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


The tale of “Joker Incorporated” goes on with the kind of frantic energy one would expect from its villains. Although the issue offers some captivating scenes, its impact may not be lasting. Ed Brisson’s writing is getting more adept at handling the diverse characters in the team, even as this chapter appears to be just a bridge in a broader narrative. The dynamic and fast-paced artwork by John Timms becomes particularly unnerving with the introduction of new Jokers. This issue appears to be a build-up towards a grander scheme in Batman Incorporated. Nonetheless, the storyline has piqued my curiosity enough to see where it leads.


Comics have intermittently been a progressive platform and an avenue for diversity. DC Pride: Through the Years #1 encapsulates this perfectly through three past stories from DC’s archive and a fresh narrative. The first story comes from Flash #53, where Wally’s awkward response to his friend Pied Piper’s coming out as gay provides an authentic portrayal of such a scenario during its era. Then, we witness the beginning of Kate Kane’s journey in Detective Comics #854, set in the “Don’t Ask, Don’t Tell” period. The more recent Supergirl #19 introduces DC’s first non-binary character, Lee Serrano. However, “Past Prologue,” the prequel to the upcoming Alan Scott solo series, steals the show. The tale, penned by Tim Sheridan and art by Cian Tormey, is an emotive representation of first love set in Alan’s pre-Green Lantern World War II days. DC’s approach to its Pride issues is laudable, and this one is exceptional indeed.


Under the expert writing of Jeremy Adams, Hal Jordan’s affability is starting to overshadow his power ring. Jordan’s appealing personality is shown with a newfound charm and charisma. Adams goes beyond simply portraying him as likeable by delving into the effects of his charisma on others – a rarely explored aspect. Kilowog’s character further accentuates this. The more Jordan becomes self-aware, the more engaging he turns out to be. When the action begins, artist Xermanico, colorist Romulo Fajardo Jr., and letterer Dave Sharpe rise to the occasion, embodying the inventiveness and distinctiveness of the Lanterns. In the parallel story, “Rise of the Revenant Queen” part two, Phillip Kennedy Johnson examines John Stewart from two distinct perspectives, enriching his character. Stewart’s dialogues with his mother are pure gems, but the narrative really takes off during the space sequences. Here, Montos, Adriano Lucas, and Dave Sharpe bring to life breathtaking, color-drenched space battles. The larger cosmic narrative and the more personal stories on Earth create an exciting balance. Green Lantern is already showing great promise, and it looks set to continue impressing in the upcoming issues.


This narrative is certainly peculiar, but it begins to find a bit more coherence in this issue as Harley wreaks her usual havoc and starts drawing connections about how Starro’s army is gaining ground. Even though there are some issues with the execution of the high concept, the frenzied nature of the storyline has its own appeal. There’s something to be said for the sheer enjoyment of a chaotic journey with high stakes.


With all the characters reintroduced, the second part of Nightmare Country swiftly advances its plotlines, hinting at worse things to come. Much of The Glass House #3 is focused on delving into the motives, relationships, and power hierarchies that fuel this complex drama. Each character has its unique drive and essence, lending a subtle tension to the dialogues throughout the issue. The skillful illustrations of occult motifs by artist Lisandro Estherren amplify this feeling, whether it’s a glimpse into past demons or reminders of each entity’s characteristics. The mystic qualities of realms like Dream and Hell permeate these pages, making the dialogue-driven plot engaging. It’s evident that The Glass House is setting up for a disastrous climax, making the journey towards it all the more captivating.


One of the most commendable aspects of the “Lazarus Planet” event has been the expansion of DC Comics’ universe with fresh characters. The “We Are Legends” initiative introduces Spirit World, a limited series that explores the underworld from Asian mythology. The presence of familiar supporting characters like John Constantine and Batgirl (Cassandra Cain) infuses the magical journey with a lot of twists and surprises. Only two issues in, but there is already much to appreciate and engage readers.


The introduction of Anansi, another fan-favorite character from the Static Shock animated series, in DC Comics takes place in Static Team-Up. Penned by Evan Narcisse and illustrated by Chris Stewart III, the issue presents a pleasing, albeit light, collaboration that effectively integrates Anansi into the DC universe, complete with a set of newly imagined powers. Although Anansi and Static’s association seems a bit hastened, the comic astutely moves past the preliminaries to plunge directly into the action. Stewart’s artwork is more grounded than Nikolas Draper-Ivey’s, but it suits the storyline well. A promising superhero comic that could potentially pave the way for further exploration of the Milestone universe. It would be interesting to see more of Anansi in future issues.


The overarching narrative of Superman: Lost begins to fall into place as Superman revisits the peculiar Earth-like planet he left recently, only to find his presence still needed. While this casts the previous issue as a possibly unnecessary sidestep, the new setting brims with possibilities. Superman is faced with a myriad of moral dilemmas surrounding freedom and redemption, all thinly disguised analogies to current political disputes. This enhances Superman’s attempt to balance competing interests and his readiness to put his own on the back burner. Even though the space dolphins may seem like an add-on, Superman’s ill-advised adventure allows for a moment of vulnerability that reinforces the notion that even an invulnerable entity can make sacrifices. It’s an intriguing portrayal of a foreigner in an alien world, constantly seeking truth and justice. The central concern of Superman: Lost will likely be whether he can uncover these and at what cost.


Conspiracy tales can be complex, demanding a substantial contextual understanding; by the conclusion of Waller Vs. Wildstorm #2, it’s evident that this miniseries is gearing up to be an engrossing conspiracy saga, with the necessary context laid out in the last few pages. A significant portion of the issue is spent on a dialogue between Amanda Waller and Jackson King, discussing their disparate worldviews as much as their involvement in various schemes. Waller espouses a hardline realpolitik necessitating atrocities to preserve control, whereas King upholds a more conventional superhero morality that clashes with the U.S. intelligence state. The conversation mirrors real-world controversies surrounding agencies like the C.I.A. and effectively integrates them into DC Comics’ fictional U.S. state agencies. Although the lengthy exchange takes up much of the narrative, it also highlights the human cost and long-term ramifications of these philosophies. Despite the stretched pacing of Waller Vs. Wildstorm, the conflict is too fascinating to overlook. With the stakes set and various parties drawn into the conflict, it’s hard to foresee where the story will lead next. However, the potential for an exploration of this unique clash within the framework proposed by Waller and King is enormous.


As Rosenberg, Kim, and Bandini return, this issue highlights both the strengths and weaknesses of the WildC.A.T.s run. It almost feels like it would have worked better as a comic about Grifter, the team’s resident wisecracker. A masked gunman’s exploits in an alternate reality are compelling, introducing alternate versions of heroes and villains, but trying to corral the team under one roof isn’t that interesting. This new series about Wildstorm’s biggest team has a lot to like, but there are also chinks in the armor when it comes to Grifter and his crew.


The Amazing Spider-Man finds its way after Marvel Comics’ most contrived controversy of 2023. Despite the fact that the issue has to address Ms. Marvel’s death, it focuses on the series’ central cast and how that event impacts their relationships and self-image. Ms. Marvel hardly appeared in the series, so Peter and Norman’s evolving relationship feels sincere. A sequence that delivers some laugh-out-loud humor, action, and a reminder of what Black Cat contributes to the series is also outstanding. As well as this iconic take on the villain, the issue is highlighted by the return of a Doctor Octopus who resembles his nefarious Silver Age self. After a long detour Amazing Spider-Man is back to what it does best and promises readers the best may still be yet to come.


What happens to a king when his realm is gone? This compelling question is tackled by author Eve L. Ewing in her thrilling fresh take on the Black Panther series at Marvel Comics. This innovative interpretation of the beloved character peels back layers, concentrating on the fundamental essence of T’Challa. The outcome, as seen in this week’s inaugural issue, offers a fascinating study of a character that’s been with readers for years, making him feel simultaneously fresh and comfortably familiar


The finale of the “Cold War” story arc is presented in Captain America: Cold War Omega #1, where Bucky unravels his intricate plot, revealing he was always in Captain America’s corner, albeit via a complicated and overly dramatic path. Like the Lanzing/Kelly Captain America novel, this arc seems to hasten towards a climax that lacks emotional satisfaction. Bucky’s apparent “betrayal” of Steve results in a superficial resolution as Steve asserts their relationship remains fractured, yet still follows Bucky’s scheme. The visuals by Carlos Mango are occasionally disjointed, with Dimension Z creatures appearing vague and indistinct, partly due to poor inking and coloration. This “event” stumbles across the finish line; hopefully, it can peacefully progress from here.


The thrilling saga of 50 issues has provided readers with an unprecedented insight into the essence of Carol Danvers. Captain Marvel #50 commemorates the evolution of Carol’s character and the impact she’s made during Kelly Thompson’s exceptional series. An integral part of this series is Carol’s charming supporting characters who join her in the climax. The heart-warming presence of Carol’s friends and allies brings this narrative full circle. While the demise of Binary casts a shadow, the comic balances the heavy theme with light-hearted exchanges and playful moments. The artwork by Javier Pina and David Lopez, coloring by Yen Nitro, and lettering by Clayton Cowles, significantly contribute to this balance. While the comic does deliver action-packed moments, it’s the intimate, insightful conversations that carry the most weight. Despite not ending as some might have hoped, it arguably enhances the impact of the preceding narrative. Captain Marvel #50 manages to be poignantly heavy yet humorously uplifting, marking an elegant end to what will likely be deemed a classic series.


Carnage was more appealing to me before the advent of the “Carnage Reigns” plot. The transition to a grand Marvel universe event has led to a decline in the focused, character-driven narrative that Carnage was known for. Issue #14, part 5 of “Carnage Reigns,” is disappointingly disorderly. I hold out hope that the conclusion of “Carnage Reigns” will allow Carnage to return to its roots, but my optimism is tinged with skepticism.


In the penultimate issue of Clobberin’ Time, The Thing and Doctor Doom join forces in an attempt to navigate through a multiverse void and confront the formidable Psychopomp. Skroce’s attention to seemingly minor details, such as what one would consume in a multiverse void, interjects an element of everyday humor in an otherwise fantastical setting, highlighting The Thing’s humble charm against Doctor Doom’s highborn demeanor. Although the issue might lack the previous ones’ thrilling onslaught of adversaries, there’s no shortage of action and the unveiling of Tuvah Tu’s role in the narrative creates a captivating scene. With the final clash all set up, Clobberin’ Time is all set to conclude with a resounding finale.


This week’s installment of Cosmic Ghost Rider culminates in a face-off that reveals an assembly of more celestial riders. With innumerable lives at stake, Cosmic Ghost Rider finds himself on a quest to return home following an unexpected journey.


The latest development in the Doctor Strange series takes an unexpected turn as Doctor Strange #4 emerges as a pivotal point in the narrative, without direct involvement from Doctor Strange or Clea. This issue centers around Wong and Pandora Peters, who delve into the mysterious demise of malevolent magic practitioners. This subplot runs concurrently and intertwines with the main storyline, culminating in the revelation of one of the Stranges as the prime suspect behind the deceased wizards. Following this revelation, the plot surges forward with an unstoppable momentum, suggesting a series of dramatic events to follow.


Extreme Venomverse #3 offers a complex exploration of the multiverse and the symbiote’s role within it. By navigating through various eras, from ancient times to the Wild West, the comic allows readers to witness both the beneficial and harmful aspects of Venom. With Carnage intensifying his war against Venom, the unfolding events promise to draw additional warriors to the cause, prompting fans to keep a watchful eye on their favorite multiverse characters.


Marvel’s Voices: Pride #1 (2023) represents Marvel’s effort to create an anthology that honors the LGBTQ+ community, but unfortunately, it mostly categorizes as a good-intentioned yet underwhelming attempt. The anthology, save for the visually impressive and coherent Wiccan and Hulkling story, appears to lack cohesion and intentionality, appearing more performative than substantial. It mostly centers on less-known or seldom-featured characters (including an entirely new character whose future presence is doubtful) and offers superficial representation when it involves more popular figures. The issue commences with a Gwenpool story in which she essentially communicates a “be proud to be different” message to readers. The stand-out elements of the issue are not the comic stories, but the interspersed prose pieces, which make for worthy reading. In total, it is disappointing that Marvel’s efforts didn’t reach their full potential.


Moon Knight #24 delivers an intriguing peek into the desires and aspirations of all characters except for Marc Spector. However, the comic still manages to disclose aspects of the Fist of Khonshu by the end. Author Jed MacKay masterfully develops Marc’s alternate personalities without stalling the narrative’s flow. In addition, Morpheus makes a compelling appearance within the issue, with a well-executed arc despite its condensed form. The artistic team, including Federico Sabbatini, Rachelle Rosenberg, and Cory Petit, skillfully adapt to the shifting environments and situations, transitioning seamlessly from a vibrant party scene to a gruesomely violent battlefield. The exceptional Mighty Mail-Man scene is certainly a highlight. Moon Knight #24 sets the stage for more extensive narratives in the future, making it yet another excellent addition to one of Marvel’s top-notch series.


The fourth issue of Rogue & Gambit persists with its traditional superhero series narrative. The comic’s villains even comment on the frequently recycled plot of the book. However, the relationship between Rogue and Gambit feels less vexing in this issue, as it starts unpacking layers of suppressed aggression and unresolved trauma causing their estrangement. Carlos Gomez’s artistic talent shines through, bestowing vitality and character to the heroes’ expressions, and imbuing the comic with energy that its worn-out premise lacks. Despite an improvement from previous issues, the comic does stumble in certain aspects, such as Gambit’s unexplained evasion from a hostile entrapment. Rogue & Gambit may appeal to hardcore fans of these characters, but it struggles to distinguish itself within its genre.


Shadow Clones arrives at a perfect moment, with Gwen Stacy’s fame at its peak due to the recent Spider-Man: Across the Spider-Verse release. Providing Gwen with her own “Clone Saga” is simply brilliant. Her newfound adversary has a legitimate reason to detest her, and the revelation of how Doctor Lyla Bennett executed her plan is truly impressive.


Readers will undoubtedly crave more of this delightful parody, despite the premise of the consistently entertaining Great British Bump Off seemingly reaching its limit. As the third and final challenge commences, the tension inside the tent escalates, and readers are presented with a multitude of potential hints to ponder. Contestants’ cake designs, inspired by their favorite films, add character to the cast and serve as the source of numerous fantastic jokes, with Speed and Under the Skin references causing the biggest laughter. There’s not a single page without a delightful jest embedded in it, and artist Max Sarin ensures each joke lands perfectly with some of the most expressive illustrations in contemporary comics. The amalgamation of comedy, mystery, and suspense in an ongoing murder attempt speaks volumes about the synchrony of the creative team. If issue #4 successfully resolves the captivating plot, The Great British Bump Off might well secure a sequel as one of 2023’s most humorous and endearing new comics.


Rebooting Spider-Man India right on the heels of the blockbuster Spider-Man: Across The Spider-Verse might seem ideal, yet the Pavitr Prabhakar presented here appears less dynamic and engaging than his on-screen counterpart. Developing an alternate Spider-Man requires a delicate balance between staying true to the original while introducing new elements. Characters such as Miles, Spider-Gwen, and Spider-Punk have struck this balance, but Pavitr relies excessively on the well-worn tropes associated with Peter Parker. The story does introduce interesting elements like Mysterio’s alternate version from Prabhakar’s universe and explores the relationships between Peter, Pavitr, and Miles. Yet, the series fails to harness the spark that made the cinematic Spider-Man: India a standout character in the sequel. Shukla and Malsuni, the creative minds behind this series, have the potential to recalibrate this new web-slinging journey, but it requires a more significant boost to leverage the Spider-Verse hype. (And hopefully, we’ll see Spider-Man India’s costume from Spider-Verse adapted to the comics.)


As Vader delves into understanding his relationship with the Force, or the absence thereof, he solicits the assistance of the unexpected ally, Doctor Aphra. The consequences of this could either give him unparalleled power or make him the target of a new menace. This issue of Star Wars: Darth Vader primarily serves as a bridge, linking the past narrative and setting up the upcoming “Dark Droids” event, while not offering much else. It’s still enjoyable to witness Vader and Aphra’s reunion, but this chapter primarily functions as the transition phase between two major arcs. This makes it an optimal entry point for new readers and a relatively entertaining, albeit less exciting, return for long-time followers of the series.


Haunt You To The End #1 places us in the early 22nd century, when climate change has drastically reshaped human society and Earth’s landscape. However, this dystopian setting mostly acts as a deadline and motivation for the characters to engage in ghost hunting. The storyline follows a conventional haunted house narrative with predictable characters, including the cynical lead and enigmatic occult patron, who offer minimal uniqueness. Artist Andrea Mutti’s art style complements the narrative’s mood well, distinguishing each character distinctly, despite occasional misalignments between dialogue and actions in the panels. Haunt You To The End debuts as an average ghost tale with a dash of sci-fi, likely to appease fans of the genre seeking a familiar read.


The newest episode of Venom: Lethal Protector II thrusts the Dr. Doom subplot into prominence, focusing on Doom’s mission to liberate his mother’s soul from Hell – a storyline pertinent to the timeline of this mini-series. Doom’s interactions with Venom offer Eddie an opportunity for self-examination, pondering his bond with the symbiote – an aspect later Venom comics delve into deeply. It’s captivating to witness this level of self-reflection set against the backdrop of the vibrant ’90s. The concluding visual captures the excessive flamboyance of the ’90s that Venom enthusiasts will unquestionably appreciate.


The initial frames treat the reader to an anticipated spectacle – an epic clash involving Wolverine, Maverick, Bannister, the US Military, and Beast’s colossal underwater stronghold. However, the narrative reveals its depth by shifting from the combat to a thoughtful dialogue between Hank and Logan. We gain a glimpse into Hank’s recent antagonistic turn, emphasized by Beast’s gruesome indulgence in seafood that starkly contrasts his primal instincts with his vast intelligence. Logan then highlights that sheer physical strength won’t suffice to defeat Beast. Hank’s portrayal in the story remains captivating as ever, and his impending downfall promises to be nothing short of dramatic and poetic.


Finally, we are introduced to the mastermind maneuvering behind the scenes, and it fits perfectly. X-23 cautiously undertakes assignments for Kimura, hinting at a tentative alliance forming with the newly introduced character, Haymaker.


With Zeitgeist remaining precariously on the brink of divinity, his team still fruitlessly scheming against him, and the X-Statix persistently grumbling about their circumstances, The X-Cellent #4 appears like a mini-series spinning its wheels for one issue too many. The majority of this month’s events echo those from the previous month, creating a feeling of repetition. This redundancy is particularly problematic as The X-Cellent, the characters who hog most of the limelight, struggle to earn readers’ empathy. Despite the abundant threats and self-loathing offering a decent humor quotient, the jokes tend to become monotonous with repetition. Hurt John’s narration adds a fresh viewpoint that mainly facilitates the cliffhanger of this issue, a finale that still manages to generate anticipation. However, the necessity of this additional narrative leap remains questionable.


Much like its counterparts in Marvel’s X-series, X-Men: Red #12 is intent on setting the stage for the apocalyptic events in “Fall of X” – quite literally in this case. After a lengthy hiatus post “X of Swords”, Genesis and the forgotten land of Arrako are revisited and woven into the happenings closer to Earth (and Mars). The issue predominantly serves as a prelude, refreshing readers on various Arraki mutants who are poised to play a crucial role in the imminent events. Consequently, the issue feels largely disjointed from the series’ focus on an evolving government and Arraki culture. Although it’s apparent these elements will contribute to the brewing conflict, this prolonged build-up primarily stirs anticipation. The children of Apocalypse remain an imposing force on the page, but some of the panels, barring a few action sequences, present inconsistent representations of Storm and others, leading to underwhelming visuals. Despite X-Men: Red continuing to be one of the most exhilarating series in the X-line, this unusually subdued chapter primarily revolves around integrating past narratives into the current one.


Something Epic #2 initiates with an almost silent page punctuated with a single caption that reads, “Words.” On turning the page, the readers encounter a deluge of text surrounding a two-page splash. The text intriguingly expounds on the supremacy of images over written and spoken language. Given the artist-celebrating tone of the first issue of Something Epic, this approach might be deliberate. The line distinguishing character and creator appears incredibly blurred as readers dive into Danny’s introspective musings on superhero tales and shonen manga. These musings feel like peculiar digressions from the touching narrative that Szymon Kudranski is sculpting about Danny, his ailing mother, his caring aunt, and the risks and rewards of seeking solace in creative pursuits. Kudranksi crafts a world befitting the story, one that’s realistic and perpetually shadowy, making the cartoon characters that only Danny can perceive stand out dramatically on the page. It’s possible that these monologues resembling essays will become more relevant as Something Epic unveils more about the rules and mysteries of the imaginary world and Danny’s increasingly precarious relationship with it, making them more than interesting, albeit personal, distractions.


Despite the issue making its appearance ahead of The Armageddon Game’s postponed finale, Teenage Mutant Ninja Turtles #140 serves as an intriguing initiation to the series’ updated setting. The barriers around Mutant Town have been dismantled, granting mutants the liberty to interact with the non-mutated human population. Sophie Campbell presents a spectrum of insights here, ranging from the commonplace fear and resentment of anything diverging from the established norm, to the manner in which pop culture can romanticize such outliers once they gain substantial attention. Gavin Smith and Ronda Pattison superbly adapt the visual tone of the comic to a more subdued and realistic approach, now that the Turtles have momentarily ceased their battles with deities while ensuring that mutants remain conspicuous in a crowd. As Lila’s forewarnings regarding the future fragmentation of the Hamato Clan seem to be materializing, the creative team collectively excels in expressing the prevalent exhaustion among the book’s protagonists, the stability of a new routine coupled with the strained feeling of being perpetually on the move. This is splendid storytelling, and the forthcoming phase of TMNT seems set to be as thrilling as its predecessors.


There’s an adage stating a picture speaks a thousand words and Ghostlore #2 wonderfully exemplifies this. Although the text is crucial and unfolds a captivating tale, it’s the artwork in the initial pages that independently narrates a heart-wrenching story and sets the emotional tone for the subsequent narrative. The father and daughter are both battling grief—and both can now perceive and hear spirits—yet their experiences differ. Cullen Bunn brilliantly portrays this using words. However, it’s the artwork in the issue—courtesy of Danny Luckert and Leomacs—that really underscores the narrative. This comic book excels, delicately weaving a chilling story while concurrently exploring human emotion.


If Immortal Sergeant had maintained this level of consistency throughout its progression, it could have been a highly recommendable book. For the first time in the narrative, Kelly provides insight into why the Sergeant embodies such intense hostility; while he might be one of the most despicable comic characters ever conceived, at least there’s a glimpse into the factors shaping his persona. Furthermore, Niimura’s lineart is tailored to a specific kind of story, and it’s debatable whether Immortal Sergeant fits the bill. The art can be chaotic at times, which aligns with the narrative’s tone, yet it seems like an incongruous fit.

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