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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 Batgirls series just dropped the mic with its finale, going out with a proper bang, as our gals Cass and Stephanie worked their magic in a parade to hunt down two snipers. The final run tied up some loose ends from its whirlwind kickoff, but let’s be real, the creative crew hadn’t been dropping many hints about this in recent issues. At the end of the day, Batgirls gave us a rad, character-driven ride that showed off the power of Cass and Steph’s bond and how they make each other shine. This is the Batgirls series that the fans have been itching for and man, it delivered big time.


I’ve harped on this before, but reviewing World’s Finest ain’t no walk in the park – the thing hardly ever slips up, so what’s there to criticize? This time around, it’s all about the heavy-hitters of the DC Universe, spotlighting how dudes like Superman, Batman, and their crew are larger than life. Waid’s storytelling and Mora’s artistry elevate these superheroes to demigod status, timeless legends who’re here to stay. The big reveal of “Newmazo” and his AI “utopia” lays down one of the biggest challenges yet for our Dark Knight and Man of Steel, and it’s played out beautifully in the top dog of DC’s superhero books. Waid and Mora are serving up a superhero tale for today’s world that feels fresh and yet pulls at the classic threads that make the DC Universe pop.


Smooth transitions are hard to find in Batman: White Knight Presents – Generation Joker. The plot jumps around like a kangaroo on a trampoline, whether it’s action or conversation, and rarely connects the dots in a way that makes sense. Cars are suddenly smashing through second-floor walls, and characters forget what they just learned because the plot demanded it. The end result is a comic that just about makes sense on a good day, but usually falls into a heap of confusion and ambiguity that leaves you unbothered by what’s happening on the page. The Joker’s kiddos keep playing the same old tunes while being shunted along by a string of convenient coincidences. This can’t be more evident than in the kids’ hot-and-cold relationship with their old man, the Joker. One minute they couldn’t care less about him, the next they’re chasing some mad dream to bring him back from the dead. They remember his awful deeds, and then act all surprised when other people do too. There are clearly some ideas under all the chaos, but the messy script and so-so execution on the page barely hold it together, and fails to deliver a story that’s worth more than a quick skim on the Batman: White Knight Wikipedia page.


Black Adam #12 throws the curtain down on the first part of Priest’s spell with the character, showing us Malik and Adam dealing with The Akkad, who’ve somehow scored Black Adam’s mega-strong form. It ain’t your run-of-the-mill showdown, instead choosing a more intricate wrap-up that’s all about the heroes’ character development. Malik’s the one getting his hands dirty, while Adam takes a backseat, observing and leading up to a heavy decision. The issue’s packed with explosive moments, including a couple of killer spreads, delivering a wild climax. But the real game-changer is delivered subtly, setting up future face-offs. The most powerful moments come on a personal level, though, as the series grapples with the relationship between humanity and power. The last few pages are a wicked blend of surprise and satisfaction, hinting at a huge adventure in the future. Black Adam keeps killing it, and this ending leaves you begging for more.


Just before “Knight Terrors” and the “Gotham War” turn Selina’s world upside down, this issue’s like a sweet, but kinda messy, appetizer. Selina, Eiko and their crew’s scrap with Black Mask and the Gotham underworld plays out with swagger, but it’s clear the story’s got a ways to go. Tini Howard’s script brings the heat when it needs to, and Marcus To’s art really spices up the fight scenes.


The big scoop from Cyborg #2 is Victor Stone grappling with his overbearing pops, whose memories got uploaded into a synthetic android run by some new kids on the block called Solace. After a while, Cyborg takes his dad’s consciousness and stuffs it into his own body, creating a whole new world of problems. There’s some larger points about evil corporations messing with society, which is pretty cool to see unravel through a vlogger’s eyes.


Tom Taylor and Bruno Redondo are keepin’ it fresh with Nightwing, and they’ve seriously topped themselves with Nightwing #105. We’re stepping straight into Grayson’s shoes in this issue, and that first-person perspective amps up the already thrill-packed action sequences, making ’em even more immersive. Redondo, along with color boss Adriano Lucas, are smashing it, with popping colors and chase scenes that keep the gas pedal floored, all while letting Taylor’s snappy back-and-forths between Grayson and Barbara shine through. Aliki’s another wicked surprise in the mix, and that elevator scene? Pure joy, end of story. Nightwing’s never been sharper, and issue #105 is just another sick proof of that.


Superboy: The Man of Tomorrow #3 is a solid read on the surface. Jahnoy Lindsay’s art is on point – it’s really kickin’ in more than a few spots. Kenny Porter’s storytelling keeps things moving at a good pace, setting up the groundwork for some heavy conflicts in the future issues in a smooth way. There’s plenty of action to build on, but it’s like having all the right puzzle pieces but not being able to fit ’em together right. It feels like the emotional juice is missing from the story, making the unexpected twist near the end fall a bit flat when it should have been super suspenseful. Conner just seems to be going with the flow, rather than steering his own life. While Kara’s getting transformed by her cosmic adventures, Conner is just kinda chillin’. It’s a weird vibe, given that there’s obviously a high stakes story brewing.


Although the Big Blue Boy Scout is still front and center in his own title, Superman #5 nudges Jimmy Olsen and Siobhan (aka Silver Banshee) into the spotlight, and man, does it pay off. Joshua Williamson keeps showing how vital Supes’ sidekicks are to the series, and Superman #5 embodies that start to finish. Olsen and Siobhan’s relationship is just the right amount of cute, and Lex’s raw side feels fresh but totally legit. Jamal Campbell and Ariana Maher are again hitting it out of the park, with Silver Banshee giving them a colorful playground to work their magic. Banshee’s powers bring each page to life, and when things get darker, the team doesn’t miss a beat, delivering one of the series’ most heart-wrenching moments so far. Only bummer is that we gotta wait ’til August and September to see what goes down next.


Titans #2 is packed with action, but Tom Taylor’s got it on lock, thanks to his clear grasp of the characters. There’s some boss use of throwbacks that tie readers to the Titans’ rich history while also connecting to their current predicaments. This move totally slaps considering the Titans are solving a mystery involving one of their crew, it helps keep things on track and the reader hooked. Plus, the pacing is on point, setting up a whopper of a twist that flips everything upside down by the end. The artwork’s cherry on top, delivering a balance of intriguing and entertaining. Lots of smart moves here, and it feels like a meaty mystery is brewing.


The Vigil #2 keeps serving up shadowy ops missions tied to some international shenanigans that ain’t quite clear yet. It sticks to a reliable blueprint with an A-story and B-story, with the first throwing Arclight into the mix and dropping the biggest action bomb of the series so far. It’s not pushing the envelope much; the action’s pretty straightforward, and the mystery is mostly a bunch of questions without many answers. A cliffhanger splash and a flashback give a glimpse into the conspiracy being unwrapped, but there’s not enough meat on the bones of The Vigil’s characters or their org to make these mysteries super tempting. While Arclight’s backstory tugs at the heartstrings, they slip into a typical role in this issue as the traumatized soldier dealing out payback in some muddled revenge mission. The Vigil’s decent and well-told, but it’s not exactly setting my world on fire just yet.


Few comic book characters are as legendary as Wonder Woman. You could even say that Wonder Woman has moved beyond being just a superhero and morphed into a cultural symbol; “wonder woman” is now slang for a chick who can do it all, usually in the face of tough odds, and makes it look like NBD, just doing what needs to be done. Given her massive status, you’d think Wonder Woman #800 would bring a story worthy of her rep. But nah, instead, the issue serves up a long, awkwardly vibed journey that’s got zero to do with Wonder Woman, missing what should’ve been a heartfelt tribute to the iconic character. Instead, it’s just patting everyone else on the back and once again shortchanging one of DC Comics’s heavy hitters.


Nice to see the Avengers switchin’ it up, being the saviors of everyday folk instead of just brawling with the latest bad dude hogging the limelight – yeah, I’m lookin’ at you, Kang the Conqueror. Gotta shout out Sam Wilson’s Captain America-style pep talk to some zonked out trucker. The real head-scratcher is, can Kang ever be a bro we can bank on?


This issue works like a charm as the wrap-up for this miniseries and a big-ups to Betsy’s stint as Captain Britain. The final showdown with Morgan Le Fay ditches most of the multiverse mumbo-jumbo that cluttered the previous issues, serving up a more laid-back, but still important, brawl between Betsy and her crew. Fingers crossed this ain’t the last time we see Tini Howard penning Betsy, ’cause this issue is jam-packed with swagger, and Vasco Georgiev’s artwork is the perfect partner in crime.


Bloodline: Daughter of Blade wraps up with issue #5, leaving the future of our main girl brighter than a supernova. This issue turns into a proper family get-together, and while Brielle’s defo the star, writer Danny Lore’s given us a support crew that’s just as captivating. It’s proper lush to see Brielle guiding her dad to keep his cool, instead of the other way around, bringing things full circle from the series’ kick-off. The whole issue is bursting with color and pizzazz, big thanks to artist Karen S. Darboe, colorist Cris Peter, and letterer Joe Sabino. The scrap with Deacon did feel a touch short, but the fight still sparkles and lets our lead shine. Brielle’s got all the chops to be a big deal in the Marvel universe, and the sooner she’s back in the game, the better.


Suddenly Liz Allan gets woke to the fact that her animal experimentation ain’t cool, when a chimp gets gooed up by symbiotes and calls her out. It’s this kinda dull plot and character design that drives Carnage: Cult of Misery, as side characters from Amazing Spider-Man clash with some of the least memorable new Marvel bad guys of 2023. Issue #2’s story tracks better, but the side trips and flashbacks are just loaded with played-out symbiote cliches. Liz is whatever the scene needs her to be, and her kids and others just pop up to move the story along. The whole thing’s about as gripping as watching paint dry, and the new villain Madness, introduced in this issue, is just laughable. Even stripped from the current “Carnage Reigns” crossover, Carnage: Cult of Misery is likely to be yesterday’s news by next year, and that’s probably for the best.


The dope thing about these throwback nods is when original creators from the time jump in. With a dude like Howard Mackie running the Danny Ketch story, you’re guaranteed to get something that screams 1994, and that’s what Danny Ketch: Ghost Rider #2 delivers. Yeah, it might be fan service-heavy, but Mackie’s script moves at a clip, pulling together Ketch’s squad of foes. Danny Ketch: Ghost Rider #2 ramps things up, bringing back fan faves like Blackout and Scarecrow for a nostalgia kick. The story’s raw and Picciotto’s lines are a match made in heaven. Two issues deep, and this comic’s got its boots on the ground. But no worries – it knows what it’s gotta be and it’s smashing it.


This latest installment of Edge of Spider-Verse, #3, holds its own – if you’ve got the backstory. This is especially true for the first tale, Dan Slott’s “Nobody Knows Who You Are” with Spider-Boy. But that’s the thing about most of the stories in this series: if you ain’t clued up on these characters (at least the ones that ain’t brand spanking new) and their pasts, these stories ain’t gonna make much sense. They’re just quick snapshots, and don’t seem to be leading anywhere beyond spotlighting a bunch of characters that don’t get much follow-through. This really sticks out in David Betancourt’s “Hermanita” featuring Spider-Smasher, which feels like it’s only just getting started. As individual issues and stories? They’re solid. But part of a larger narrative? It’d be cool to see more than just random snapshots that may or may not go somewhere.


Guardians of the Galaxy is really bringing the fire in this edition. Peter’s past conveniently clashing with the wild phenomenon of Grootfall sets up a deep dive into the squad’s struggle with identity and belonging. Mad props to Collin Kelly and Jackson Lanzing for their killer scriptwork, and Kev Walker’s artistry is on point, big and small. If you’ve been snoozing on this series, let this be your wake-up call.


Hallows’ Eve #4 is like a non-stop adrenaline ride, picking up from last month’s cliffhanger where the main crew found themselves in a Mexican standoff at Beyond HQ. In another series, it could feel kinda thin, but here it’s used to give us a deeper look at Janine Godbe and her weird power set. Each new phase in the chase and skirmishes unfolds something new and sets the stage for next month’s big finish. Amidst all the ruckus at Beyond, we get a good look at Janine’s masks and artist Michael Dowling’s got the magic touch making each one a showstopper. Hallows’ Eve is all set for its big finale, but even a ‘simple’ issue like this makes you wanna see more from this gang.


The second-to-last Hellcat issue takes an already top-notch miniseries and cranks it up to eleven. Christopher Cantwell’s script navigates Patsy’s past, present, and possible future with a creepy but touching precision. Alex Lins’s art brings a real but rough-around-the-edges vibe that’s just what the doctor ordered. I’m hyped to see how this series wraps up.


This deep-dive into Tony Stark’s legacy keeps on being insightful and outright bizarre. Set post-Civil War, the issue tackles Tony’s personal gremlins in a fresh and unexpected way, through the prism of his gig as S.H.I.E.L.D. bigwig. Won’t spill more deets, but shout out to Murewa Ayodele, Dotun Akande, and the gang for shedding light on unseen corners of Tony’s journey.


After the “Starship” saga kinda crashed and burned, undoing some of the good vibes from Al Ewing’s Immortal Hulk, The Hulk needed a fresh start. Enter Phillip Kennedy Johnson and Nic Klein, bringing a scary Hulk yarn that’ll freshen up your taste buds and get you hooked on Bruce Banner’s story again. This is a gruesome, barnstorming good time. The Incredible Hulk #1 sets the scene for a possession/body-horror monster tale that gives you the creeps and keeps you on edge from start to finish. It uses southern horror vibes to spin a terror tale you’re totally not ready for when you crack open the book. What a wicked and visceral debut from a team that looks set to kill it with Marvel’s monsters.


This issue is a total thrill ride! With Carnage in the mix, you never know which of your beloved heroes will get skewered, offed, or majorly messed up. The twists just keep rolling in part six of “Carnage Reigns,” including a fresh speedster character that’s definitely gonna be a big deal in Miles Morales’ super life, an Avenger swooping in for a last-gasp rescue, and a wicked last-page reveal to tee up next week’s grand finale.


New Mutants: Lethal Legion #4 is your average superhero comic, made worse by trying to hit too high and constantly whiffing. The art’s simple and toony, but the shaded coloring doesn’t boost its strong points, especially when the frames ain’t popping or are distorted by some weird sense of perspective. The chat is all over the place, hopping from one convo or topic to another, probably to echo the noise of the scene, but ends up just confusing the reader. It takes a swing at humor throughout but ends up either tired or way off the mark, with stuff happening without consequences like the squad worrying about a collapsing building but then just walking off without a scratch for no apparent reason. Even though it’s great to develop character relationships, having deep and meaningful convos in the middle of a battlefield just kills any tension or stakes and only ends up in a totally undeserved buddy-buddy vibe at the end of the issue. It ain’t a total disaster — it still runs as a basic narrative — but it’s a clumsy effort and tries to bite off more than it can chew, making for a letdown of a read.


Steve Orlando, the main scribe for the series, makes sure the Scarlet Witch Annual is a must for fans of the new book. Even though it’s used as a stepping stone for a bigger, Scarlet Witch-less event, the unique plot and the comeback of Agatha Harkness in the Marvel Universe make it essential reading. Carlos Nieto on art and Triona Farrell on colors do a solid job, and they’ve got some unique spots to stage the action and smackdowns. Even when compared to the insane skills of Sara Pichelli on the main series, they almost keep pace, even echoing her style in the more low-key parts of the story.


This is a “rounding up the squad” issue as T’onga recruits some disposable newbies to join her crew for the next big gig. The steps in assembling this team feel like a parody of old heist tropes, including a bar fight introducing a couple of new characters. Each intro comes off as going through the motions, leaving readers waiting for the main event. Sadly, that doesn’t happen until the very end of the issue, if even then. The initial mission sending the many hunters after Boba Fett gives them a chance to show off their skills, but the 8-to-1 odds even against Fett make the crew seem way less badass than their reps and how Star Wars: Bounty Hunters treats them. The action’s drawn alright, with a few well-crafted, one-page showdowns. Still, it’s not enough to make this issue much more than filler, promising more of the same before any real excitement hits this story.


No matter what you think ’bout the Ultimate universe or its upcoming comeback, Ultimate Invasion #1 gets you hooked not by hyping future series but by serving up one that’s straight-up relevant right now. Hickman’s cutting chat, massive concepts, and continuing themes from all over Marvel Comics make this event feel like the natural next move, building on decades of storylines. Hitch’s artwork connects to the past in Ultimates while still holding its own in some seriously gripping action scenes and surprisingly low-key moments. There’s a buzzing hype around this intro that promises a saga of multiversal proportions and, much more crucially, earns it. No matter where Ultimate Invasion is headed, Marvel fans can rest easy knowing it’s leading to something as big and thrilling as the past it’s built on.


With a bang-on title like “PAGES 2-19: THEY FIGHT,” Venom #21 is packed with visual swag but also sneaks in some major plot twists. While scribe Al Ewing cooks up some cool stuff within the bigger narrative of the series, this issue is all about a rumble, so that’s the main show. Artists Cafu and Pere Pérez, credited with pencils, and Frank D’Armata with colors, make the most out of a massive symbiote showdown, turning two characters with crazy, shape-shifting bodies into unique elements that only Venom can pull off. If there’s a downside, it’s in some of the cheesy lines Ewing drops in their brawl.


“The Ghost Calendars” is nailing its high-aiming setup, with versions of Beast popping up across the future, turning Earth into a surprise hellhole, and an aged Quentin Quire leading X-Force on an Exiles-like mission to put a stop to ’em. The intro sequence with Beast stashing his clones all over the world reminds us of the ego fueling this long-standing bad-guy twist in both X-Force and Wolverine. But again, it’s the squad itself taking on another post-apocalyptic world that grabs the spotlight. There’s a whole web of conspiracies among the members, and they get dramatic moments alongside heaps of violence and gore. Mix all that with just the right dose of Deadpool antics, and you’ve got an incredibly fun issue of X-Force. Even as their showdown with the main Beast gets closer, this time-traveling mission pulls from so many long-standing plotlines that readers won’t want to speed through the future Beasts too quickly.


All Eight Eyes spins the plot in a funky direction with its next-to-last issue, going deep into Reynolds’ legit backstory. The visuals are as gut-wrenching as they are heartrending, leaving you finally rooting for this street-bound grump in his mission to squash these monster spiders, even if it means our main man gets left in the dust. Still, it doesn’t feel like there’s enough ticks left on the clock in the series to tackle the whole “mega spiders been an issue for years but the bigwigs have been playing blind” conspiracy, even though it seemed like that was the main point way back in the first issue.


Arcade Kings’ round two can’t quite reach the same highs as its first outing and ends up replaying some of the same story beats (Joe rolls up in a new zone, bumps into/brawls with some fresh faces, becomes homies with them, scraps with one of his old man’s goons). But the visuals are still outta this world and the anime-flavored arcade fights still make for some wicked action scenes. The real deal now is can it keep the heat of its overall story rolling, and Arcade Kings #3 already looks fire in that aspect.


Even the regulars who’ve been hanging with The Bone Orchard Mythos might find that Tenement is the heaviest tale of the universe yet. Although you don’t necessarily need any info from the other comics, you might feel like you’ve been thrown in the deep end straight away because of the larger narrative being spun here. Jeff Lemiere and Andrea Sorrentino are painting on a massive canvas but the scale might be a bit too epic. Also, there’s something… odd about Sorrentino’s work in this issue. Their style is still totally one-of-a-kind, but there are some moments where the weird vibe of some faces just doesn’t jive, and ain’t their finest work (even though the paneling stays top-notch).


I Hate Fairyland #6 is straight-up loco, which is business as usual for this series, but somehow it’s managed to crank the crazy and color up a notch from the previous episodes. The king’s hip to Gert’s comeback now, so it’s all about trying to off her for good while Gert bumps into a werepoodle (yeah, you got that right) and the younger version of Gert, well, she’s landed with a mission straight out of mission impossible: take down her future self to score a ticket back home, guided by other versions of herself. I can’t figure out how this comic manages to pull off weirder and weirder plot twists, but somehow it does and it absolutely slays in this issue. This one’s a total gem.


Drakkon’s the definition of a curveball, and he’s being played to the hilt in Mighty Morphin Power Rangers #109. Drakkon and the newly sprung Kira are the early stars of the show, and writer Melissa Flores strikes comedy gold as she digs into their history while the mystery surrounding Drakkon’s ultimate aim gets murkier. Flores also cleverly sidesteps the expected with the Green Ranger, which looks like it’s leading back to familiar territory. The art crew – Simona Di Gianfelice, colorists Raul Angulo and Jose Enrique Fernandez, and letterer Ed Dukeshire – know how to whip up a Ranger fight, but it’s really the Lord Zedd vs. Mistress Vile face-off that steals the spotlight. This advances the overarching plot and a few individual threads too, setting the stage for some major action ahead.


After a strong opener, Nostalgia #2 takes its sweet time to pick up the pace, but once we hit the halfway mark the book starts to gather steam, pointing us towards the relationship that looks like the crux of this noir saga. Nostalgia’s backstory gets filled out a bit early on, but this doesn’t pack the same punch as the developing dynamic between Nostalgia and his kid Nathan. Writer Scott Hoffman’s touch in this space is golden, as he says so much in a few exchanges between Nostalgia (Craig) and Nathan. Props also go to artist Daniel Zezelj, colorist Lee Loughridge, and letterer Steve Wands, who pull you in deeper by making each location feel like its own fully distinct world. Nostalgia’s own internal struggle and the discovery of Nathan’s skills is the juicier slice of the narrative, so if that stays front and center, future issues should have no trouble rekindling the spark of the first issue.


Saga #65’s got all the ingredients for a masterclass in cranking up the tension, as we trail three character clusters through barely a quarter of an hour. The issue hops between these narratives, often tying up a previous cliffhanger with the first panel on the page, before teeing up another one at the bottom-right corner. It’s an absolute page-turner, with Vaughan’s narration (and the series’ rep) hinting at a looming disaster. The ride might be exhilarating—making it impossible to put the issue down—but that makes the sudden brakes on the last page all the more gut-wrenching. In some ways, Saga #65 feels like a flex, reminding readers that it can still rip out their hearts, because beneath all the adrenaline are characters brimming with life. Saga #65 is a real showstopper of an issue that’s gonna make plenty of readers wanna hit the pause button.


The Vampire Slayer #15 rolls out a plot that kinda stretches belief, banking on a spell that needs the blood of a pair of Slayers to pop open a permanent gate to hell. The comic does flag up that this ritual was just a theory, but it’s still a bit odd that it’s all systems go when two Slayers existing simultaneously was a never-seen-before event until now. You could overlook that if it weren’t for other handy plot devices, like Drusilla scattering a bunch of kid-level drawings that spill the beans on her scheme in full. There’s some quirky character portrayals here too. Sure, chuckles have always been part of Buffy’s charm, and it’s cool to see Faith evolving from extra Slayer with a boatload of rage and rejection issues, but here that evolution seems to be turning her into the joker of the pack. The artwork here is a bit on the simplistic side, maybe too much so, with a tunnel scuffle scene trying to mimic the dynamic cross-section layouts that more skilled artists have aced, but failing to inject any sense of movement or flow. The issue wraps up feeling kinda stale, both in its character portrayal and its delivery.


Time Before Time decides to hit the brakes in issue #24 to spin a standalone yarn. Given the series has been juggling more plotlines than ever, the decision to narrow the focus and spin a captivating time travel tale over just about 20 pages feels like a breath of fresh air. And while this story is a fun ride in its own right, what makes it extra special is how it also sheds more light on the rules and mythology of Time Before Time.

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