Welcome to this week in comic book reviews!

The staff have come together to read and review nearly everything that released today. It isn’t totally comprehensive, but it includes just about everything from DC and Marvel with the important books from the likes of Image, Boom, Dark Horse, and more.

The review blurbs you’ll find contained herein are supplemented in part by longform individual reviews for significant issues. This week, that includes Suicide Squad #40, Hunt for Wolverine #1, and Dungeons and Dragons: Evil at Baldur’s Gate #1. The links to those are also included with a snippet from the review in the following slides.

Also, we should clarify that we’ve simplified our ratings. If you’re a longtime fan, you’ve likely seen both letters and numbers attached to comic reviews. Going forward, this is now a whole number out of five; that’s it!

And with that, on to the reviews — which are listed first by DC, Marvel, and the rest of the publishers and then in alphabetical order.

DC #1

BATGIRL #22

This isn’t the strongest Batgirl outing, but it’s definitely laying the groundwork for something interesting. Barbara spends most of the issue wondering what direction she’s headed in her life, an inner monologue that is marked by some peculiar meetings with old friends. This all culminates in a twist that feels ever-so-slightly hamfisted, but in a way that’s still intriguing enough to follow up on. But overall, Larson weaves a story that has enough energy and life through it to satisfy readers, especially when paired with Jung’s absolutely delightful art. — Jenna Anderson

Rating: 3 out of 5

BATMAN AND THE SIGNAL #3

It’s clear that at least six issues of ideas were stuffed into a three-issue miniseries as this story reaches its conclusion. There’s a big final battle, some guest stars, and at least one notable revelation, but the comic itself is paced in a fashion where none of these elements stand out. Every page is composed of an overwhelming combination of narration and dialogue, both serving to explain the plot and themes of the story. The effect ultimately undercuts even solid action sequencing as panels pile up with words. Far too much was pushed into a “one crazy night” style of story, leaving ambition to destroy whatever potential existed in the premise. There’s no real tension or drama to a story that insists on explaining itself, and that’s what leaves this entire arc best left forgotten. — Chase Magnett

Rating: 2 out of 5

BATMAN BEYOND #19

Batman Beyond has struggled mightily throughout this run to create a fun, action-packed story that actually entices a reader. Issue #19 does a better job of being enjoyable, and the narrative moves more cohesively at a much better pace than issues past. That said, there are still plenty of issues here. The biggest facing this book is honestly the addition of an extremely unnecessary character at the most random of times. About halfway through, this character pops in to apparently be some voice of reason. But they’re sadly not much more than a distraction. — Charlie Ridgely

Rating: 2 out of 5

DEMON HELL IS EARTH #6

It’s all fireworks for the finale of this miniseries. In a battle that has reached the most epic of proportions, it’s clear that the fallout will actually be pretty minimal given the nature of superhero continuity. However, that doesn’t stop the comic from delivering some of the bloodiest, well muscled, and explosive action to come from DC Comics’ version of Hell. There’s not much excitement in the tale itself, but the action manages to deliver at least a few big panels with real heft. Etrigan fans may enjoy having an extra dose of this rarely seen anti-hero, but overall this is solidly in the middle of the pack for quality in superhero comics. — Chase Magnett

Rating: 3 out of 5

DETECTIVE COMICS #979

Batman Eternal suffers from a few tired concepts, but it still wins out thanks to its characters. Brother Eye and OMAC are well worn at this point, lacking any genuine excitement. Having Ulysses around helps to mitigate some of that dullness, and having Tim be in charge of the OMAC is at least an interesting twist. The visuals start out a bit rough but truly hit their stride a few pages in, and few OMAC interpretations have been as slick as these. Hopefully, Detective still has an Ace or two up its sleeve to deliver a worthy finale. — Matthew Mueller

Rating: 3 out of 5

DOOM PATROL #11

Doom Patrol has consistently been the best ongoing series from Young Animal, but it appears to have fallen victim to the imprint’s hubris as this finale is robbed of drama by the crossover event “Milk Wars”. It focuses on delving into ideas about entertainment and storytelling that make for fascinating staging and fantastic visual sequences. There are so many great ideas spinning that it hits a level similar to Morrison’s classic run. However, the ending sputters in a truly dissatisfying way as it attempts to simultaneously end and deliver a to be continued for an event that already occurred. The result is a jumble where it’s best to focus on the promise and ideas than what was finally delivered. — Chase Magnett

Rating: 3 out of 5

DC #2

FLASH #45

Joshua Williamson delivers a heartfelt script that propels Wally West’s story and makes this issue feel like a direct follow-up to his triumphant story in DC Universe: Rebirth #1, and gives audiences a bit of a calm before the next inevitable speed force storm. The art from Christian Duce and Luise Guerrero is uneven, though, with some pages looking great and others having a kind of uncanny valley effect where scratchy pencil lines leave characters feeling a little flat and soulless. — Russ Burlingame

Rating: 4 out of 5

HAL JORDAN AND THE GREEN LANTERN CORPS #43

Hal Jordan and the Green Lantern Corps #43 quickly establishes the threat the new Darkstars represents. In this variation, the Darkstars are basically more lethal versions of the Green Lanterns, populated by alien law enforcement officers tired of not being able to execute their criminals. Led by the fallen Green Lantern Tomar-Tu, the Darkstars want to enforce a more lethal version of justice across the galaxy. While Vendetti quickly establishes the Darkstars as a dark counterpart to the Green Lanterns, I’m confused at how fast the Green Lanterns choose to respond. It’s a bit hard to tell whether Hal Jordan and his allies are just trying to stomp out a threat preemptively, or they just don’t want others to willingly join the Darkstars cause. This comic also continues to suffer from inconsistent art. While Rafa Sandoval’s art at least shows some energy (something that was lacking in the previous issue), his art felt a bit stiff on some pages and felt rushed on others, especially in the early pages. — Christian Hoffer

Rating: 3 out of 5

HELLBLAZER #21

Tim Seeley delivers some of his best writing on The Hellblazer as “The Good Old Days” rolls into its third part, and Huntress takes center stage in some of the scenes. That said, the issue still suffers from underwhelming art from David Fabbri and Christian Dalla Vecchio, and a general sense that the story took so long to get off the ground that the villains are more frustrating than evil. — Russ Burlingame

Rating: 3 out of 5

IMAGINARY FIENDS #6

The first arc of Imaginary Fiends reaches its conclusion as Melba Li faces a terrifying truth about her past. Throughout the series, Li had claimed that her childhood imaginary friend (actually an interdimensional parasite that feeds off the emotions of their hosts) had forced her to attack her best friend, an assault that put her in a mental institution for years. But while the imaginary friend was real, it turns out that other aspects of Li’s past were not. The big reveal this issue was great, one of the better twists I’ve seen in a comic in months. It was a great way to end a fun opening arc, and I hope that we see more Imaginary Fiends in the coming months. — Christian Hoffer

Rating: 4 out of 5

JUSTICE LEAGUE OF AMERICA #29

While the villain is still juvenile throughout most of the book, and the winning of the final fight is more than anti-climactic, there is something to be said for Steve Orlando’s ability to end a story arc. Like with the final pages of the Prometheus, Orlando puts a nice bow on the entire story being told. The ending leaves you feeling like you grew with these characters and read something enjoyable, even though most of what lead to that point was pretty bland. — Charlie Ridgely

Rating: 3 out of 5

MERA QUEEN OF ATLANTIS #3

This series is finally starting to gain momentum, though the visuals aren’t as engaging as the two leads. Actually, we should say three leads, as Orm’s wife Erin is really the glue that holds all this together. She’s the compelling factor here, forcing these two to work together and mining some empathy for Orm. The visuals, on the other hand, aren’t bad but are completely safe, lacking that edge that a book featuring these two leads would typically be expected to hold. Their next destination should provide plenty of opportunities for rich character moments though, and here’s hoping the next three issues move at a quicker pace than the first three. — Matthew Mueller

Rating: 3 out of 5

DC #3

MOTHER PANIC GOTHAM A D #2

This relaunch is really starting the work of exploring an alternative Gotham City. The police state is fleshed out in a series of direct and indirect scenes, as are the key players any reader might expect to see circulating through the city. As an Elseworlds vision for what might happen with Batman to keep order, it functions and even intrigues. Yet the story that is guiding the tour continues to successfully define or engage with its conflict, moving in a passive direction. There’s a lot of great scenery and interesting designs to take in, but the ride itself is lackluster so far. — Chase Magnett

Rating: 3 out of 5

MOTHERLANDS #4

Motherlands consistently presents one of the best spectacles to emerge from Vertigo in many years. Everything from the architecture to the fashion represents ideas that would not even be imagined in most other science fiction series. Each issue continues to be carefully lavished with some outstanding new element that ought to make readers pause. The narrative itself is less compelling though. Mother-daughter toxicity as presented her in neither fascinating nor humorous and continues to burn itself out as it goes round in circles. There has to be a hook to keep going, and currently that is focused entirely on the window dressing. — Chase Magnett

Rating: 3 out of 5

RAVEN DAUGHTER OF DARKNESS #4

Raven: Daughter of Darkness #4 is a prime example of overusing the same conventions and ideas over and over again. Marv Wolfman can’t seem to get away from endlessly reminding readers that Raven is the daughter of Trigon and the concept that any Raven story has to be about him. He also can’t seem to get away from using the same opening every issue this series — we get it. Raven’s got a lot of imperfect “sisters”. There’s also the matter of simply sloppy writing when it come to explaining not just Raven’s mother’s appearance at a funeral she, frankly, has no business being at but her history and motivations as well. The longer this limited series goes on the more it feels like the real mystery here isn’t what is going to happen to Raven, but when is Wolfman going to start writing a story worth reading? At least the art is nice, as always. — Nicole Drum

Rating: 2 out of 5

SCOOBY DOO TEAM UP #37

The Girl of Steel calls on help from the Mystery Machine Gang, and the end result is pretty unusual. The plot bounces back and forth at an almost jarring pace, introducing concepts or storylines that feel a little too dark for the bright and sunny setting of the issue. And much of the rest of the issue essentially becomes visual goofs and cat and dog “speak”, both of which somewhat lose their energy as the issue pushes on. There are some strong points within this issue though — Brizuela’s art is genuinely adorable to look at, particularly in portraying a sort of timeless version of Supergirl. And there are some high points of this issue like a Batman v. Superman homage that’s just subtle enough to work. — Jenna Anderson

Rating: 2 out of 5

SILENCER #4

The somewhat baffling decision to remove John Romita, Jr. from the “artist-focused” New Age of Heroes title The Silencer does not materially hurt the comic, as incoming penciler Peter Bogdanovic continues his string of doing incredibly difficult jobs very well.

Bogdanovic, who worked on “The Oz Effect” in Action Comics last year, has become one of DC’s most reliably excellent artists, and it is not difficult to see in this issue why he has been tapped to follow up on Romita’s run: Like Romita, he has an excellent sense for layout and action. While his fights might not have the same gritty energy that Romita’s did, his characters’ “acting” (faces and body language) is arguably more appealing to the average audience member than what Romita was doing on the title, and there are times when his layout choices are dynamic and creative enough to make the move feel like an upgrade.

If there is a downside here, it’s that Deathstroke has reached a saturation point where he feels like an unnecessary guest inserted to goose sales, even though technically his presence in a book about DC’s best assassins is totally commonsense storytelling. — Russ Burlingame

Rating: 4 out of 5

SUICIDE SQUAD #40

[READ THE FULL REVIEW HERE]

Overall, Suicide Squad as a title has ups and downs, and is sometimes dramatically uneven, but Suicide Squad #40 is by far the series’ strongest issue to date and gives readers a real reason to invest their time. This installment serves as a solid reminder that, even among the most questionable of “heroes,” there is heart, which is something that is often lacking in stories about Task Force X. — Nicole Drum

Rating: 5 out of 5

DC #4

TEEN TITANS #19

Teen Titans stayed consistently solid throughout its 19 issues, and this week’s finale was much of the same. The interactions between the team members were clearly the heart and focus of the book, as they should be. The art was a ton of fun, never really lacking any substance, and the villain brought out the flaws of the heroes in a not-so-subtle but interesting way. This issue even ends on a great cliffhanger that leads the team into “No Justice”. My only problem with the book is the immediate aftermath of the main conflict, which gets really convoluted and messy for a couple of pages. Overall, it’s a good ending to a good series. — Charlie Ridgely

Rating: 4 out of 5

TERRIFICS #3

The Terrifics takes a major step back this issue as Joe Bennett replaces Ivan Reis on art. It’s not that Bennett is a bad artist, but he doesn’t really capture the fantastic elements of this science-based comic in the ways that Reis did in previous issues. Bennett’s Metamorpho is particularly rough, as he mostly resembles a defoliated Swamp Thing in close-ups. Lemire’s dialogue also suffers this issue — Plastic Man and Metamorpho’s banter is more grating instead of endearing, and Mr Terrific’s astute and condescending attitude makes him thoroughly dislikable. While The Terrifics is supposed to be a homage of sorts to the Silver Age Fantastic Four comics, right now it just feels like a pale imitation at best. — Christian Hoffer

Rating: 2 out of 5

TITANS ANNUAL #2

Titans Annual #2 takes a setup that feels like it could fit into a 10-page backup story and stretches it out to a 40-page issue, but writer Dan Abnett manages to keep it from being boring by filling those pages with interesting characters and well-written dialogue.

The issue is burdened with cleaning up an artificial mess created over the last few issues in order to feed into a post-“No Justice” status quo, but pitting the Titans against classic Titans villains in a story that reunites the team and establishes the new normal is a good decision.

Artist Tom Grummett draws the first half, with Tom Derenick in the back. There are a trio of inkers — Cam Smith, Mick Gray, and Trevor Scott — and they manage to work together seamlessly enough that it is difficult to know who inked what page.

In general, the issue looks great. Grummett’s strong style feels young and fresh here, the byproduct of inkers who know which of his lines to emphasize and which to remove from the look of it. The pages feel more full of energy than even his excellent work on Justice League at the end of the New 52 era and the start of Rebirth.

The inking choices made by the trio of inkers blends Grummett and Derenick’s styles well, which is surprising since they typically do not look much alike. It lends the issue sense of visual continuity, even though if you are looking you can certainly tell who is drawing what pages. — Russ Burlingame

Rating: 4 out of 5

TRINITY #22

For as uneven and often disappointing as Trinity has been, this final issue at least found a pacing that made things tolerable — fast. Like most of the recent issues of this book, Trinity #22 is a mess full of cliche and bad stereotypes. Batman, Superman, and Wonder Woman are three of the most complex characters in DC Comics, yet this issue reduces them almost insulting versions of themselves, particularly Wonder Woman who is left literally begging Steve Trevor to come back to her because she loves him. A boring villain with a boring and ridiculous motivation combined with a too-easy conclusion is uninspired and a sad ending to what should have been a stellar book. Maybe next time they attempt a Trinity title, they’ll try to tell a compelling story instead of writing up what amounted to nothing more than time-wasting sidequests. — Nicole Drum

Rating: 1 out of 5

WONDER WOMAN #45

There are few series more fitting to deploy a deus ex machina than Wonder Woman, where gods compose a large portion of the characters. However, the finale of this arc could not have been less fulfilling. Things happen because they must and villains are defeated for seemingly no reason at all. The action and storytelling are offered in the most perfunctory of manners, understandable, but never exciting. This issue qualifies as an ending and it alters the status quo, but it never offers a single reason for readers to care about any of it. — Chase Magnett

Rating: 2 out of 5

Marvel #1

ALL NEW WOLVERINE #34

“Old Man Laura” continues in absolute pitch-perfect fashion. This story continues to be a breath of fresh air, albeit one that’s ever-so-slightly bittersweet. There’s humor, there’s heartbreak, there’s a mission that feels just unpredictable enough that you genuinely can’t tell what’s next. All in all, it’s an absolutely stunning showcase of some of the Marvel Universe’s female characters, with returns of certain fan-favorites that will definitely put a smile on your face. This issue should absolutely be among your stack of comics this week. — Jenna Anderson

Rating: 5 out of 5

AVENGERS #690

After the climax, last issue, the final chapter of “No Surrender” ties up loose ends and sets its characters on new paths into the future. Certain plot threads remain strangely uncommented on — we’re all just going to forget that Rogue straight-up murdered Corvus Glaive, I guess? — but most get tidy bows as the issue checks in with all of its characters to see how they’re feeling and we’re they’re going. It’s a bit sentimental, but after the journey, it feels earned. — Jamie Lovett

Rating: 4 out of 5

DESPICABLE DEADPOOL #299

The penultimate issue of this story understands that stakes are much more than the sheer number of characters involved in a story. While we see a large collection of heroes, it smartly focuses the story on the individuals that are most connected to Deadpool. Whether that’s Hawkeyes, Captain America, or the core supporting cast of Duggan’s run, they all make this issue more effective. A central chase sequence serves up plenty of thrills and laughs in equal measure, but it’s the emotional build that will leave readers anxious for #300. This is Deadpool in its absolute best form, offering a story worth remembering in addition to some very exciting panels. — Chase Magnett

Rating: 4 out of 5

DOCTOR STRANGE #389

There are two solid forms of a story within this issue. One details the dramatic escape of heroes from a hellish dimension and the other is a low-key conversation between old friends. Both offer some amusing banter and Henrichon’s art really shines when composing hordes of demonic creatures. When they combine the effects of both halves are lessened. It’s a tonal shift that isn’t justified as a story choice, but only by the nature of a publishing event. Readers are forcefully told to go out and read other comics while attempting to enjoy what is in front of them, and diminishes every positive quality about this one issue as a result. — Chase Magnett

Rating: 3 out of 5

EXILES #2

The second installment of the new Exiles continues trends from its premiere, both positive and negative. As the team finishes collecting its new members, each new setting is presented in visually dazzling fashion. Every place visited is crafted by line, layout, and color to be as distinctive as possible. This pays big comedic dividends when a very unusual version of Wolverine is introduced. There’s also an almost excessive amount of narration and exposition. Part of the thrill in this concept is its propulsive nature, which is slowed considerably by ongoing explanations. There’s still far more to love than dislike in this issue, but if the pace doesn’t increase soon then minor flaws may grow to be major ones. — Chase Magnett

Rating: 4 out of 5

HUNT FOR WOLVERINE #1

[READ THE FULL REVIEW HERE]

Taken altogether, Hunt for Wolverine is a frustrating book. It’s one part expertly crafted comic book, and two parts promotional material in disguise. If you’re a completionist that wants the absolute full story behind Logan’s resurrection, then you’re going to be pre-sold on this. If you’re only casually interested in Wolverine’s return, this is probably skippable. If you’re in it for the craft, then the work that was done on “Secrets and Lives” may be worth the inflated cost that comes from being bundled with “Hunter’s Pryde.” Maybe. — Jamie Lovett

Rating: 3 out of 5

Marvel #2

INVINCIBLE IRON MAN #599

Bendis has assembled all of the right pieces for his final farewell to Marvel Comics. In spite of the many, many plot threads present in this run, the penultimate issue manages to move between them all effortlessly and with purpose. Things happen for a reason and that includes quite a few revelations that make perfect sense within the context of what has come before. Leaps in art between the past and present are clearly communicated and help to build the biggest shift in storytelling present. There’s a lot left for the final issue, but everything is in place for a grand finale. — Chase Magnett

Rating: 4 out of 5

LEGION #4

Looking at the backgrounds in each panel of this issue reveals the general lack of character that has made the entire miniseries a disappointment. Complex mindscapes composed of metaphors are left as blank canvases with only a single crack or generic bric-a-brac to distinguish them. So much of the story continues to be wrapped up in narration, boxes upon boxes that explain a far more exciting story than the one occurring on the page. There are ideas of note to be found in this issue, but none of them are executed in a fashion worth pursuing. It appears that this installment, and the rest of the series, are left to be a question of what might have been. — Chase Magnett

Rating: 2 out of 5

LOCKJAW #3

Lockjaw and D-Man’s journey continues in Lockjaw #3 and finally reveals the seriousness of the situation as well as who is behind Lockjaw’s strange journey. Despite the rather weird general story — intelligent flying interdimensional hamsters can be described no other way — Daniel Kibblesmith has put together a complex, enjoyable story that may have some of the best actual plotting I’ve seen in comics in awhile. The best part, though, is watching D-Man start to recognize that even without his superpowers he still has a purpose and a value and it’s something he never would have come to without Lockjaw by his side. You don’t want to miss out on this one. — Nicole Drum

Rating: 5 out of 5

MIGHTY THOR #706

Sure, the last issue was a heartbreaking and epic thrill ride, but this proves to be a fitting conclusion. Equally poignant and triumphant, larger-than-life and intimate, it serves as the perfect bridge between what we’ve come to love about Jane, and what’s next for the Thor title. Aaron proves just how strong of a grasp he has on both characters, while Dauterman’s art might be among the most consistently beautiful in comics. This issue is a must-have in every way. — Jenna Anderson

Rating: 5 out of 5

MOON GIRL AND DEVIL DINOSAUR #30

While there is nothing wrong with the ending of the “1+2 = Fantastic Three” in Moon Girl and Devil Dinosaur #30, it just feels like a waste of storytelling. For a character that is supposed to be the smartest person in the world, she doesn’t seem necessarily bright, and it’s not Lunella, but Devil Dinosaur that solves the problem that allows them to take on Omnipotentis. More than that, though, did it really take six issues to come to the conclusion that that the only real Fantastic Four is, well, the real Fantastic Four? It’ll be interesting to see what comes next for Lunella, but if this was what they’ve been setting up for, this whole arc ends up being a massive disappointment that ultimately didn’t even tell much of a story at all. — Nicole Drum

Rating: 2 out of 5

MOON KNIGHT #194

This week’s Moon Knight is a departure from the norm but is no less compelling. Instead of racing into the next chapter, Max Bemis takes his foot off the gas and puts Marc’s early days under the microscope, providing new context to the origins of Spector’s mental breakdown. It’s not an easy read by any means, but it does feel like a worthwhile exploration into Spector’s psyche. The final pages p[ay that off in a satisfying way without retreading earlier ground. Someone you trust betraying you isn’t exactly breaking new ground, but Moon Knight finds some new life in a familiar setup. — Matthew Mueller

Rating: 4 out of 5

Marvel #3

OLD MAN HAWKEYE #4

Hawkeye’s quest for vengeance continues in Old Man Hawkeye #4 as Barton tracks down another member of his former team, the Thunderbolts. The Thunderbolts betrayed Hawkeye during the Avengers’ battle against a team of organized supervillains, although they inexplicably left him alive as an extra twist of the knife. This issue presents Hawkeye’s quarry as a sympathetic character. The Beetle had a good reason to betray the Avengers, and it’s clear he didn’t take any joy in it. Hawkeye also takes no joy in fighting his old teammate, and its clear there’s still a level of respect between the two of them. Still, I thought it was odd that Hawkeye would show Beetle the respect to fight him head on, when he basically ambushed Atlas last issue. Hawkeye’s largely given up his heroic past (he is going on a murder spree after all) so I’m not sure why he gave Beetle the option of dying with his armor on. — Christian Hoffer

Rating: 3 out of 5

PETER PARKER SPECTACULAR SPIDER-MAN #303

As a story set in the past wraps up, this series examines the real nature of responsibility. It’s the difficulty of making impossible choices and fixing poor decisions. That is reflected in a series of homages to classic Spider-Man moments that build on the plot, rather than distracting from it. Some pre-knowledge is required, but the commentary on who Spider-Man really is turns out wonderfully. Every reference is well integrated into compelling action sequences and a few great bits of comedy. Even if things seem to work out a bit too neatly, there’s too much to love in this issue to let that overcome its many charming qualities. — Chase Magnett

Rating: 4 out of 5

SPIDER-GWEN #31

Spider-Gwen #31 takes the themes and subtext of the series so far and makes much of it text. Latour and Rodriguez have weaved a multiversal mythology around the character of Gwen Stacy that manages to reclaim much of the character’s role in her own story while setting up what should be if not a finale to the Spider-Gwen saga, then certainly a major turning point. — Jamie Lovett

Rating: 4 out of 5

STAR WARS DARTH VADER #15

On the one hand, this issue features Darth Vader fighting a tentacled beast underwater. On the other hand, this issue… features Darth Vader fighting a tentacled beast underwater. While some readers will be excited to see what happens when Vader is plunged into a watery grave in an assault on Mon Cala, this arc is proving to be a much sillier affair than earlier issues in the title. Earlier installments showed Vader’s ferociousness and untethered powered yet this arc is less successful at depicting the Mon Calamari as formidable foes and is more successful at making the Galactic Empire look inept. If the earlier issues of the series were The Force Unleashed, this arc plays out more like Super Bombad Racing. With the arc being at only the halfway point, the journey might end up being satisfying, though this issue left us with a bad taste in our mouths. — Patrick Cavanaugh

Rating: 2 out of 5

STAR WARS DOCTOR APHRA #19

This arc of Doctor Aphra started off with many more characters than necessary and slowly thinned the herd with each issue to make a more cohesive finale, though this issue ended up complicating matters even further with a story that had too many moving pieces. Aphra’s “partnership” with Hera Syndulla results in a fulfilling infiltration of the Galactic Empire’s important space station, with all parties involved being rewarded for their life-threatening endeavor. The messy conclusion to the story might not have offered much in the way of an exciting narrative, though there are some exciting emotional beats between Aphra and Tolvan that fans have been waiting to see for months. While these moments were satisfying for fans, these moments make up only a few pages of the issue, resulting in an overall frustrating arc. — Patrick Cavanaugh

Rating: 2 out of 5

THANOS ANNUAL #1

If you’ve been reading Thanos over the last few months, you likely expected this annual to be a ton of fun. It was most certainly that, but it was the careful planning and cohesion between the various stories that made this comic great. Each individual story in this book (six in total) was a very unique story, with a very unique voice. But they all blended together perfectly, the narration of the Cosmic Ghost Rider tied a neat bow around the whole thing. Best of all? This annual isn’t a one-shot story. It takes the events of the Thanos solo series and actually ends with a massive reveal, setting up a new series that’s coming this summer.

As far as annuals go, Thanos wins. — Charlie Ridgely

Rating: 5 out of 5

Marvel #4

VENOM #165

Venom #165 is the final issue of this story, and it feels like it all came to an end very abruptly. The problem is, I can’t tell if that’s a good or a bad thing. This short arc was all about the symbiote preparing to give birth and not trusting Eddie enough to tell him, which was an odd direction in and of itself. The last few pages brought closure to the tale that felt like it was no way ready to end, but the story was so off-putting at times that I was kind of glad it was over. The art throughout the issue is fairly standard and gets better during certain action scenes. For a normal character, that’s totally fine. However, for something as wild and unique as Venom, it needs a lot more pop and a lot more intrigue. — Charlie Ridgely

Rating: 2 out of 5

VENOMIZED #4

Venomized continues to be a lot of noise and very little signal. There’s a lot of characters, most of them are in symbiotes, then there are the bad guys with the white not-symbiote things, and they’re all fighting and its really hard to keep track of who is who and why any of this is happening. If Venomized ever had a narrative thread, it has certainly lost it by now. — Jamie Lovett

Rating: 1 out of 5

X-MEN BLUE #26

X-Men Blue feels like it had a lot of its life sapped out of it due to its main character being elsewhere during what feels like the culmination of over 20 issues of stories. Instead, we have a new, ad-hoc team of X-Men that could be interesting if readers were given a chance to get to know them, but who aren’t the characters that we’ve been following throughout the entire series so far. It’s a puzzling decision that feels like its gutted the book, but at least RB Silva’s artwork is still solid. — Jamie Lovett

Rating: 2 out of 5

Other Publishers #1

ABBOTT #4

The penultimate issue of Abbott ends on a big feeling. A chase sequence distilled into a single page is extremely effective, as are the consistently twisted, shadowy depictions of monsters in this series. The path to those last few pages is a long trek though. It’s the stereotypical sequence of things falling apart as the series drops in on each supporting character in an increasingly tedious checklist of sequences. Not much is learned, but plenty is said as this portion of the narrative sprawls. It’s a whole lot of filler for a good bit of killer at the end. Perhaps the final issue will focus more on what makes this story compelling. — Chase Magnett

Rating: 3 out of 5

ADVENTURE TIME #75

This issue is easily one of the most pleasant surprises you could find at your local comic shop this week. After several issues of fun, but somewhat rocky, vignettes, this issue comes together to tell one long and absolutely adorable story. What starts with a dog skateboarding into an unknown kingdom evolves into a surprisingly poignant story about love, relationships, and the impact a relationship can have on other people in your life. You probably wouldn’t expect this comic to get as deep and profound, but that’s kind of the beauty of it. While the issue takes a little bit to get to its emotional core, the journey is absolutely worth it. — Jenna Anderson

Rating: 4 out of 5

ALIENS DUST TO DUST #1

Fans of the Alien series of films have been disappointed in recent years as neither Prometheus nor Alien: Covenant has given audiences the xenomorph carnage they have come to expect. Aliens: Dust to Dust, on the other hand, aims to be giving those disappointed fans exactly what they want. Maxon wakes up on a distant planet and sees a Facehugger attempting to attack his mom, though she wakes up and frees herself from the attacker. As the duo attempt to escape their home, they encounter a handful of the full-size beasts, while a man emerges who helps guide them to an escape shuttle, only to discover their nightmares have only just begun. Fans will instantly connect with Maxon and his similarities to Newt from Aliens and writer/artist Gabriel Hardman appears to be giving readers the horrific sci-fi story they’ve been clamoring for, with the first issue putting the series in a good place to terrify even the most hardened Colonial Marine. — Patrick Cavanaugh

Rating: 4 out of 5

ARCHIE #30

Another solid issue of Archie. The story’s pacing and humor remains a major strength of this series with Mark Waid and Ian Flynn knowing exactly how much of the story to give and how much to tease for the next issue. Audrey Mok’s art is a delight as always and the expressions of each character in the issue does a perfect job of telling the story under the story — especially with Archie who may be acting cool but most certainly is not calm. The only real concern here is that each issue builds to a mini clifhanger only for the next to not really deliver. Archie #30 puts the whole story in position for what feels like the ultimate action point of the whole arc but with so much steady storytelling it’s hard to get excited for what’s to come. — Nicole Drum

Rating: 4 out of 5

BABYTEETH #10

This is my first time reading Babyteeth, so apologies in advance because I wasn’t able to pick up on the plot. That’s not to say the art wasn’t great — Garry Brown did a wonderful job with Mark Englert. They conveyed great action with simple layouts, carrying the eye with a frantic momentum in some places, and easily taking a moment to pause and reflect in others. It’s a good looking comic with an interesting premise, and I just might go back and get caught after this intriguing issue. — JK Schmidt

Rating: 3 out of 5

BEEF #3

Any comic with Shaky Kane handling the art is worth checking out. This time around, he’s helping Tyler Shainline tell a story from comics guru Richard Starkings, a satire of pulp hero comics and nationalist pride in modern America. His use of saturated, simple hues does well to establish the aesthetic. And while the comic’s plot seems more grandiose in its execution than it is entertaining, it might be worth it just to see what trouble this cow-based superhero gets into next. — JK Schmidt

Rating: 3 out of 5

Other Publishers #2

BIG TROUBLE IN LITTLE CHINA: OLD MAN JACK #8

The Big Trouble in Little China sequel comic, set nearly 30 years after the original movie, serves as a good reminder of the endearing charm of Jack Burton, the protagonist played by Kurt Russell. Russell is the epitome of a lovable loser, a fly by the seat of his pants ne’er-do-well who somehow always ends up ahead. At one point, Lo Pan (the antagonist of the original movie) calls Burton a “god of uselessness,” which is a hilariously accurate way of putting it. While I’m not the biggest fan of Jorge Corona’s caricature-like artwork, I will say that it’s an improvement over the usual photo reference work that you usually see in movie or television adaptation. It’s just a little odd to see Jack Burton portrayed as a Kurt Russell bobblehead, complete with an oversized head. — Christian Hoffer

Rating: 3 out of 5

BLOODBORNE #3

The Bloodborne comic is really starting to hit its stride as the Hunter and their charge push further and further away from Yharnam. This issue explores the relationship between the Hunter and the Paleblood child, finally giving the latter some personality while adding to the comic’s already unsettling atmosphere. The Paleblood child (like all things Bloodborne) is strange and doesn’t fully understand the strange world in which he (or she, the child’s gender is ambiguous) inhabits. Not only does this give Kot a chance to add some creepy flavor to the Bloodborne mythos, but it also lulls the reader into a sense of false security. Just when we think we understand something about Bloodborne, Kot finds a way to remind us that everything in this world is monstrous. Bloodborne is a great horror comic, and a book that transcends the material which it’s based on and finds a way to truly disturb every issue. — Christian Hoffer

Rating: 5 out of 5

CYBER FORCE #2

If you’re new to Cyber Force, it will take you a few pages in this new issue to realize that you’re reading the same comic as last month. It spends a lot of time setting up another major character in the series. However, once the story really brings the two issues together, you’re reminded that yes, this is a very fun read. These are characters that are deeply flawed and have a lot of different layers to be explored, and the art brings out those human elements in such a way that you genuinely feel a connection to what they’re going through, even if you’ve never been genetically tampered with. Cyber Force #2 is a lot more world building that you might want out of a second issue, but it’s an enjoyable read and it seems like the payoff will be worth the wait. — Charlie Ridgely

Rating: 4 out of 5

DAYS OF HATE #4

Night approaches in the newest issue of Days of Hate. As the issue purposefully separates its protagonists into distinct tracks, color is used as the primary force which ties them all together. The sunset across America is cast in different shades with harsh, bloody light cast in the city and softer oranges draping the countryside. What is clear in every panel is that night is approaching and the final page, black and still, reveals that turn. The issue emphasizes mood above all else and it is incredibly effective in doing so, revealing who these people are through their settings as much as anything else. As quiet and unhurried as this section of story is, it’s simply astounding how it raises the stakes and builds tension for what comes next. — Chase Magnett

Rating: 5 out of 5

DUNGEONS & DRAGONS EVIL AT BALDURS GATE #1

[READ THE FULL REVIEW HERE]

Although Zub has a knack for fantasy stories, I was a bit disappointed with how safe Evil at Baldur’s Gate feels. The first issue’s plot is exactly what you’d expect from a fantasy comic; there’s the standard trip to the tavern, hooded cutthroats, and just enough magic to make it clear that this isn’t a historical genre book. If not for the inclusion of Minsc and Boo — who, to be fair, are the main attraction of the comic — Evil at Baldur’s Gate could probably be mistaken for any other forgettable fantasy comic published in the last 30 years. This isn’t a bad thing; I love a safe fantasy story, and sometimes you just want to see some swordplay without any heavy thinking, but don’t expect any revolutionary storytelling from this issue. — Christian Hoffer

Rating: 3 out of 5

FACTORY #2

Factory seems to be telling a story about populism, capitalism, and consumption in a dystopian, near apocalyptic setting. And while the bizarre character designs and characterization does well to set up the different factions and the budding conflicts, it’s not particularly interesting. The art focuses too much on character details and sacrifices the settings, the backgrounds, which is a shame for a comic that tries to worldbuild. — JK Schmidt

Rating: 2 out of 5

Other Publishers #3

THE FOREVER WAR: FOREVER FREE #1

Titan Comics delves into a dense sci-fi project with The Forever War: Forever Free. The series may be known best for its novels, but author Joe Haldeman brings the plot-heavy story to comics with some expositional hiccups. While Marvano’s artwork is complexly beautiful, much of this comic drags in narration. The Forever War: Forever Free struggles pace its backstory, and the uneven pacing results in some underwhelming (if not confusing) plot twists. Its adherence to Haldeman’s novels is admirable, but this comic feels handicapped by its extensive elucidation. — Megan Peters

Rating: 2 out of 5

GASOLINA #7

The tension surrounding Amalia’s nephew serves as the centerpiece of Gasolina #7. Carefully utilized sound effects and a couple of ghastly images are enough to pull the story forward as new points forward are introduced. It’s a slowly paced return that is interested in reestablishing a status quo and spending time with its lead characters. Subtle facial reactions and a collection of inset panels toward the end make up for some bland panels scattered throughout the comic. It’s a fine return, if not a thrilling one. — Chase Magnett

Rating: 3 out of 5

GILES #3

Giles #3 is a departure from previous issues, but that’s not a bad thing. With the issue turning more to Roux’s history than the present situation, the whole book takes a different pace but it is no less compelling. The real standout to this issue, though, is the art. As Roux tells her story, Rebekah Isaacs does an outstanding job of giving the character a face that evolves over the years even if she doesn’t actually age. More than the actual words this issue, it’s the art that tells the tale. It’s something that honestly elevates the entire issue from simply good to great as it invites you further in and breaks your heart with each and every page. — Nicole Drum

Rating: 4 out of 5

GRASS KINGS #14

When Grass Kings delves into its most abstract panels, the presentation of a demon or a splash of a man walking away, it has the ability to truly sing. These striking images are a welcome break from the monotony of storytelling that pushes the mysteries of the series toward their final revelation. Each new bit of information is a necessary step, but they run in a similar fashion to the final episodes of True Detective in which grunt work assumed that which made the series most appealing. This issue gets the job done and has notable moments, but too much space is consumed by the work of plot for it to reach the bar set by prior issues in the series. — Chase Magnett

Rating: 3 out of 5

HARROW COUNTY #30

With Harrow County marching closer to its finale, the beats of the drum that awakens the evil Hester from her grave permeates from panel to panel as the residents of the town march towards her. Being the reason she’s dead in the first place, she doesn’t entirely accept them with open arms, though she understands they can serve a useful purpose. Emmy might be facing her biggest threat yet as her foes increase not only in power, but also in quantity, which might be too much for her to handle. Tyler Crook’s art in this issue is the standout, not only in how he captured the eerie atmosphere of the community, but the visualization of the drums that a reader can hear in their heads as they read. The issue could have featured none of Cullen Bunn’s script and have been just as enthralling, with the dialogue almost doing the art a disservice. The story didn’t advance the narrative too much further, as this issue is clearly helping set the stage for a massive finale. — Patrick Cavanaugh

Rating: 4 out of 5

HIT-GIRL #3

As if this series could not veer into any more depraved territory, it shifts its focus to children this week. Baby shields and threats to young boys are used for humorous fodder and action sequences all with a tone of pure delight. The frenetic energy in these pages seems to be licking its lips at an inevitable confrontation between brothers warped by family, one of whom is still definitively a child. Even on a pure, violence-loving level, it simply repeats tricks from the story so far with gratuitous bullets, explosions, and flesh-eating gas. What started as a joyful embrace of violence against Latin America has not moved beyond that obsession at all, only found new elements to make it appear even more ugly. — Chase Magnett

Rating: 1 out of 5

Other Publishers #4

ICE CREAM MAN #4

This issue of Ice Cream Man contains the most potent self-contained narrative yet. It’s a story of fathers and sons, how they heal and hurt one another. The ending of that particular story is an oddly perfect blend of touching and disturbing with a panel of father and son that won’t soon be forgotten. Unfortunately, it also raises the question of why the titular ice cream man is used to frame this tale. His interludes and final appearance only serve to undermine the story at the heart of this issue, confusing what is effective for strangeness that only serves its own sake. It’s clear that this series has bigger ideas, but on the level of an individual issue that present a story that work in neither the micro nor the macro, which is particularly disappointing in this installment. — Chase Magnett

Rating: 2 out of 5

JEEPERS CREEPERS #1

Based on the horror film series, the first issue of Jeepers Creepers begins to delve into the backstory of the horrifying monster that emerges 23 years to feast on humans for 23 days, focusing first on graduate student Devon. Traveling to Mexico to explore Aztec ruins, Devon’s quest for knowledge overrules visiting restrictions as he ventures into prohibited areas in hopes of learning about various cultures’ perception of dragons. While exploring, Devon may have uncovered the truth behind the monstrous Creeper, though he may have also given the creature its new target. Given the complicated (and repulsive) history of the minds behind the Jeepers Creepers films, catching up with the mythology in comic book form is a much more morally palatable way to read stories about the Creeper, making this comic one that fans should surely check out. The book’s “Teen” rating might not satisfy those seeking gruesome subject matter, but writer Marc Andreyko and artist Kewber Baal are delivering an intriguing story that could offer some interesting insight into the monster while never having to rely on shock value to compel readers. Baal’s art and composition are a good match for the subject matter, allowing him to jump to different timelines to convey ominous temples, rituals, and the Creeper’s iconic vehicle. The series has potential, though there’s not much to sink our teeth into just yet. — Patrick Cavanaugh

Rating: 3 out of 5

KILL OR BE KILLED #18

There’s a real joy to watching a good detective unfurl a mystery. The pacing of logic as it touches on objects and actions scattered across a story to craft a coherent narrative can be brilliant, even when you already know the ending. This issue of Kill Or Be Killed pulls off that excellent style, including lots of close up panels and reflections from within the series to put the focus back on the police. That doesn’t mean the series isn’t still full of surprises as everything clearly serves a purpose, even the elements purposefully left forgotten. As a standalone issue, this is one of the series best to date. — Chase Magnett

Rating: 4 out of 5

LUCAS STAND: INNER DEMONS #3

Lucas and Dylan both return in the third issue of Inner Demons to face an unknown terror, surrounded by dangerous creatures and Vikings in remote Norway. From the opening panel things hit high-gear with plenty of blood, fire, and cursing. Though the action is well-paced and beautifully rendered in Alex Guimaraes’ untamed palette, the meat of the issue is squandered on a detour meant solely to develop our protagonists’ relationship with one another.

That’s not to say that the pay-off isn’t worth your patience. Lucas’s titular inner demons begin to impact his interior and exterior journeys in a significant way, culminating in a great twist of a cliff-hanger that will have us on edge until we get our hands on issue four. — Matthew Hayes

Rating: 3 out of 5

LUCY DREAMING #2

Lucy Dreaming is beginning to discover a rhythm in its sophomore outing. The fictional homage at the center of the book is a good bit of fun, toying with The Hunger Games in surprising and funny fashion, even if it undermines previously established rules about how Lucy’s fantasy escapes function. The bookends set in the real world work to varying levels. Teen angst is exaggerated to great humorous effect, as is a meltdown distilled in a single panel. Other overt references to storytelling tropes break the spell of the story and remind readers of how proud the creators are of meta effects. The second issue is a notable improvement on the first and there’s room for further growth from here. — Chase Magnett

Rating: 3 out of 5

LUMBERJANES #49

The Lumberjanes shine when adventure is at the forefront, and thankfully this issue is a return to form. Ripley, April, and Mal take the lead on the adventure side of things while Jo and Molly hold down the humor fort, including one hilarious scenario that every tabletop gamer has run across at one point or another. As always Jen and Ripley are highlights throughout the issue, and Dozerdraws and Maarta Laiho delightfully bring things to life on the visual front. The only downside here is that we just wanted more. — Matthew Mueller

Rating: 5 out of 5

Other Publishers #5

MIGHTY MORPHIN POWER RANGERS 2018 ANNUAL

Annuals have a spotty track record, but “Shattered Grid” fans can be at ease knowing that is not the case here. Each story meaningfully builds on the “Shattered Grid” premise, either showing another part of Drakkon’s plan or revealing his areas of vulnerability. The events here matter though some stories are of course more important than others. The Zeo, Ninja Steel, S.P.D. stories surprised me most, and while RPM was a little predictable, you definitely don’t want to miss out on any of them. — Matthew Mueller

Rating: 4 out of 5

REDNECK #12

Like many premiere TV shows, the finale of Redneck‘s current story was great, but not quite as exciting as the penultimate issue. After a couple of mammoth reveals last month, the dust settles in Redneck #12. The fight with the villain has a conclusion, cliffhangers are resolved, and a new, potentially more dangerous villain is set up. Despite being a little less intense than the previous issue, Redneck #12 is still a great installment to the series, which is heading in a potentially fascinating new direction. — Charlie Ridgely

Rating: 4 out of 5

REGRESSION #9

Regression has lost no steam, and manages to shock and intrigue in issue nine. Molly and Anton both dive deeper into their past lives, and the narrative that binds them all to Adrian’s fate (and the fate of his captors) finally begins to come into clear focus. It’s not a pretty picture, but it is a wild ride; grotesquely illustrated, and intentionally paced.

The long road that readers have tread in Adrian’s wake comes to an abrupt halt, with a conclusion that will necessarily change the course of his fate and his story going forward. Where things go from here in light of this issue’s conclusion will forge my own opinion of Bunn’s treatment of his characters, and his respect for our time.

Expect to turn away from the pages in disgust; expect to blaze through the last few pages as suspense mounts; expect to walk away feeling a satisfying mix of dread and anticipation for the next issue. — Matthew Hayes

Rating: 4 out of 5

RUGRATS #7

The Rugrats cartoon was magical because the adults creating it figured out how to write for a child and make it feel genuine. That same magic does not translate to this comic. Nothing about the relationships or conversations between these kids sounds or feels like it should. It all just comes off as grown ups who have never met kids and only watched them on TV trying to decipher what they’re actually like. The art is passable, I guess? But it’s not great, and certainly does nothing to save the issues presented by the writing of the book. Episodes of Rugrats are $1.99 online. Go buy one of those instead. — Charlie Ridgely

Rating: 1 out of 5

PATHFINDER: SPIRAL OF BONES #2

Pathfinder: Spiral of Bones gets a bit metaphysical during its second issue. The lovable warrior Valeros finds himself caught in a purgatory-like realm after touching a mysterious artifact last issue. I enjoyed the comic’s continued deep dive into Pathfinder lore this issue, with this issue featuring the strange psychopomps that serve as the bureaucrats of the Underworld. A lot of the earlier Pathfinder comics are standard fantasy/adventure tales, so it was nice to see this comic lean into the weirder corners of Pathfinder mythology. Pathfinder’s strength is its unique and memorable lore and it’s great to see one of its comics truly capture one of the reasons why thousands of players love the tabletop game. — Christian Hoffer

Rating: 4 out of 5

THE PRISONER #1

Peter Milligan and Colin Lorimer’s The Prisoner is a worthy successor to the ground-breaking and mindbending television show. The Prisoner was a short-lived British television show that mixed psychedelic science fiction with the spy drama, not unlike the Jim Steranko written and drawn Nick Fury comics that came out around the same time period. Although the show didn’t last long, many credited it as the forefather of complex and cryptic shows like Westworld or Lost. Milligan and Lorimer’s comic serves as a sequel of sorts, with a different British agent finding himself in the Village that serves as a prison of sorts for spies. Milligan puts his own spin on the Village by recasting it as an organization that forcibly collects information from spies and then uses it for an unknown purpose. It’s an interesting and sinister twist, but it does give the organization a concrete purpose…something that wasn’t done in the original series. Although most of this issue is a pretty straight-laced spy comic, it’s not without a few weird “Milligan” moments and I expect that future issues will only get more delightfully weird. The Prisoner is just the sort of property that Peter Milligan was born to write, and I can’t wait to see what happens next. — Christian Hoffer

Rating: 4 out of 5

SACRED CREATURES #6

Concluding its first volume, Sacred Creatures cannot help but insist on its own importance. They mythmaking of the series is constantly at the foreground of the story with characters explaining their past and current motives. The reasons to care about any of these characters is left vague at best. They are actors working on a supposedly grand stage, but no sequence ever bears that out. Even a particularly violent moment isn’t inspired in its execution and fails to horrify as intended. Walking away from this oversized issue the comic believes something significant has occurred, but the only response to be mustered is a shrug. — Chase Magnett

Rating: 2 out of 5

Other Publishers #6

SAGA #51

This may be one of the fastest reads of any issue of Saga as the issue speeds towards the next major conflict. This issue at least one major moment of its own, though readers will have to wait to experience its full impact. As usual, Fiona Staples’ art is gorgeous, and this issue quietly sets up what will likely be a much more dramatic next issue. — Jamie Lovett

Rating: 4 out of 5

SAVAGE DRAGON #233

Erik Larsen takes his long-running, creator-owned superhero series in yet another unexpected direction, delivering a gut-punch of an issue that says good-bye to a long-running character in a way that will shape the book for some time to come.

The story might prove controversial in a few ways that we won’t go into here (spoilers!), but Larsen seems to have taken those risks into account; the writing is some of his strongest work, and the art treats the subject matter seriously.

The few action sequences in the issue are perfunctory and leave more questions unanswered than anything else, giving more real estate to the character-driven stuff than anything else.

It also launches an interesting new concept that plays with the consequences of “The Merging of Multiple Earths,” the series’ last big event, in a fun way. Larsen and Ben Bishop tell a story that jumps off of that. — Russ Burlingame

Rating: 5 out of 5

SHADOWMAN #2

Shadowman is best when Alyssa is there to carry some of the load, and luckily that is very much the case in issue #2. The two have an entertaining chemistry both in battle and in general conversation, helping to ground the supernatural aspects and make the stakes feel real. The art is solid throughout, especially in the more action-packed moments, though hopefully journeying back to the Deadside will bring a bit more creativity to the surroundings. — Matthew Mueller

Rating: 4 out of 5

SHEENA, QUEEN OF THE JUNGLE #8

Sheena, Queen of the Jungle #8 is a fantastic issue. Other than a brief bit of scene setting as Sheena tries to figure out where she is and why, the book is nearly all action and all of that action is centered around the villains underestimating her — and the consequences of their desires. Some of the dialogue is a little campy, but it’s not distracting and since the book focuses on action there’s not much time to get too focused on the only weak part of the issue. What is supposed to be a highly emotional reveal for Sheena doesn’t really hit center but honestly? The book is so well-drawn and generally well done that it doesn’t matter. It’s a fun romp that leaves you wanting more. — Nicole Drum

Rating: 4 out of 5

SONIC THE HEDGEHOG #4

The weekly version of IDW’s Sonic wraps here, and it’s the best installment yet. Writer Ian Flynn continues on next month, and the introduction of Tangle the Lemur and reintroduction of Blaze leave us wanting more. Though there’s a slight Eggman tease at the end, it’s still unclear who exactly is pulling the strings and in what ways, but the action and variety of faces more than make up any slight narrative gripes. — Rollin Bishop

Rating: 4 out of 5

THROWAWAYS #13

In an issue loaded with dialogue, almost every character speaks in the same cadence and tone. It’s all very military and tough, but the concept of individuals isn’t present on the page beyond threadbare drawings focused around one or two notable features. This is a comic driven almost entirely by plot moving from item to item in order to reach its cliffhanger and upcoming conclusion. It is serviceable, but not much more. — Chase Magnett

Rating: 2 out of 5

WITCHBLADE #5

The full power of the Witchblade finally makes an appearance in Witchblade #5. The comic series to this point has largely focused on the Witchblade’s holder, a former journalist named Alex Underwood, while only teasing at some of the differences between the traditional Witchblade powers and this reboot. Well, now we get a full look at the full Witchblade in action, which now totally covers its user instead just of a few choice parts. It also looks like the Witchblade’s struggle against whatever darkness has consumed New York City looks to be the focus of the next arc of the series, which means we’ll probably see more Top Cow Artifacts soon. — Christian Hoffer

Rating: 4 out of 5

X-O MANOWAR #14

The latest issue of X-O Manowar trades violence for introspection as Aric of Dacia returns to an Earth different from how he left it. Ariel Olivetti comes on board for this issue, a major stylistic change from Ryan Bodenheim but still more in line with the likes of Lewis Larosa and Doug Braithwaite. Olivetti’s interiors are always a treat, and the way he can balance serene tree lines with dense nebulas and crackling wormholes is almost scary. X-O Manowar continues to be a solid superhero story, even as it appears to dive headfirst into an event I’m not particularly interested in. — JK Schmidt

Rating: 4 out of 5