Skip to content Skip to sidebar Skip to footer


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 latest edition of Batgirls, Issue #18, presents a riveting narrative where Gotham faces a novel sniper adversary who appears to be aiming at the Batgirls. Certain parts of this issue feel somewhat disjointed – the antagonism harbored by the GCPD against vigilantes, rooted in their experiences with the broader Bat-family, seems inconsistent with the portrayal of the Bat-family in this comic. The visuals, crafted by Robbi Rodriguez, exhibit an unexpected variability. While some parts boast captivating imagery, there are sections (for instance, the final page) that come across as uninspiring and hastily put together. Overall, it is a passable issue.


The latest anthology of Batman-related narratives, The Brave and The Bold #1, displays undeniable style and flair, spotlighting some of the most skilled artists in the superhero comics industry today. The stories, however, vary from conventional to cryptic, necessitating further elaboration. “The Winning Card” unveils an early Joker-focused enigma authored by Tom King, combining disjointed elements of a conspiracy and an unsettling depiction of Joker. It’s the artistic and color contributions from Mitch Gerads that lend the noir narrative its captivating aura, keeping readers engaged even as the plot remains mostly indistinct. “Down With the Kings” conscripts a collection of lesser-known characters into Stormwatch, unfolding an adventure tale that, while devoid of originality, also lacks significant pitfalls, aligning closely with conventional expectations. The Superman story “Order of the Black Lamp” stands out with its artwork by Javier Rodríguez, presenting the updated Metropolis status quo while initiating a mysterious, retro-adventure. Small design details and the depiction of Superman’s vast abilities leave a notable impression on the reader, generating anticipation for Issue #2. The concluding part, “Heroes of Tomorrow,” penned and illustrated by Dan Mora, demonstrates the evolution of a new writer, yet still impresses with his distinct aptitude for portraying superhero comics. Altogether, The Brave and The Bold #1 puts forth a strong argument for being an artistic spectacle, with potential for its enigmatic content to evolve into something more intriguing.


Surprisingly, the title of DC Comics’ best superhero book continues to belong to Batman/Superman: World’s Finest. The current streak by Waid and Mora is gaining momentum, positioning this series for a legendary status among all involved heroes. This issue reveals the puppeteer orchestrating the events in this Metamorpho-focused adventure. The unique talent of the World’s Finest’s writer and artist truly shines when they delve into the “odder” aspects of the DC Universe. Featuring prominent roles for the Challengers of the Unknown, the Metal Men, and Doom Patrol, these characters may have never seemed more enticing. World’s Finest skillfully manages the formidable challenge of merging the Superman and Batman families while also exploring the broader DC Universe, and Waid and Mora execute it flawlessly.


Issue #11 of Black Adam expertly prepares the ground for the impending series conclusion, drawing all Akkadian deities into a duel with Teth and Malik. Priest skillfully orchestrates the intermingling chaos and developments, evoking memories of the most exceptional arcs in Black Panther, where intersecting timelines culminate in gratifying conflicts. Every Akkadian character design is given a chance to shine, their diverse tactics lending an imposing aura to the looming battle. Regardless of the outcomes between the series’ anti-hero and the extensive ensemble now encircling him, Black Adam #12 is gearing up for a thrilling release, ideally leading to more Black Adam narratives from Priest.


The most recent installment of Catwoman initiates on a notably brisk and promising note before segueing into a revamped iteration of the same narrative. With Selina now free from prison, her subsequent actions ripple through herself, Eiko, Dario, and Gotham’s criminal underworld. The fallout ranges from authentically touching instances to diminishing jokes, resulting in an irregular platform for Selina’s virtuous endeavors. Nevertheless, the issue’s central premise and the ingenious artistry of Nico Leon sustain my interest in what lies ahead.


It’s hard to effectively discuss the inaugural Cyborg series without showering accolades on the stunning array of cover designs. Each one is remarkably eye-catching, ensuring reader satisfaction. As for the narrative itself, it adeptly encapsulates everything fans cherish about Cyborg. The setting is Detroit, family drama is sprinkled throughout, Cyborg sports an updated look, and the peril aligns perfectly with Cyborg’s abilities. The unexpected twist at the finale also warrants commendation.


Serving as an introduction to the grand “Dawn of DC” event, Dawn of DC: Primer plays its part reasonably well. Joshua Williamson grants readers an essential world-building piece of the narrative, presenting an exasperated Amanda Waller who is fed up with the DCU’s heroes and prepared to plot against them—naturally, from behind the scenes. She engages a group of villainous assassins to undertake her covert deeds and in true Waller style, she is both manipulative and immersed in a broader scheme, an aspect that contrasts starkly with the task assigned to Peacemaker. The situation is inherently vexing, as it is designed to be. Leandro Fernandez’s artwork adds a bit of a murky aesthetic which aptly suits the narrative. The issue’s darkness, particularly when contrasted with the heroes as pillars of hope, is particularly effective. It will be intriguing to observe how the story develops.


Jeremy Adams seizes the chance to unleash everything imaginable at the Scarlet Speedster, and the creative team is evidently enjoying the process. After the newest addition to the West family, Flash and a number of fellow heroes have ventured to Apokolips and found sufficient distractions. Adams uses the conclusion of this issue to hurl even more unexpected developments at Wally, incorporating spacial-time twists that are likely to be delved into in the forthcoming 800th issue. Adams’ enthusiasm for the Flash family and the entire DC Universe is palpable, setting a high bar for the next creative team. While the frequent changes in artists can be somewhat disconcerting, this latest Flash edition succeeds in capturing significant universe-hopping moments.


The second issue of Superboy: The Man of Tomorrow feels like it is struggling to define its tone. The initial issue, although imperfect, seemed to position Connor on a promising path of introspection. This has now devolved into what appears to be a stage for the Cosmoteers and has become less about Connor. This issue introduces the three Cosmoteers with strong characterizations but rapidly transitions from a Connor-focused narrative to a team dynamic where Connor no longer appears to be the centerpiece. This is particularly noticeable with Connor unexpectedly becoming the voice of reason. The artistry matches the desired dramatic tone and is enjoyable, but this issue seems to let Connor down as a character, much like several preceding narratives.


Coming up with fresh accolades for DC’s Superman series is progressively difficult, yet it’s a task I’m more than happy to tackle. Joshua Williamson, the writer, gradually reveals the principal antagonists of the plot without compromising the captivating enigma that envelops them. Williamson consistently revitalizes Superman’s traditional adversaries, with Silver Banshee being the most recent beneficiary. Like Parasite, her powers are not only heightened, but they are also depicted in visually innovative ways thanks to the splendid work of artist Jamal Campbell and letterer Ariana Maher. An unexpected yet appreciated twist was the shift in Luthor’s character. Even if his words are not entirely trustworthy, if even a fraction holds true, the scene is set perfectly. Artist Nick Dragotta and colorist Frank Martin collaborate seamlessly with Campbell while also introducing their own unique style. Alongside the ongoing hints about Marlyn Moonlight, the series remains utterly irresistible. Superman persistently shines, standing out as one of DC’s top-tier comics.


The structure of Taylor’s script for this inaugural issue succeeds due to the cast comprising characters familiar to most readers. Regular Titans fans are likely to comprehend the story’s stakes and character arcs, enabling Taylor and Scott to focus primarily on developing plotlines rather than character development. However, it lacks the spark that’s evident in Taylor and Bruno Redondo’s Nightwing series, causing Titans #1 to feel somewhat lacking and unfinished at times. While a decent beginning with one of DC’s more cherished groups, it gives the impression that there’s more left to be explored.


The Vigil #1 acquaints readers with a new black ops team operating in the DC Comics universe. The debut mostly involves introducing the squad’s new leader and a few of the metahuman experts within the group as they combat a pirate gang. The action and narrative progression align with conventional modern thrillers, including numerous hints at a clandestine sponsor and initial indications of a tech-conspiracy. Despite its readiness to incorporate more subtle power sets within DC Comics for storytelling, there’s little that distinguishes it from similar narratives. The events are competently portrayed, and the action is clear, but there’s a lack of artistic refinement and some inconsistency in character ages. Although The Vigil holds promise, its introduction is essentially standard fare.


Wonder Woman #799 is indeed an intriguing read. Personally, I feel that Conrad and Cloonan could have dedicated less time to the preceding arc/crossover and more to this one, as their tenure seems rushed with only two more issues to go. Diana finds herself in a dreamlike state, and through these dreams, we delve into her relationships with her companions. This is an excellent concept and, at times, it’s executed impressively, although the downside is that the narrative transitions from one character to another somewhat slowly. The art also varies from dream to dream, as does its quality. The outcome is a narrative that should feel slightly surreal and skewed but instead appears chaotic, leaving one with the desire that there had been more time for development.


In The Avengers #1, every character gets their moment in the spotlight, and the climax sets the stage for greater challenges and the foundation for at least the first year’s worth of stories in the title. If you’re an Avengers enthusiast, there’s no excuse not to grab this and keep reading to see what fresh adversaries they’ll face and which superheroes will leave an indelible impression on the series.


Initially, Brielle and her mother Safron were the heart of Bloodline: Daughter of Blade, but now the focus has pivoted to the relationship between Brielle and Blade. While I cherish the bond between Safron and Brielle, writer Danny Lore unveils new dynamics to portray and highlight within Brielle’s connection with Blade, and I’ve come to relish their interactions for entirely distinct reasons. Bloodline: Daughter of Blade #4 also reintegrates Jay and Rebecca more significantly, and Whitney’s sinister presence escalates in intensity and effectiveness with each issue. The overarching plot isn’t as compelling as the rest, at least not yet, but there’s ample opportunity for it to grip the reader’s attention. Bloodline continues to captivate, and we can only hope the series becomes increasingly entertaining in the subsequent issues.


Sentinel of Liberty incorporates another well-known ally of Cap into the mix, although it’s uncertain whose team she’s on now. Concurrently, as the Caps edge towards Dimension Z, Sam starts doubting Steve’s decision-making abilities, with Steve’s child’s fate hanging in the balance. While Sam’s overarching argument holds merit, the comic has somewhat failed in effectively depicting how Steve’s judgment is compromised. Of course, Steve is under strain, but he’s also faced numerous other challenging situations over his years of service. The external stakes of this crossover are impressive, but the internal strife feels somewhat deficient.


Danny Ketch makes a comeback in his own mini-series, authored by Howard Mackie and Daniel Piccioto. As anticipated from Ketch’s creator, the narrative swiftly revisits familiar grounds, with a storyline that could be straight out of 1994. Not only is Ketch back in top shape, but the character design of this fresh antagonist embodies the epitome of supernatural brilliance. Mackie’s storyline takes a tad too long to gather momentum but once it does, the title races ahead with thrilling action sequences.


Fantastic Four #7, also marking the series’ 700th issue (by some standards), encompasses 40 pages of narrative that barely warrant its oversized format. Except for a two-page preview of future events, the plot is practically bisected into two segments – one following the Fantastic Four and the other Doctor Doom – detailing hypothetical science adventures that barely interlink. A protracted misdirection leading nowhere interesting ultimately culminates in time-travel escapades with Doom, embodying typical time-travel story flaws like stagnation in character development, lack of stakes, and unresolved questions of causality. Although there may be future plans to address these elements in an upcoming issue that ties everything together, for now, it just comes off as an extension of uninspiring plotlines that generate minimal conflict and seem directionless. While the overall tone of this issue and the series so far can be deemed endearing, it lacks wit, emotional depth, or anything more heartfelt than depictions of family vacations. The focus on the Fantastic Four as a family has largely overlooked the elements of melodrama and thrilling adventure that make this larger-than-life family extraordinary. Despite the artwork and plot consistently reaching acceptable levels of proficiency, it’s becoming increasingly evident that this run may never truly “begin,” as its 700th issue celebration proves to be disappointingly monotonous.


The audacious new scenario for the Guardians persistently unfolds with ample charm. Although Guardians of the Galaxy #2 may lack the refined simplicity of its predecessor, it nevertheless supplies a generous dose of the Guardians’ signature spirit and humor, as the team fragments into subgroups to tackle the latest threat. Given what Collin Kelly, Jackson Lanzing, Kev Walker, and the team have planned for this series, I’m more than willing to peruse a hundred or so more issues, and this one certainly justifies why.


Hulk Annual #1 delivers to readers a welcome shift of pace, presenting the finest Hulk issue in roughly a year with an Annual that truly feels like an Annual. The story provides a unique perspective on its titular anti-hero through a standalone narrative that trails a documentary crew on their pursuit of the Hulk. This innovative approach lends a fresh yet well-crafted twist on the “hunters become the hunted” trope. The sequences captured from a cameraman’s viewpoint are thoughtfully chosen, amplifying suspense and making the tale almost feel like a relic from within the Marvel Comics universe, all without slowing down the issue’s swift momentum. However, the lack of character development beyond brief initial sketches leaves little space for unexpected turns or growth. The doomed character is clearly identifiable from the start, complete with a metafictional nod to the audience; this wouldn’t be an issue if the narrative explored this ill-fated character or any of their companions more deeply, but the documentary being filmed appears to lack a discernable aim or viewpoint. It’s this missing layer of detail that leaves Hulk Annual feeling like a proficient yet underexplored take on a concept with true potential. When Hulk finally faces the camera, turning implicit subtext into explicit text, it’s slightly overbearing.


Who would have predicted that Miles Morales and Scorpion would form such a captivating duo? After battling each other in the initial issue, they become unlikely allies in the second installment of “Carnage Reigns.” There are some unexpected guest-stars lined up to assist Miles and Scorpion in handling Cletus Kasady, and I’m eagerly anticipating their future interactions.


If you felt the first issue was somewhat lacking in action, the second issue compensates, given your patience. The bulk of the issue consists of dialogue—though well-crafted and purposeful. There’s quite a bit more foundation laying, but the story’s second part, appended towards the end, propels the war into the spotlight. Planet of the Apes opts for a measured approach in its storytelling, which has so far been quite commendable.


Author Ed Brisson serves up another installment that perpetuates the grand narrative leaps set in motion previously, repeatedly astonishing readers with each fresh twist. The primary issue with this edition is that Netho Diaz’s artwork, particularly in the major action scenes, is substantially obscured due to the addition of a rain effect. While this serves the atmosphere well, it restricts the panels from achieving their full dynamism. Predator continues to be an enjoyable series for franchise enthusiasts, and Marvel Comics’ latest issue doesn’t disappoint.


Red Goblin could be my most unexpected delight of the year, and by now, I’m deeply invested in Normie and Rascal. The bond between the symbiote and its host has seldom been as charming and relatable. Normie’s gradual understanding of his influence on Rascal, and the lessons he chooses to embrace or reject from his grandfather, are crucial. Writer Alex Paknadel, meanwhile, has been steadily developing Rascal alongside Normie, and their bond deepens and becomes more intricate with each step they take together. Normie has surpassed his grandfather in empathy and, in many respects, maturity, making Norman’s fears seem somewhat justifiable. Watching them being torn apart is genuinely heartbreaking, and artist Jan Bazaldua, colorist David Muriel, and letterer Joe Caramagna deserve kudos for effectively portraying their shared distress. Norman’s involvement should always be secondary to Normie and Rascal, not vice versa. This dynamic has been a critical component of what makes Red Goblin so extraordinary, and I hope to see it persist.


While She-Hulk #13 does include some villain appearances, it shines a light on the series’ strengths outside the traditional superhero domain by focusing on romantic and occupational drama elements. Throughout the issue, She-Hulk embarks on a variety of dates—friendly, tense, and romantic alike—all of which deliver significant drama and thrill without necessitating any physical confrontations. Rowell demonstrates a unique talent for crafting varied dynamics, and the expressive illustrations from both Andrés Genolet and Joe Quinones bring these to life with a balance of humor and sentiment. Despite the looming inevitability of physical combat, it’s the deep character development and manga-style pacing that will lend these upcoming battles their impact. As such, She-Hulk is poised to be stronger than ever.


Though this could be considered the weakest issue of the Dark Genesis series so far, it is also the most violent and action-laden. Carnage takes center stage with blood and gore, lending the issue an irresistible appeal, even if the commentary doesn’t quite hit the mark as in previous issues.


Inferno Squad converges on Valance and his crew to execute their orders, while IG-88 tracks down the head of the Unbroken Clan, resulting in chaos among the bounty hunters. Despite recent issues of Star Wars: Bounty Hunters hinting at a potentially narratively rewarding evolution, the events of this issue disappoint, delivering only a few visually appealing battle scenes. These skirmishes are engrossing, but their short-lived implications feel empty. Valance may face a bleaker future, but this issue, like the worst of Bounty Hunters, resembles a child playing with toys, indiscriminately pitting all their characters against each other before returning them peacefully to their box. There’s no remarkable drama, leaving us with the hope that the conclusion of this chapter might signal a more engaging storyline in the next issue.


Venom #19, though highlighting a face-off that might enthuse Spider-Man devotees, doesn’t make much of a contribution to the broader narrative. Mostly an appendix to the recent crossover, Al Ewing successfully sprinkles in some entertaining moments with Dylan and Norman Osborne, featuring at least one extremely humorous panel sequence by artist Rogê Antônio. While it’s an enjoyable read, it doesn’t provoke the same level of re-evaluation of preceding issues in the series.

X-Force 40

While X-Force #40 seems to be marking time ahead of the anticipated final showdown with Beast, it does so in a most captivating manner. “The Ghost Calendars” whisks X-Force’s reassembled team into a dystopian future dominated by Beast’s incessant schemes, simultaneously revealing Quentin Quire’s activities since he vanished. This excellent dramatic mix of team characters and those who thrive in this “Age of Apocalypse”-like scenario offers a gratifying payoff for dedicated readers. The ensuing adventure unfolds in a familiar style, but the novel gruesome monster designs and devastated landscape make for an engaging set of action sequences. Furthermore, upcoming installments are set to clearly define the stakes for the impending confrontation with Beast. As it progresses towards the series’ most significant conflict, X-Force continues to enhance its appeal.

X-MEN 22

The latest issue of X-Men appears to be in a holding pattern as the X-Men series gradually approaches the Fall of X. While the issue does contain action, it seems abbreviated and somewhat sluggish, with the narrative underscoring the increasing fragmentation of the X-Men team, which has barely felt cohesive throughout the run. Although Dean White is the ideal colorist for Joshua Cassara’s work, Marte Gracia is a commendable stand-in, infusing the book with the characteristic Krakoan X-Men zest. The issue is proficiently constructed but primarily seems to be biding its time for the commencement of another storyline.


Tim Seeley’s anthology of Masters of the Universe concludes with one storyline that disappoints and another that effectively exploits the format. The first, “Unfakable,” isn’t poor per se, but primarily replicates the animated series He-Man and the Masters of the Universe in comic book form, with Daniel “Pez!” Lopez’s artwork doing justice to it. The second narrative, “The Megabeast Matrix,” adeptly reimagines the He-Man lore in an innovative fashion, featuring Fico Ossio’s distinctive and grounded artwork, and even manages to incorporate it into the overarching narrative.


The impact of Mighty Morphin Power Rangers #108 is felt immediately, with the revelations early in the book lingering throughout. Rita’s brutality reaches new heights, a factor skillfully exploited by writer Melissa Flores to add a layer of richness and complexity to the Zordon reveal from the previous issue. It’s worth noting that this issue is primarily centered on Zordon, with the Rangers making only brief appearances. While that might sound less than compelling, the dialogues involved thoroughly engrossed me in Jordan’s journey and the consequences of his choices. Vessel’s design enhances the visual appeal of every panel, brilliantly implemented by artist Marco Renna and colorists Francesco Segala and Gloria Martinelli. Much of the issue revolves around an extended conversation, yet the visual narrative continually holds your attention and effectively conveys the story through expressions and gestures alone. While I look forward to moving on from Zordon-centric narratives, this issue did deliver, setting up future key moments, and I relished every minute.


A significant portion of Ice Cream Man #35 is dedicated to text pages detailing the distinct monsters that readers of the series have come to anticipate. Alongside some recognizable figures, several new entities are introduced, connected directly to the author of these text pages’ present predicament. Although the concepts and designs are captivating, they tend to slow the pacing with their familiarity and detail. The central plot of this issue, interspersed with excerpts from the protagonist’s fictional text, hinges on a single plot twist that executes effectively in the concluding pages, but fails to build sufficient suspense along the way. It’s an engaging idea, but perhaps not one warranting an entire issue’s focus.


In a narrative where Sarge has already demonstrated considerable rudeness and irritability, he appears even grumpier in this issue. The protagonist of Immortal Sergeant #5 comes across as one of the most disagreeable characters you’ll encounter this week, with his repugnant aura influencing the characters around him. The characters in this series exhibit a lack of significant development, and instead of evolving for the better, they seem to regress as the series progresses.


“The Butcher’s Return” has been instrumental in the evolution of Jace as an individual and within the wider lore of the franchise. Writer Tate Brombal explores further facets of the Butcher’s history and their violent downfall, with each revelation making Jace’s narrative increasingly engrossing. Artist Antonio Faso, colorist Miquel Muerto, and letterer Andworld Design deliver some of their best work in this series, successfully resolving long-hinted-at mysteries, crafting intense battles with emotional resonance, and constructing a cliffhanger ending that kept me on tenterhooks. With “The Butcher’s Return,” House of Slaughter has truly found its footing, and I eagerly anticipate what comes next.


The various elements of Dark Ride are beginning to merge into a captivating narrative, transforming an already good book into a gripping one. As the mystery surrounding the park and its historical impact on its founders becomes more apparent, Joshua Williamson’s script presents us with a story that is peculiar, mildly grotesque, but thoroughly thrilling. The generational art from Andrei Bressan and the eerie coloring from Adriano Lucas are also at their peak, making this a book I am excited to continue following.


Following an intriguing but somewhat disjointed beginning, the superhero conspiracy thriller No/One is evolving into something rather extraordinary. The equilibrium between the real-world crime narrative involving the main characters, and the trope-laden vigilantism of the eponymous hero, has reached its zenith in this episode, setting a new standard for future installments. If you’ve yet to get into this series, now is an opportune time to dive in.


Arcade Kings, crafted by Dylan Burnett, is a thoroughly enjoyable read. Its animated art style and video game-inspired elements undoubtedly draw from works like Scott Pilgrim, but it also incorporates elements from anime tropes, classic arcade fighting games, and professional wrestling to establish a unique identity. The narrative artfully unravels itself without resorting to hefty exposition, although you may still be left pondering questions like, “Why does the protagonist’s head resemble a dragonfruit?” It’s definitely worth checking out.


Chilling Adventures Presents offers a fresh tale this week, setting up an electric guitar to battle against the devil. When Jughead becomes the devil’s vessel, it’s up to Jinx to decipher the mystery, and the potency of friendship reveals more about the budding rockstar than she could have anticipated.


The creators of Good Deeds clearly have a message to communicate, even if they are methodically pacing its delivery. The graphics narrate the storyline effectively, making even familiar steps in the narrative engaging. Dark Spaces: Good Deeds #1 would appeal to those who miss the unique vibe of 21st-century Vertigo Comics. Even for those who don’t have a specific nostalgia for that narrative style, Dark Spaces: Good Deeds #1 remains a well-structured comic, albeit primarily serving as a scene-setter. The worth of this introduction will ultimately be determined by what unfolds in the subsequent episodes of Dark Spaces: Good Deeds, but it seems likely the story will become increasingly captivating.


Earthdivers #7 takes an unexpected sidestep into the Ice Age. The narrative appears to stress the repression experienced by the Indian community at the hands of their oppressors. The story also portrays the lengths a mother will go to locate her lost children, even if it involves traversing centuries back in time and confronting sabertooth tigers.


While delays can hamper a mystery series, Fear of a Red Planet commendably reshapes its anti-capitalist Martian adventure into a denouement where the culprit is unmasked, followed by a couple of genuinely surprising twists. The story progression and pacing are adeptly executed, but the artwork occasionally obfuscates key details, making the midway action sequence challenging to follow. The story also introduces a twist that appears excessively convenient, but sets the scene for a compelling finale that further deepens the mystery and heightens the suspense throughout the series. Despite its consistent drawbacks, Fear of a Red Planet remains an intriguing series, with its final installment suggesting a worthy addition to any sci-fi comic aficionado’s collection.

Subscribe to Our Newsletter

Join our newsletter to receive email notifications and never miss a post!