitive. The characterization of Wonder Woman in this issue is another major issue, as she is depicted as naive and inept, straying from her traditional portrayal of strength and wisdom. The use of the Lasso of Lies by the Sovereign to drive a soldier to suicide is seen as a gratuitous plot device aimed more at shock value than meaningful storytelling. The narrative is also criticized for what is perceived as thinly veiled misogyny, further detracting from the story’s quality. Additionally, the inclusion of a random pregnancy plotline, seemingly for the sake of adding stakes, and the atypically disproportionate art from Sampere contribute to an overall sense of distortion and discomfort in the issue. The comic is thus described as not only uncomfortable but also disrespectful, lacking real narrative value.


This issue wraps up Rek-Rap’s adventures in Limbo, setting the stage for the upcoming “Gang War.” The comic is praised for its entertaining, fast-paced adventure through Limbo, offering a light-hearted respite before the series transitions into more serious and crossover-heavy storylines. Peter Parker and Rek-Rap’s escape from Limbo is filled with humorous moments and clever gags, including the submission of Rek-Rap’s demonic nemeses and a series of comedic demonic threats. The resolution of who is behind Re-Po’s mask is satisfying and adds a dark twist to the story. While the final pages, which set up “Gang War,” might not add much to this particular issue, the overall narrative is seen as enjoyable and memorable. Rek-Rap’s impact on the Marvel Comics universe is noted as particularly significant.


“Avengers Inc.” stands out due to its unusual premise, which becomes one of its strengths. The comic features Janet Van Dyne and “Victor Shade” in the role of superhero detectives, a concept that captivates readers. The series excels at constructing mysteries that are resolved within a single issue, providing a sense of completeness and value for readers. The comic is highly praised for its detective elements, which are somewhat rare in the superhero genre. The narrative is engaging both for Avengers fans and general Marvel enthusiasts, offering a fresh take on superhero storytelling. The combination of intriguing detective work and the unique character dynamics between Janet Van Dyne and Victor Shade makes “Avengers Inc.” a noteworthy and worthwhile read in the realm of Marvel comics.


Alyssa Wong’s new series for Captain Marvel introduces significant changes, particularly in the supporting cast, which is always a gamble. However, this risk is yielding positive results. The dynamic between Carol Danvers and Yuna Yang is especially noteworthy. Yang’s role in pointing out Carol’s habits and tendencies adds a layer of accountability and depth to Carol’s character, reminiscent of her relationships with other key characters. The issue also introduces changes in Carol’s rogues gallery, with the introduction of Omen. While Omen’s physical presence is limited in this issue, her influence is palpable and ominous. Omen’s unique power set poses a novel and asymmetrical challenge to Carol, setting her apart from previous adversaries. Jan Bazaldua’s art, complemented by Bryan Valenza’s coloring, vividly brings this new threat to life. The comic also distinguishes itself within the Captain Marvel mythos through the ‘swapping places’ narrative, differentiating it from other stories in The Marvels series. The clear direction and fresh take on the character and her world suggest that readers are in for an exciting and transformative journey in this series.


This issue ventures into high-concept territory by exploring Carnage’s godhood and its implications. The creative team of Grønbekk, Pérez, and Arciniega ambitiously attempts to recast Carnage as a modern Corinthian figure, a daring and potentially compelling narrative direction. However, the issue seems to struggle with balancing its thematic ambitions with the sensational elements of Carnage’s character, particularly his violent tendencies. While the comic touches on profound themes, it risks getting overshadowed by its focus on bloodlust. The issue stands on the brink of delving into deeper, more meaningful storytelling but seems hesitant to fully commit to its thematic potential. Carnage #1 teases intriguing possibilities but needs to find a way to effectively integrate its high concepts with the visceral aspects of its titular character.


This issue takes readers back to an earlier era of Daredevil, specifically when Matt Murdock donned the black armor costume, which was more fitting for his street-level crimefighting activities. The story revisits Matt Murdock living under the alias of Jack Batlin, a tumultuous period in his life where despite personal upheavals, he continues to protect Hell’s Kitchen. This look back at Daredevil’s past is not just a nostalgic trip; it also offers insights into the evolution of his character and his enduring commitment to his neighborhood. The comic captures a significant phase in Daredevil’s history, highlighting the challenges and complexities he faced both as a superhero and as Matt Murdock. For readers familiar with this era, it’s a return to a beloved period in Daredevil’s story, and for new readers, it’s an opportunity to explore a different facet of the character’s rich history.


Juan Jose Ryp steps in as the artist for this issue, bringing his distinctive style that aligns well with the story’s needs. The comic beautifully captures the paradoxical essence of Krakoa in its fallen state, highlighting both its natural wonder and the gruesome struggles of mutants in the White Hot Room. Ryp’s detailed and intricate linework adeptly portrays both the beauty and the horror within the narrative, although the coloring occasionally adds a softening effect to the visuals. Kieron Gillen’s storytelling, taking a Biblical direction in the “Fall of X,” continues to be a standout element, brilliantly weaving theological themes into the X-Men universe. The issue explores complex character dynamics, particularly with Exodus and Hope confronting internal and external devils, and Professor X making a morally ambiguous pact to serve a greater good. Hope and Jean Grey assume roles with biblical undertones — Hope as an avenging angel and Jean as an amnesiac angel, adding layers to their characters. This issue combines these elements into a compelling and ‘devilishly’ enjoyable narrative.


The current Incredible Hulk series by Johnson and Klein is noted for its intense and visceral storytelling, which is particularly evident in this issue. A memorable scene depicting Bruce Banner’s transformation into the Hulk is highlighted for its lasting impact. The addition of Ghost Rider to the narrative further elevates the comic, introducing new dynamics and enriching the storyline. The series stands out for its raw and edgy approach, setting it apart from typical Marvel comics and making it a remarkable read. The combination of intense visuals and compelling storytelling makes this iteration of the Incredible Hulk a standout in Marvel’s lineup, appealing to fans looking for a more gritty and intense superhero experience.


Gerry Duggan continues his strategic narrative in this issue, likening it to a chess game steadily progressing towards an Orchis checkmate. Unlike previous issues, this one offers readers a glimpse into Tony Stark’s plans, adding a new layer of transparency to his character. Guest artist Ig Guara contributes stellar artwork, enhancing the storytelling with his distinct style. This issue is praised as another solid entry in a series of successful issues, maintaining the high quality and intrigue that has characterized Duggan’s run. The comic skillfully balances plot development and character depth, maintaining suspense while providing just enough insight to keep readers engaged and curious about Stark’s ultimate strategy. This blend of strategic narrative and artistic prowess makes “The Invincible Iron Man” a compelling read in the Iron Man saga.


This comic attempts to insert a new story within the classic 1980s “Secret Wars” series, an ambitious endeavor that yields mixed results. The narrative is designed to fit between two panels of the original “Secret Wars #12,” but it becomes clear that the original series is more renowned for its legacy and influence on crossover events rather than its standalone merits. The portrayal of Spider-Man and other Marvel characters remains faithful to their 1984 versions, but this adherence also translates to a lack of excitement and novelty. Peter Parker’s character, in particular, suffers from a lack of clear motivation and is caught in a whirlwind of unexplained settings and constant one-liners that fail to enhance his appeal or the story’s intrigue. The comic is executed reliably in terms of matching the tone and style of the era, yet it lacks fresh charm or innovative twists, appealing primarily to a niche audience of devoted Secret Wars enthusiasts. The effort to bridge gaps in a classic story is commendable, but the execution falls short of reinvigorating or adding significant depth to the original narrative.


The finale of “Moon Knight: City of the Dead” is executed with emotional depth and thrilling action, creating a memorable conclusion to Marc Spector’s journey. The creative team, comprising writer David Pepose, artist Marcelo Ferreira, inker Jay Leisten, colorist Rachelle Rosenberg, and letterer Cory Petit, delivers a visually and narratively compelling issue. The action scenes stand out, particularly when Moon Knight unites his various personas in battle, resonating with fans familiar with his internal dynamics. At the core of the story are two significant relationships that deeply affect Marc, marked by themes of guilt, regret, and introspection. These personal moments are the highlights of the issue, providing emotional resonance and closure. The implications of these events suggest significant developments for Moon Knight’s character going forward, adding weight and importance to the series. “City of the Dead” maintains its momentum from start to finish, culminating in a finale that successfully balances action and character development.

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This issue of “The Sensational She-Hulk” takes an unconventional route by shifting focus from She-Hulk to two narratives involving male characters. However, this move is executed with a level of cleverness and humor that aligns with the comic’s overall tone. The main story by Rainbow Rowell and Andres Genolet features a reunion between Jen (She-Hulk) and Bruce Banner, leading to dynamic fight scenes and witty dialogue that showcase She-Hulk’s charismatic personality. The backup story reintroduces Wyatt Wingfoot, with work from Bobby Wilson and David Cutler, offering a snappy and flirtatious narrative that complements the main story. Both stories manage to maintain the comic’s playful and engaging style, turning what could have been a controversial narrative choice into an entertaining and satisfying read. The issue succeeds in providing engaging storytelling that leaves fans eager for more, while staying true to She-Hulk’s character and the comic’s lighthearted nature.


As the penultimate issue in the crossover with the Dark Droids event, “Star Wars: Bounty Hunters #40” continues the series’ trend of progressing the narrative without much substantial development. The story revolves around Valance, who is corrupted by the scourge, leading to a split among the bounty hunters between those trying to save him and those willing to betray him. This issue intertwines with broader Star Wars elements, including the Galactic Empire and Darth Vader, but seems to primarily focus on setting up the pieces for the conclusion of the Dark Droids event. In comparison to previous storylines in the series, which often prioritized style over substance, this issue attempts to balance both but ends up slightly lacking in delivery. The story isn’t necessarily disappointing; it’s more about positioning characters and plot points for the finale rather than offering a fulfilling narrative on its own. Fans deeply invested in the series may find the building tension appealing, despite the issue not being entirely satisfying. It maintains enough interest to keep readers looking forward to the final payoff of the crossover event.


In the lead-up to its finale and the conclusion of the “Fall of X,” “Uncanny Spider-Man #4” rushes to set the stage, resulting in a somewhat disorganized narrative. The subplot involving Mystique, which culminates in an advertisement for another comic, detracts from the main storyline focused on Nightcrawler and Silver Sable’s problematic romance. The issue opens with a sequence that raises questions about the current dynamics between Orchis and Spider-Man, without providing clear answers. The relationship between Nightcrawler and Silver Sable, while central to the story, is stretched out with little additional depth or context, making it feel like a placeholder until the series’ conclusion. The upcoming “X-Men Blue: Origins” might offer some clarity or enhancement to “Uncanny Spider-Man,” but the current state of the narrative seems tangled. The issue reflects a struggle to manage multiple storylines effectively, leaving readers to hope for a more coherent and impactful finale.


This issue features a unique team-up between Wolverine and an exiled Black Panther. Seeing Wolverine in a detective role adds an interesting twist to his character, and the issue also touches on recent developments in Black Panther’s storyline. However, the comic highlights the limited common ground between Wolverine and Black Panther, apart from their mutual connection with Storm. The absence of Storm in this crossover feels like a missed opportunity to deepen the narrative and character interactions. While this issue is considered less impactful than recent team-ups with Hulk and Captain America, it still offers an enjoyable read. The pairing of Wolverine and Black Panther brings a fresh dynamic to the series, even if it doesn’t fully explore the potential depth of their shared history and connections.


Jeff Lemire’s “Black Hammer: The End” is a mini-series that ironically seems to extend beyond its expected conclusion. The issue struggles with an expanding web of mysteries, which, while characteristic of Lemire’s style, seems to compromise the narrative’s coherence and focus. The plot appears to lack direction, with elements and characters existing in a state of uncertainty, particularly regarding the handling of the Anti-God character. This creates a sense of plot stagnation, as if the universe itself is unsure of how to progress. While the intricate web of mysteries is a hallmark of Lemire’s storytelling, in this instance, it detracts from creating a tightly woven, clear narrative. The comic seems to grapple with its own identity and direction, leaving readers with more questions than answers and a sense of an unresolved, ongoing saga despite its title suggesting a conclusion.


Jeff Lemire and Andrea Sorrentino’s “The Bone Orchard Mythos: Tenement” issue 6 stands out for its experimental storytelling approach. This issue represents a significant shift from the earlier parts of the series, which were criticized for lacking character depth and a compelling narrative. In contrast, this issue brings more personality and energy to the characters, rejuvenating the series. Sorrentino’s art, enriched by Dave Stewart’s colors, plays a crucial role in enhancing the storytelling. His distinctive splash pages and innovative paneling contribute to the narrative rather than merely showcasing artistic style. This issue marks a turning point in the series, transitioning from a somewhat flat narrative to a more engaging and character-driven story, reflecting a successful blend of creative storytelling and artistic expression.


This issue of “Conan the Barbarian” by Jim Zub begins abruptly, quickly moving away from the conclusion of the previous arc. However, as the story progresses, Zub finds a more effective pacing, leading to a more engaging narrative than the initial arc. The incorporation of a heist element adds a sense of urgency and excitement, accelerating the pace of the story. While this issue deviates from the classic Conan style established in the first four issues, it offers a more entertaining and dynamic experience. Zub’s approach in this issue demonstrates his ability to balance the traditional elements of Conan’s world with fresh, fast-paced storytelling, resulting in a comic that is both true to the character and appealing in its own right.


“Darkling #1” introduces readers to Darla Lang, a character who may be new to many. The one-shot effectively delivers Darla’s origin story in a concise and accessible manner, allowing readers to quickly grasp the essence of her character and her supernatural abilities. Darla Lang is portrayed as a complex and misunderstood character, yet her struggles and attributes make her relatable. The story successfully showcases her powers and sets the stage for future adventures, sparking interest in her character development and potential storylines. The comic balances the exposition of Darla’s backstory with action, providing a comprehensive introduction that piques curiosity about her future endeavors. The issue is a promising start for a character with much to explore, combining elements of supernatural intrigue with a character-driven narrative.


Mike Mignola’s “Giant Robot Hellboy” is a celebration of comic storytelling, blending classic monster movie themes with 70s espionage action. This issue stands out for its creative integration into the broader Hellboy franchise while introducing fresh elements. Artist Duncan Fegredo shines in this series, showcasing his exceptional talent as one of the top Hellboy artists. His work in this issue adds a new dimension to his already impressive portfolio, with meticulous attention to detail and a flair for bringing this unique story to life. The comic is a testament to the versatility and creativity of the Hellboy universe, successfully merging different genres into a cohesive and captivating narrative. It’s a standout example of how comics can pay homage to classic themes while forging new paths, and it’s a must-read for fans of the franchise and newcomers alike.


“The Holy Roller #1” presents a conceptually interesting story centered around Levi Cohen, who returns to his hometown after 20 years. The narrative explores Levi’s past as a bowler, his Jewish heritage, and the challenges he faces in a racially intolerant small town. The presence of an old bully adds another layer to the plot. However, the execution of the story falters, particularly in pacing. The beginning of the book is slow and cluttered, which detracts from the story’s engagement. Attempts at humor and jokes in the comic are criticized for being dated, gimmicky, and lackluster. The setup for Levi’s character arc is seen as over-the-top and could benefit from a more nuanced approach, without relying on clichés and forced humor. Despite these shortcomings, the series holds potential for exploring deeper themes such as legacy, heritage, and the impact of cultural decline in America. If future issues can overcome the initial execution flaws and delve into these themes more effectively, “The Holy Roller” has the potential to evolve into a compelling narrative.

KAPTARA: UNIVERSAL TRUTHS #4 - "The Ballad of Skullthor":

This issue marks a poignant exploration of the character Skullthor, blending elements of humor with heartfelt storytelling. The narrative follows Skullthor from the destruction of his vessel to his crash landing on Earth, reminiscent of the themes in Carpenter’s “Starman”, including the challenges of cross-cultural and linguistic romance. The setting of a small-town diner and interactions with everyday humans lend a grounding reality to the otherwise fantastical nature of “Kaptara.” This grounding is crucial in bringing out the sincerity and unexpected sweetness in Skullthor’s journey of self-discovery. The focus shifts from the absurdity of the situation to a genuine emotional connection, making the ensuing action more meaningful. The issue is a reminder that the humor in “Kaptara: Universal Truths” is effective because it is rooted in well-developed, multi-dimensional characters. Skullthor’s story in this issue exemplifies the series’ ability to balance silliness with depth, creating an engaging and emotionally resonant narrative.


The third issue of “Kill Your Darlings” dives into expository storytelling, shedding light on the imaginary world of Rosewood following the traumatic events of the first issue. It explores the gradual decay of this once-vibrant world, linked to the mysterious cause of Rose’s mother’s death. The imagery of rainbow-colored veins draining the life from the world, leaving behind desolation and gray, is particularly striking and chilling. However, the connections between this imaginary decay, the real-world events, and the unsettling scenes that open each issue remain somewhat enigmatic. This approach creates a sense of mystery and suspense, drawing readers into the unfolding narrative while leaving key questions unanswered. The comic succeeds in visually depicting the unsettling transformation of Rose’s world, but the full implications and underlying causes of these changes are yet to be fully explored, maintaining a sense of intrigue in the storyline.


Writer Melissa Flores continues the tense narrative in “Mighty Morphin Power Rangers #114,” aptly titled “Darkest Hour.” The story depicts the Power Rangers increasingly cornered by relentless threats, including the corrupting influence of the Death Ranger and Dark Specter’s dominance over SafeHaven. Despite the mounting pressure, the issue intersperses moments of hope, such as the introduction of HyperForce and Drakkon’s new Rangers. The artwork by Simona Di Gianfelice, Raul Angelo, and Jose Enrique Fernandez effectively conveys the intensity and desperation of the situation, culminating in a striking final page. The Rangers’ resilience in the face of overwhelming odds is a central theme, and the issue sets the stage for an anticipated comeback. The narrative successfully builds tension and anticipation, leaving readers eager to see how the Rangers will overcome these formidable challenges.


Christopher Golden and Tim Lebbon have crafted a standout horror narrative in “Mortal Terror.” This comic is a must-read for fans of classic horror, akin to the impact “I Am Legend” had on vampire lore. The story carves out a unique niche within its subgenre, offering a fresh and compelling perspective. Artist Peter Bergting, with colorist Chris O’Halloran, creates a richly detailed world from the outset, cleverly revealing key aspects of the story’s setting and mechanics. Bergting’s artwork is notable for its atmospheric quality, reminiscent of his collaborations with Mike Mignola. The comic skillfully weaves together visual and narrative elements to immerse readers in a chilling and well-crafted horror tale, promising to be a significant addition to the genre.


The collaboration between Becky Cloonan and Tula Lotay in “Somna” results in a strikingly successful series debut. Both artists are renowned for their impressive work, and their combined efforts in this new series from DSTLRY are no exception. The miniseries’ first issue features two distinct yet harmoniously blended artistic styles, creating an immersive and increasingly unsettling world. The narrative draws readers into a setting and mood that are both captivating and disquieting. “Somna” stands as a testament to the creative prowess of Cloonan and Lotay, showcasing their ability to craft a narrative that is both visually stunning and deeply engaging.


Martin Simmonds’ portrayal of Dracula in this issue is a breathtaking reimagining of the iconic character. The artwork captures the Count’s malevolent presence through visually stunning panels that leave a lasting impression. The dialogue between Van Helsing and other characters from Bram Stoker’s novel provides context, but the issue acknowledges the story’s familiarity, allowing Simmonds’ art to take center stage. The use of silent sequences to depict vampiric transformations and attacks showcases the horror and grandeur of Dracula. The collage-like layouts and sharp linework create a captivating visual experience, drawing readers into the dark and menacing atmosphere of London under Dracula’s shadow. This issue offers a fresh and visually innovative take on a well-known tale, making it a standout in the Universal Monsters series.


In “Void Rivals #6,” Robert Kirkman and Lorenzo De Felici conclude their initial arc, bringing characters Darak and Solila together in a cooperative effort. The comic continues to expand the Energon Universe, doing so organically without overly relying on the Transformers aspect of the world. This approach allows for natural growth and development of the universe, setting the stage for a more impactful shared universe experience in the future. “Void Rivals” excels as a science fiction comic, offering a compelling narrative that seamlessly integrates into a larger, familiar universe. Kirkman and De Felici’s storytelling and artistic choices contribute to a cohesive and engaging sci-fi adventure, distinguishing the series within its genre.

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