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 The Green Lantern #1, Marvel Knights 20th #1, and The Empty Man #1. The links to those are also included with a snippet from the review in the following slides.
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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 in alphabetical order, but first by DC, Marvel, and the rest of the publishers.
DC #1
ADVENTURES OF THE SUPER SONS #4
This maxi-series has mastered the affectations of superhero comics with plenty of twists, new locales, and gags all set against the creeping master plan of a villain. It feels like a big superhero story, but that lacks the heart and drive of a memorable one. Each new step in the plot follows a clear sense of logic, but does little to make its heroes or their supporting cast stand out. They seem to be following motions to get to the next step while portraying two different forms of general niceness, with Robin’s being of a slightly grumpier variety. While the story is competently told, there’s little that will stick and that makes it difficult to recommend this story, even if it lacks obvious flaws. — Chase Magnett
Rating: 3 out of 5
BATMAN #58
One thing Tom King has excelled at during his Batman run is humanizing the villains in a way that doesn’t make them sympathetic but instead gives better insight into who they are. Unfortunately, despite a genuinely intriguing setup with The Penguin, the issue continues with a further dehumanizing of Batman. Batman #5’s story arc hinges on emotionally torturing Batman in any way that might hurt the most. Catwoman leaving him at the altar, Bruce losing his faith, Nightwing being shot in the head… Batman is dark and gritty, we get it. And yet, King continues by setting up yet another possible heartbreak for the Dark Knight, and while there’s clearly a twist being set up — and to be fair that, too, is almost ridiculously transparent — there’s a fine line between good story and pointless misery. Batman #58 is sadly the latter. — Nicole Drum
Rating: 2 out of 5
BORDER TOWN #3
Even as Border Town engages in the “work” of establishing a series, providing elements of lore and a status quo for its core group of protagonists, it maintains an incredible level of excitement. Each new element of the series is delivered with generous details, making something as simple as rituals with salt and spray paint worthy of careful observation. The supernatural elements are nothing short of transcendent, with depictions of gods and monsters dazzling the imagination without ever losing track of the story. In spite of the towering history and stunning creatures present in this issue, it still finds power in a tense standoff in its final pages, one that acknowledges very real threats in 2018. Border Town continues to astonish on every page and shows no sign of stopping. — Chase Magnett
Rating: 5 out of 5
CURSE OF BRIMSTONE #8
This is a strange situation where the comic seems to be going in two different directions in terms of quality. The writing for Curse of Brimstone somehow continues to get worse, as both the characters and story become harder and harder to actually care about. On the other hand, the art for the series just gets better and better. There’s a realism at play that will, at times, blow you away. This is a fun book to look at, don’t expect the same level of entertainment from the story itself. — Charlie Ridgely
Rating: 2 out of 5
DEATHSTROKE #37
Priest taking Slade Wilson into Arkham is one of the most interesting things to happen to the character as of recent, and for that you have to offer applause. As with any storyline set in an insane asylum, you always run the risk of the end result appearing convoluted as the writer tries tie dozens of loose ends together. That’s not necessarily what’s happening here ,but two issues into this arc and I’m not quite sure they’re executing the idea as well as they could have. On the bright side, I find the strong, thick, inking job by Jason Paz and Sean Parsons rather appealing. In fact, it almost creates an old school Allred-esque effect. — Adam Barnhardt
Rating: 3 out of 5
DREAMING #3
Even as The Dreaming takes its time in detailing the nature and history of its new addition, the comic remains on pace without disasters mounting and characters evolving, often in strange, new directions. Evely’s compositions are never overwhelmed by the sheer enormity of this setting and each caption is carefully chosen to deliver what is needed and no more. The result is an experience that sucks readers into splash panels and intricate montages of American history. It builds tension incredibly well and releases it in ways that will be surprising and maybe even delightful for old fans of The Sandman. In any event, The Dreaming is a case study in how to tackle big ideas without alienating readers. — Chase Magnett
Rating: 4 out of 5
GREEN ARROW #46
The Bensons’ run on Green Arrow — which is arguably being cut way too short — begins to reach its third act in this recent issue. After the wonderful and heartbreaking events of last issue, this focuses back on Oliver and Dinah’s fight against The Citizen, with the answers that are presented plunging things into surprising territory. It continues to prove how well the Bensons can handle the dichotomy of Green Arrow and Oliver Queen, and Black Canary is given some awesome moments as well. Peralta’s art also helps this issue shine, striking the perfect balance between cartoony and authentic. — Jenna Anderson
Rating: 4 out of 5
DC #2
GREEN LANTERN #1
For being one of DC’s more popular characters, Green Lantern has felt a little directionless lately, but thankfully those days seem to be in the past. Morrison and Sharp deliver a Green Lantern that feels pulled from a more whimsical era but with the modern sensibilities and storytelling we’ve come to expect from modern superhero comics, and we couldn’t think of a better combination. If you’ve been waiting for a reason to give the ring-slinger another chance, this is the bright light you’ve been waiting for. — Matthew Mueller
Rating: 5 out of 5
HARLEY QUINN #53
What happens when you take one of the most inept villains yet and put her up against one of the more obnoxious sometimes-heroes in DC? You get a weirdly enjoyable Harley Quinn #53. The issues pits Minor Disaster — daughter of Major Disaster — against Harley Quinn, though the heroine is unaware of it and while the villain’s “evil” is kind of weak, it sets up for some pretty sharp commentary on the nature of social media and the weird world of influencers. It’s a topic that other titles — I’m specifically thinking about Image’s Crowded — have handled with perhaps a more crisp lens, but there’s a humanity here that elevates the issue. Minor Disaster in particular is beautifully done; a vulnerable young woman desperate to gain approval no matter what the cost. It’s truly an outstanding read, and the art is pretty great too. — Nicole Drum
Rating: 5 out of 5
JUSTICE LEAGUE #11
While it marks a notable improvement from Justice League/Aquaman: Drowned Earth #1, the second chapter in this crossover is still drowning in content. Each thread of the story shows promise, and there’s not one that fails to have a stand out moment. Whether it’s Batman’s dedication in the midst of incapacitation or Aquaman and Wonder Woman’s journey into mystery, this is a comic packed with good ideas. There is a tension between the space given to each and their impact though, as every great splash or key action is balanced by too much explanatory efforts in captions or dialogue. Given more space to breathe, it’s possible to see this story hitting the same highs as Justice League #11, but the pressure is too great for just one issue here. — Chase Magnett
Rating: 3 out of 5
NIGHTWING #52
Dick Grayon’s — pardon me, Ric Grayson’s road to recovery has been a dark, gritty affair, that’s for sure. While the past few issues had been firing on all cylinders, Nightwing #52 is a slight step back as the action cools down and Ric is left to squatting in whatever houses he can manage. The book ends with quite the twist that offers a promising future; it’s intriguing enough to keep this title on my pull list. Chris Mooneyham takes over the art on this issue, and the artwork is perfectly befitting for a tale set in Bludhaven. Imperfect and gritty, the unique style just makes sense. — Adam Barnhardt
Rating: 4 out of 5
SIDEWAYS ANNUAL #1
The Sideways Annual features a lot of Grant Morrison characters — the Seven Soldiers, the Sheeda, and even the blue jeans and T-shirt Superman from the early days of the New 52. And the story certainly feels like a Grant Morrison epic, with the metaphysical and bizarre encroaching on but not overwhelming the plot. However, while Morrison clearly had a hand in this issue (his name’s on the cover after all), his contribution seems limited solely to the plot. The scripting and dialogue is atrocious; the comic is overstuffed with bland word bubbles and features some horrifically generic panel choices. This is a weird comic, as it mixes the wonderful weirdness of Grant Morrison with dull and generic creative choices, and it goes together like oil and water. — Christian Hoffer
Rating: 2 out of 5
SUICIDE SQUAD BLACK FILES #1
With the introduction of Suicide Squad Black comes a handful of entertaining short stories focusing on different segments of the new squad. While I found the introductory story featuring Katana dull at points, the final story featuring Klarion the Witch-Boy really stood out. Though the art began to blend together story to story, Jai Nitz resonated with me well. With a strong narrative by El Diablo, these anti-heroes ended up facing the biggest opponent of all: an internal moral dilemma. While characters like Klarion and El Diablo really shined in the opportunity they were given, DC stalwarts like Amanda Waller continued to be one-dimensional. In Nitz’s defense, I’m not sure Waller can ever be written any other way. — Adam Barnhardt
Rating: 3 out of 5
UNEXPECTED #6
The Unexpected is an example of how things can go awry when superhero comics take a shared continuity for granted. There are so many pre-existing elements to this story and every one of them is provided with an expectation that readers will already care. Concern for the grand stories of Grant Morrison or recent events in “Metal” are explained in the most perfunctory nature, if at all, and an existing love for these tales is the only way to find any buy-in to what is happening on the page. Characters are flimsy and the action is steeped in lore that has not actually been grounded in the pages of The Unexpected. There is nothing to be signified by all of this storm and fury; keep it. — Chase Magnett
Rating: 2 out of 5
UNITED STATES VS MURDER INC #3
United States vs Murder Inc #3 is now knee-deep into the core premise of the comic: a fight between the United States government and the mob families that semi-secretly actually run the country. But while this series started off strong, it’s faltered a little bit with each issue. Part of the problem is the weird switch of focus characters from the female hitman Rose to her scarred partner Valentine. While the comic spent nearly two issues building up Rose, this issue puts the focus on Valentine — a character that we hypothetically should care about but have no real reason why to do so. These guys are all mobsters, and having a scar over an eye and softly smiling at the assumed main character of the book isn’t enough to make readers figure a character isn’t rotten too. Luckily, Bendis and Oeming still know how to craft an entertaining comic, so even if the point-of-view switch is jarring, I still want to see where this comic goes. — Christian Hoffer
Rating: 3 out of 5
Marvel #1
ASGARDIANS OF THE GALAXY #3
This book’s biggest strength continues to be the eclectic personalities that make up the team, who keep things afloat even when other aspects of the book stall. The book starts off a bit slow, dedicating significant space to simply defining Nebula’s known jealousy of her sister Gamora. It seems rather redundant, but things pick up once the actual team is back in focus, and the individual backstories of members like Skurge and Throg are welcome as well, since Cullen Bunn keeps them relatively tight. The visuals are a bit of a mess though, with several styles not really coalescing into a seamless whole. The Skurge section is gorgeous, and Matteo Lolli’s Throg is a winner, but overall there just isn’t much that stands out. There’s still some good stuff here, but it feels a bit cluttered by other less interesting elements. — Matthew Mueller
Rating: 3 out of 5
CHAMPIONS #26
Champions was already a great comic, but a trip to Weirdworld has made it one of the wackiest, most enjoyable reads on the shelf. The wild character designs for the new versions of the Champions are absolutely stunning, not to mention a ton of fun. The characters still have all of the heart that makes them so memorable, but wrapped up in a mysterious, middle-aged story, the likes of which we haven’t had in a while. No doubt about it, this is a really great read that will keep you engaged at every turn. — Charlie Ridgely
Rating: 5 out of 5
DEADPOOL #6
This installment might be Young and company’s simplest Deadpool story yet, but that’s exactly why it works so well. The issue sees Deadpool feeling a bit down in the dumps, only to be frequently interrupted by a ridiculously named masked villain who wants to kill him. The end result is admittedly a little silly, but effective, with Hepburn’s art really getting a chance to shine in this issue. In a roundabout way, this issue shows that Wade can be a genuinely funny character even if he is silent for most of the issue. — Jenna Anderson
Rating: 4 out of 5
DEATH OF INHUMANS #5
This event never loses its overly serious tone, but still manages to undermine itself by undoing much of what occurred during this story. That might be for the best from Marvel Comics’ perspective, but as a reader it seems like much ado about nothing. Imperious narration on prophecies and destruction pan over a climactic sequence that is anything but climactic. Battles read like a montage with minimal impact in any given revelation or moment. It’s unclear what Death of the Inhumans thought it was aiming for, but at its end there’s little to be said for even its misguided start. This is a series that alters very little and does so in an incredibly tone-deaf fashion. — Chase Magnett
Rating: 2 out of 5
DOCTOR STRANGE #7
Doctor Strange in space was a really fun, enjoyable comic series. However, two issues into this “Two Doctors” arc, a lot of that fun is already starting to disappear. Strange chasing his body double isn’t as much a mystery as it is an exhausting page-filler. The side characters keep things interesting, as Bats and Kanna remain the best part of the series. — Charlie Ridgely
Rating: 3 out of 5
ICEMAN #3
This five-issue Iceman revival is only three issues in and already it seems to be spreading itself pretty thin. This issue sets up a Spider-Man and His Amazing Friends reunion that feels surprisingly perfunctory. There’s some relationship talk that opens and closes the issue and a monster fight in the middle, but none of it feels particularly inspired, insightful, or interesting. Nothing about it is particularly awful either, but it lacks the chemistry of opening issue team up between Iceman and Bishop and the weight of the second issue with Emma Frost. Maybe it is time we let Iceman rest after all. — Jamie Lovett
Rating: 2 out of 5
IMMORTAL HULK #8
Superhero comics rarely surprise, especially ones centered on characters with decades upon decades of existing stories. Immortal Hulk #8 delivers a moment that caused this reviewer to drop the book and shout. It is a testament to everything that has been done in this series so far and what makes it one of the best monthly comics of the moment. Elements of horror are delivered in the most impactful manner possible and in an excruciatingly creative fashion. While the shock is noteworthy, it also ties in perfectly to the more insidious themes that are slowly being unraveled in each issue, and even offers an homage to Poe. This is a stunning issue and yet another reminder of why Immortal Hulk is the definition of a comics must-read in 2018. — Chase Magnett
Rating: 5 out of 5
Marvel #2
INFINITY WARS #5
There is a fractured nature of the narrative of Infinity Wars, and it’s not one that appears purposeful. The team that battles Gamora is largely disconnected from the battle that occurs within the Reality Stone, and all of that feels apart from the first two issues of the series. Each element brings some charm with odd pairings, but they lack context to feel meaningful. Like a clip show, every good beat of action or character interaction is easily forgotten as the story sidles onto the “next thing.” Even as it threatens to unmake most of reality, Infinity Wars never delivers a consistent purpose as it winds its way towards whatever sort of arrangement will compose its finale. It’s difficult to feel concerned about all of that, though. — Chase Magnett
Rating: 2 out of 5
MARVEL KNIGHTS 20TH #1
As the Marvel Knights line prepares to relaunch with a new generation of creators at its helm, Marvel Knights 20th #1 provides an excellent starting point. It cherishes the many characters who define this world of superheroes, but never stares too hard into the past. Matt Murdock and others search for their identities alongside the creators bringing this issue to life, and they each find some sense of footing by the end of the issue. This is a comic about the essential elements of legendary characters and the excitement of exploring them in a new setting. If the rest of Marvel Knights 20th and the new Marvel Knights series to come can maintain this momentum, then it has every bit as much potential as its inspiration. — Chase Magnett
Rating: 4 out of 5
MARVEL SUPER HERO ADVENTURES CAPTAIN MARVEL #1
Marvel Super Hero Adventures knows what it does well, and it’s hard not to smile at the results. Both stories offer some humorous moments, though the Spider-Man and Thor team-up is the clear standout here. It’s a genuinely funny and rather adorable story of Thor trying to find his hammer, and it just hits on all the perfect notes with a delightful visual style to match. Even the newspaper strip parodies are entertaining, though we do wish a book with Captain Marvel in the name actually had, you know, Captain Marvel. — Matthew Mueller
Rating: 4 out of 5
RUNAWAYS #15
Even while advancing the team’s fight against the Gibborim, this issue is given a chance to tell an interesting, and kind of standalone, story. Without giving away too much, let’s just say that the powers of one of the Runaways are given their own sort of backstory as that particular team member has to possibly make an impossible choice. The end result that Rowell crafts goes to some really heartfelt and intriguing places, all of which is elevated by the return of Anka’s wonderful art. — Jenna Anderson
Rating: 4 out of 5
SHATTERSTAR #2
Shatterstar #2 is a mild improvement over the first issue, in that we at least get some solid action from the two characters that Shatterstar fans presumably want to see. While the droll omniscient narration is still an annoying presence on every page, it’s easier to overlook when watching Shatterstar and Rictor fight their way through intergalactic gladiators. However, this comic still suffers from “generic brooding protagonist” syndrome, and it’s a shame, because Shatterstar is a lot more interesting than just another dude with love life problems and a dark past. — Christian Hoffer
Rating: 2 out of 5
SPIDER-GEDDON #3
The first half of this issue is spent narrating the various spinoff series in the “Spider-Geddon” event and reiterating what has already occurred. The work of a recap page is spread across so much art with barely any story to be told. Even when some events that could be characterized as action actually arrive, the explanatory dialogue maintains its onslaught and slows the pacing so much as to kill any opportunity for excitement to occur. There are stakes in this story, but they have little chance of making an impression as it would be much more enjoyable if the comic ended rather than continuing to explain at length every event that could be witnessed in the panels. — Chase Magnett
Rating: 2 out of 5
STAR WARS #56
Luke, Leia, and Han find themselves on the run after their last encounter with the Empire, forcing them to enlist Sana Starros to help them rendezvous with the rest of the Rebel Alliance. After taking some evasive action, the trio have to take refuge on a seemingly abandoned moon, only to lead to a surprising twist of fate. The most recent arcs in the Star Wars title have been dramatic and full of death-defying situations, with this first issue in a new storyline hinting at the return to a more swashbuckling tone for our trio of heroes. The playfulness of the narrative is heightened with the debut of Andrea Broccardo as the artist, embracing a more playful and cartoonish style to reflect the action and adventure depicted in the storyline. It’s quite early in the arc, but we are already enjoying this return to form for the series. — Patrick Cavanaugh
Rating: 4 out of 5
Marvel #3
STAR WARS HAN SOLO IMPERIAL CADET #1
Solo’s thieving ways catch up with him, forcing him to confront crime lords or enlist in the Imperial Academy, choosing the option which has some hope of survival. As we can imagine, Solo not only doesn’t fit in with his commanding officers but also manages to rub his fellow cadets the wrong way, hinting that his journey in the academy is going to be far from a smooth ride back towards Corellia. The first half of this issue covered the opening scenes of Solo: A Star Wars Story, yet when that film made a quick jump forward in time, this book shows us things like Solo trying to get a better haircut and his bickering with his superiors over the futility of their military exercises. With much of Solo feeling like it gave audiences unnecessary information, this issue left us wondering how much more these years in the character’s life could have been so action-packed that they are deserving of an entire new series. If a Solo-focused prequel to Star Wars: A New Hope felt unnecessary, this book feels like a prequel to a prequel of A New Hope, feeling even less relevant. This issue wasn’t necessarily bad, per se, but felt wholly irrelevant and made it difficult for us to get invested in a journey that will likely turn out OK for the main character. — Patrick Cavanaugh
Rating: 2 out of 5
TYPHOID FEVER X-MEN #1
Typhoid Fever X-Men feels like it was a failure from the word go. Putting Will Robson’s cartoon-like style on a story dealing with a pyrokinetic schizophrenic throwing flaming pigeon corpses at people was an odd choice. Clay McLeod Chapman’s writing doesn’t work much better as he seems to have little if any grasp on the voices of the X-Men characters used in the issue. They all sound alike and show little in the way of personality. There’s an attempt to do something interesting with Typhoid Mary throwing the characters into mental landscape based on soap opera, but even that feels tiresome. This one is hard to recommend. — Jamie Lovett
Rating: 1 out of 5
WEAPON X #25
Weapon X #25 sends things to hell. Literally. But despite the fact that the road there is paved less with good intentions and more with some pretty insane leaps and lots of fighting, it still makes for an interesting story. The trouble, however, is that it’s a little messy and hard to follow. There is a lot going on in this issue to the point that the team feels overcrowded and distracting. There’s also the issue of the artwork. Like most of the previous issues of Weapon X, the art is hit or miss at best, and this issue is more of a miss. If you can get past the uneven art and the overcrowded cast, though, there’s some not-so-subtle commentary about political campaigns that’s a nice touch in an overall barely average issue. — Nicole Drum
Rating: 3 out of 5
X-23 #6
After a somewhat serious and heavy previous arc, X-23 #6 gives readers something they don’t often get in titles involving Laura: fun. Mariko Tamaki delivers a lighthearted, Gabby-centric issue that may well be laying the groundwork for a larger story down the road but does so in a way that is interesting, curious, and a genuine delight to ready. X-23 is one of the best books Marvel has right now, and “Operation Kindergarten Clone” is just further proof of that. It’s a solid reminder that you can tell an enjoyable, meaningful story while having fun at the same time. Treat yourself and read it. You’ll be glad you did. — Nicole Drum
Rating: 5 out of 5
X-MEN RED #10
X-Men Red enters its climax with an issue that’s slow to start but goes big in its finish. Roge Antonio’s artwork isn’t exactly a perfect fit. He does well with the big, swooping, bold moments, but struggles with the subtler ones. His characters’ facial acting is so overly expressive that it becomes inadvertently comical, and some of his body language is awkward. Tom Taylor’s script starts slow here, but before the end, he’s managed to toss out another big, ridiculous idea that no one was likely to have seen coming and that will have will have fans ready for the big finish. — Jamie Lovett
Rating: 4 out of 5
Other Publishers #1
BATTLESTAR GALACTICA CLASSIC #1
My experience with Battlestar Galactica starts with Syfy’s most recent reboot, so I haven’t had the pleasure of watching the original series. However, the Battlestar Galactica Classic comic makes me wish that I had. The comic reads and feels like a classic sci-fi TV show, only without the limitations of a 1970s TV budget. The art is clean and avoids any obvious photo tracing, which is a common issue with licensed series. I expect that Battlestar Galactica fans will enjoy this series, along with readers looking for some light sci-fi action. — Christian Hoffer
Rating: 4 out of 5
BLACKBIRD #2
The second issue of Blackbird is just as — if not more — gorgeous than the first, and weaves a genuinely interesting mystery. Now that we know the basics of Nina’s backstory, this issue really gives her a chance to shine, as she’s sucked into the magical world of the Paragons. Humphries and Bartel are wonderful at weaving their unique world, which narratively and aesthetically feels like the best mix of Saga, Wicked + Divine, and scrolling through the coolest people’s Instagram accounts. — Jenna Anderson
Rating: 5 out of 5
CROWDED #4
Crowded continues its run of excellence this issue. Issue #4 digs a bit deeper into its examination of how hyper-connected social media-based culture impacts not just society but our humanity as well, and this time, it’s not necessarily through Charlie and her plight. Instead, we get a sharper look at one of the more famous people hunting her. It’s a welcome and valuable layer of depth to the issue that makes not just the story richer, but more thought-provoking. The issue balances that depth out by also fleshing out Vita and Charlie just a bit more as well and, just because it can, ends off on a cliffhanger that will leave you wondering just how the story can move forward from there. — Nicole Drum
Rating: 5 out of 5
DEAD RABBIT #2
The rage that informed the debut of Dead Rabbit continues to stand out as the baseline tone of this series as it continues. There are moments of tragedy, shock, and humor, but each of them is informed by terrible circumstances that continue to mount and burning resentment found in their unfairness. The result is a comic that feels relevantly entertaining, even a decade after the financial crisis. Bad choices build upon one another and lead to a heist that is thrilling due to both its successes and mistakes. Even in this amplified world of master thieves and ominous mobsters, there’s a strong strand of truth that makes every joke and injury hit home. — Chase Magnett
Rating: 4 out of 5
DEATH ORB #2
Death Orb #2 is essentially more of what came in the first issue. It remains a Mad Max-esque post-apocalyptic tale involving a hero out for revenge against a powerful cult leader. The artwork still delivers a Sean Gordon Murphy-esque vibe, but it also remains slow and thin, lacking the depth of a well-built world or a kinetic energy of a fast-paced action story. As such, it just sort of drags from cover to cover without giving the reader much to latch onto. What action is included is competently done, but there’s just not enough substance or flair in this comic to be truly memorable. — Jamie Lovett
Rating: 2 out of 5
DOCTOR WHO: THIRTEENTH DOCTOR #1
Titan’s Doctor Who comics regenerate this week with a new first issue from a new creative team. Writer Jody Houser instantly captures the voice of Jodie Whittaker’s Eleventh Doctor, and the series benefits already from having three companions riding in the TARDIS with the Doctor, allowing for more varied interactions and perspectives. Rachel Stott tries a bit too hard to recreate the exact likenesses of the actors who play the characters on television, which causes a kind of uncanny valley effect, but her original designs for characters like the menacing monster at the heart of this issue’s mystery are stellar and at home in the Doctor Who universe. Her layouts and angles are also varied and exciting rather than falling into the trap of slavishly recreating the television experience. If you’re a fan overflowing with love for the new Doctor, this is a great place to get an extra dose of Doctor Who. — Jamie Lovett
Rating: 4 out of 5
ELVIRA MISTRESS OF DARK #3
Vlad’s pursuit of Elvira takes the duo to the late 19th century and on a collision course with Bram Stoker. Rather than aiming to terrorize Elvira, Vlad finds himself captivated by a different woman, with his soliloquies allowing the Mistress of the Dark the opportunity to learn the real situation behind the time-traveling game of cat and mouse. This issue marks the first time the series begins to feel redundant, as it began repeating the same structure displayed in the first two issues (including some fourth wall-breaking bits of dialogue from Elvira herself referencing the repetitive nature), though the final act of the storyline offers some insight into what’s causing the chaos. With those redundancy problems aside, the series continues to deliver Elvira’s signature antics, from references to all corners of the horror genre and her hilarious double entendres. — Patrick Cavanaugh
Rating: 4 out of 5
Other Publishers #2
EMPTY MAN #1
The most interesting choice in this new Empty Man series is focusing on the virus as a disease. The first miniseries established a strange mythology where the virus seemed to be guided by a sentient force and could create terrifying monsters at will. This new issue largely avoids all this, re-framing the Empty Man virus as a disease with grotesque side effects with no known cure. This is probably due to the creative team prioritizing reestablishing the book’s setting and introducing new characters in the first issue, but the comic unnecessarily is holding back its main hook. The Empty Man virus isn’t just a disease; it’s something entirely different and much, much more terrifying. That’s not communicated very well in the first issue, and it’s to the book’s detriment. — Christian Hoffer
Rating: 3 out of 5
FARMHAND #5
Farmhand takes a very dark turn as it concludes its first arc. There are no shocking cliffhangers; in Guillory’s approach tension is built through the revelation of new information. Shades of green become increasingly important as the elements of body horror mount across several scenes. The history of this family drama is provided with some new context, just enough to make readers cringe at what it could mean. This is the end of the beginning and it is not framed as climax. Instead, the characters and their various conflicts are all clarified in a big picture approach, one that makes it clear things are about to get far worse. Farmhand remains one of the best news series of 2018 and one whose return will be eagerly awaited. — Chase Magnett
Rating: 4 out of 5
GIANT DAYS #44
Valentine’s Day might be a ways away, but this latest issue of Giant Days will probably manage to get you in the spirit. The interconnected stories of this issue each have their own delightful qualities, even if they occasionally peter around here and there. The art is just as adorable as ever, with some panels that have a surprising amount of depth. Overall, this issue has quite a lot for fans to enjoy. — Jenna Anderson
Rating: 3 out of 5
JAMES BOND 007 #1
James Bond is one of those characters whose stories really are better suited for a movie or novel than a comic book, but that said, Greg Pak does a solid job of bringing an interesting spy story to the page. This first issue sets up a pretty standard Bond story — spy mission, unexpected complication, player of mysterious identity — which is interesting enough to read, but it’s Mark Laming’s art that is the standout here. Paired with Triona Farrell’s downright vintage, James Bond #1 is almost more enjoyable to look at than to read. Overall, the issue is a pretty average read and enjoyable if you’re a James Bond fan, though the mystery the issue sets up isn’t likely going to hold the attention of those without some sort of genuine interest in the character from movies. — Nicole Drum
Rating: 3 out of 5
KICK-ASS #9
Kick-Ass continues to toy with the concept of gang warfare and the value of a warlord without seriously contemplating what these ideas mean, especially given the national and racial context of the series’ landscape. It is all in service to the “cool moment,” one that is delivered with a knife in this issue. It fails to actually be memorable as it could be easily compared to a variety of other stories with greater impact. The series continues to disappoint as it builds upon a base of sand, one that claims big ideas, yet refuses to grapple with them. — Chase Magnett
Rating: 2 out of 5
OUTER DARKNESS #1
Chew co-creator John Layman and Afu Chan try to blend epic sci-fi with horror in Outer Darkness. Rather than going the route closed-quarters creature horror like Alien, Outer Darkness is something more like Event Horizon, blending space opera, albeit gritty space opera, with stygian horror. Chan’s style make this look unlike most any other science fiction book on the shelves, and the world being built that involves space ghosts (not Space Ghosts) and ships powered by enslaved gods is ripe with possibility, but it remains to be seen if they’re treated as more than a different shade of extraterrestrial. Where the issue fails is in providing a compelling introduction to the characters, who so far feel a one note and flat. In particular, the main protagonist is very angry, but the issue provides only the vaguest hints as to why, making it hard to empathize with his anger. Still, it’s a good-looking comic that involves emergency space exorcisms, so it earns some leeway to grow. — Jamie Lovett
Rating: 3 out of 5
ROAD OF THE DEAD #1
Serving as a prequel to a film that George Romero had co-written before he died, Road of the Dead: Highway to Hell introduces readers to a group of characters who hit the highway in the wake of a zombie uprising, seemingly with a cure to develop. The survivors quickly learn that the living undead are the worst of their problems, as even having a tank at their disposal won’t stop human threats from trying to intervene in their mission. Details about Romero’s Road of the Dead have been kept under wraps, so it’s unclear how that film would have offered a fresh perspective on a well-worn genre. After one issue of this prequel to that planned film, there’s little that the book has done to differentiate itself from the countless other zombie books out there. The survivors are all relatively stereotypical archetypes from every post-apocalyptic tale, ultimately finding conflict from predictable sources. The art and compositions from Drew Moss, however, does seem to take inspiration from Romero’s classic films, which at least allows the book to look different, and better, than a lot of other zombie fare. With the heavier bits of exposition out of the way, hopefully the next issue can offer readers something deserving of Romero’s legacy. — Patrick Cavanaugh
Rating: 3 out of 5
Other Publishers #3
SEVEN TO ETERNITY #12
If I had to choose one word to sum up Seven to Eternity #12, it’d be beautiful. Though this issue starts off slow — painfully slow at that — it eventually chugs along to a readable pace before exploding into an action-packed thriller in the last third of the book. Rick Remender’s ability to write a strong narrative for the title’s protagonist is obvious throughout as it tackles the ages-old question: would you steal bread to feed your family? — Adam Barnhardt
Rating: 4 out of 5
SPARROWHAWK #2
Sparrowhawk has made quite the impression in a short span of time, and that momentum only continues to build in issue #2. A new acquaintance reveals intriguing layers to explore in regards to both the state of this surreal world as well as Artemisia’s role in it, as well as introduces welcome tension into her relationship with Crispin. Writer Delilah S. Dawson keep you guessing constantly as to who Artemisia should trust, and artist Matias Basla continues to expand this imaginative world in new ways. Sparrowhawk has quickly grabbed our attention, and shows no signs of letting go anytime soon. — Matthew Mueller
Rating: 5 out of 5
SPAWN #291
Much of Spawn #291 reads like an illustrated Wikipedia entry. Spawn explains his history and the plot of the current story to his sidekick with neither individual possessing a distinctive voice. They reference superhero comics to make sure everything is clear, before arriving at a brief action sequence stuck onto the end. This might be more forgivable if it was cast as an entry point for new readers, but it is a flaw that is present across many of the series recent issues and one that continues only to deepen. Even the final action sequence is set up with a moment that is not even depicted on the page, clarifying a complete disconnect between artwork and the waves of narration. At this point it is fair to ask why Spawn is even being told in the form of comics. — Chase Magnett
Rating: 1 out of 5
STEVEN UNIVERSE HARMONY #4
The penultimate issue of this miniseries really finds its groove, and packs a pretty relevant punch along with it. The visuals are just as gorgeous and pastel-hued as ever, and the rock-and-roll sensibility of the plot is a delight. The jump from lengthy dialogue to almost-worldless action feels a little drastic, but the overall read is still enjoyable enough. All in all, there’s a heartfelt message about fighting for people you might not even know, something that feels very fitting in this week. — Jenna Anderson
Rating: 4 out of 5
STAR WARS ADVENTURES DESTROYER DOWN #1
Set before the events of Star Wars: The Force Awakens, this series focuses on Rey’s time on Jakku as a scavenger, accepting a mission to find a mythical Imperial Star Destroyer that likely possesses vast riches. Rey proves that she’s the best scavenger, not only with her quick thinking but also her courageousness in the face of stories about the ship’s ghostly crew. The backup story begins to chronicle the last days of the ship, delivering a brief sequence of space combat, teasing the destructive power of the ship. Personal favorite scenes in The Force Awakens are those following Rey’s exploits on Jakku, making the stories about her scavenging adventures of particular interest, showing that she was a brave hero before realizing her abilities with the Force. This series might not be for everyone, though Rey fans are sure to be excited by witnessing more mundane adventures unfold. — Patrick Cavanaugh
Rating: 4 out of 5
UMBRELLA ACADEMY HOTEL OBLIVION #2
Umbrella Academy: Hotel Oblivion is back with a new installment, and the long-awaited series makes a noticeable shift in pacing with its second issue. Readers are guided through a series of vignettes as members of the Umbrella Academy go about their own business ahead of an important anniversary. The interpersonal drama explored in these snippets will satisfy longtime fans, and Gerard Way intricate narrative feels self-assured in the best of ways. Still, the issue’s final pages feel like they’re missing some sort of action and such uneven grounding will leave readers a bit put out. — Megan Peters
Rating: 3 out of 5
WALKING DEAD #185
Every so often, The Walking Dead produces a “catch up” issue, which is what happens here in #185. The main story of Rick’s time in the Commonwealth, combined with Dwight’s move for revolution, is actually compelling, even though it’s already been done in this series. However, a lot of the issue is simply filler story. We don’t need an entire subplot of a teenager complaining about not having sex. It feels fake and forced, and does nothing but distract from the actual meat of the book. In other words: Kirkman needs to do a better job of trimming the fat. — Charlie Ridgely
Rating: 3 out of 5
WICKED & DIVINE FUNNIES #1
This one-shot could not have arrived a moment earlier. The many vignettes and gags packed into this issue rely on a fandom formed and solidified across the past five years. While there are some inside jokes, most will be accessible to anyone who has read the series to date. The issue is that humor plays heavily on an understanding of who the characters are and the core themes of their story. A wide range of artists deliver a variety of comedic tones to varying effects. They all play off of this very popular story in different ways though and are each bound to find some smiles within the existing audience. As The Wicked + The Divine approaches its final story arc this December, “The Funnies” makes for a loving farewell enriched by a deep knowledge and appreciation of its source. — Chase Magnett
Rating: 4 out of 5
WITCHBLADE #9
Up to this point, I’ve really enjoyed the new Witchblade series. It has very deliberately avoided the mythology of the original series and focused mostly on building new characters and relationships. However, the second arc has struggled a bit, trying to do too much at once. In addition to the continued demonic presence in New York, the new Witchblade Alex is also dealing with a mysterious corporation called NGEN that wants the Witchblade for an unknown purpose. There also might be a third party at play… although it’s a bit unclear based on the end of the issue. Witchblade is suffering from trying to throw too much at the readers at once, causing critical details to get lost in the process. — Christian Hoffer
Rating: 2 out of 5
WWE #22
AJ Styles has never had an issue throwing down in the ring, but WWE #22 gives you a welcome glimpse at the person behind the ability. John Cena is the perfect foil for AJ, and this blending of kayfabe and real life feels like a natural extension of the storyline that took place onscreen. In fact, writer Dennis Hopeless utilizes Anderson and Gallows in a way that WWE TV has had some trouble with, and their interactions with Styles only serve to reveal new layers of the WWE superstar. It helps when Serg Acuna is nailing the likenesses perfectly, only serving to immerse you even more. If you enjoyed this feud before, you’re going to love it even more now. — Matthew Mueller
Rating: 4 out of 5
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