Welcome to this week in comic book reviews!

The staff have come together to read and review nearly everything that released today from Batgirl #21 to X-O Manowar #13 and all that falls between. 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 Mother Panic A.D. #1, Daredevil #600, and Mighty Morphin Power Rangers #25. 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 #21

Barbara’s latest mission leads her to a new mystery — and a new partner, in the form of Commissioner Gordon. This issue might have a few weak moments, but it sneaks up on you, and ends up delivering a delightful father-daughter tale. The real highlight is watching their dynamic unfold, both with and without Barbara’s secret identity. And while a similar sort of foe has made its way into other DC media — Catwoman and Arrow come to mind — this issue lets it unfold in an unique, fun way. — Jenna Anderson

Rating: 3 out of 5

BATMAN BEYOND #18

Like many issues in this series, Batman Beyond #18 is a totally lackluster affair. The art can be fun at times, and the dialogue is never too bad, but the tone of the book never really feels right. Part of the problem is that Beyond works so well as an animated series, and its style of action doesn’t exactly translate onto the page. The bigger issue is that the majority of the story is just sort of boring. There are about two moments in the issue (a big plot twist and final-page reveal) that are worth reading, but it’s a chore to get to them. 20 pages of fluff and two pages of actual, high-quality content isn’t really worth the time. — Charlie Ridgely

Rating: 2 out of 5

DARK NIGHTS METAL #6

Dark Nights Metal #6 is a thing of beauty at times, but the weakest part of it happens to be the element it owes its origins to: metal. The book can get bogged down in this at times, at one point referencing three different metals in one swoop. The delays have genuinely hurt the book’s momentum, but Scott Snyder and Greg Capullo deliver some shining moments that really rise above the rather convoluted story. This is a popcorn film in the best possible way, with creative and intense action sequences and some shining platforms for heroes like Batman, Kendra Saunders, Plastic Man, and Hawkman. The possibilities the story’s ending opens up are worth the visit alone, but if you can look past the flaws you’ll find plenty to enjoy in this crazy and gorgeous final issue. — Matthew Mueller

Rating: 4 out of 5

DEMON HELL IS EARTH #5

Andrew Constant’s latest installment to this hellish adventure is loaded with fantastic elements as our heroes attempt to dethrone a demon king. The pillar of a quality story is high stakes with a convincing risk of characters dying or being defeated, which Constant puts on display even when his heroes have the upper hand. Now, backs against the wall, we’re back to see how it all wraps up next issue. — Brandon Davis

Rating: 4 out of 5

DETECTIVE COMICS #977

Detective continues to be one of the stronger books DC puts out, as James Tynion IV finally reveals what Batwoman does in the future that turned Tim Drake (also of the future) against her. The issue is helped along by the dialogue between Ulysses and Drake, who play off each other quite well thanks to Ulysses’ pseudo-admiration of him. That said, the issue’s ending is a bit predictable, and while the issue is impressive visually for the most part, it was a bit surprising to see Batwoman’s impossibly arched back in the opening pages. A solid issue, but not as good as issue #976. — Matthew Mueller

Rating: 3 out of 5 

DOOMSDAY CLOCK #4

Doomsday Clock #4 is arguably the most exciting and interesting issue of the series since #1 — even if the big “twist” is kind of a dud (don’t worry — there’s another twist that really, really isn’t). The revelation of the new Rorschach’s identity is less thrilling than the solicitations want it to be, but frankly that does not detract from the fact that he remains an interesting and relatable character. The art in this issue is gorgeously rendered by Gary Frank and colorist Brad Anderson, and it becomes immediately clear that when the book — artistically and narratively — hews closest to Watchmen is when it tends to be the most interesting. The whole thing is so far removed from Watchmen by virtue of the premise that when Johns, Frank, and Anderson start to get nearer to the book they’re making a sequel to, that’s when things get really interesting because you can start to see where the divergences are, and, by analyzing them, what the priorities of the creators are. — Russ Burlingame

Rating: 5 out of 5

DC #2

FLASH #43

Frankly, the lightning effects in this book (from colorist Ivan Plascencia) are disorienting and frustrating. There are too many of them and too many speedsters giving them off…

…and it works. Whether it is the intent of the creators or not, the surreal, disconcerting vibe that all the lightning and its accompanying fluorescence gives off is really effective in setting the crazy, power-drunk, claustrophobic mood of a city frozen in time while speedsters battle it out to save the place.

This issue, though, is a lot of running in place, and for the first time in the current storyline feels like padding that could have been halved or entirely left out. While the character stuff from Joshua Williamson is good and the art by Carmine di Giandomenico is characteristically great, the Grodd story has started to show its age, and just when it seems that it may be wrapping up, we are socked with a stalling tactic that puts the reader right back where they started by the end of the issue. — Russ Burlingame

Rating: 3 out of 5

GOTHAM CITY GARAGE #12

The Garage’s final battle comes to a head in a heartwarming, satisfying way. Both portions of the issue juggle the series’ massive ensemble pretty effectively, with vignettes where everyone gets to shine. At moments, the art becomes a little too sketchy to the point of being confusing, but that’s easily balanced out by the other breathtaking and adorable panels. And the ending is so delightfully cinematic that it will hopefully leave fans content, while definitely making an argument for the Gotham City Garage world to be revisited later. — Jenna Anderson

Rating: 4 out of 5

HAL JORDAN AND THE GREEN LANTERN CORPS #41

Hal Jordan and the Green Lantern Corps is a weird comic. In the finale to the Zod/GLC feud, we finally get to see an unhindered Hal Jordan fight against Zod in a one-on-one battle. On one hand, it was great to watch Jordan use his natural environment (the sky) to his advantage. However, everything that happened after the big fight just… didn’t make sense. Both John Stewart and Jordan come away with really odd lessons from their respective encounters with the Guardians and Zod. In Jordan’s case, his conclusion is absolutely horrendous, especially given that the Green Lanterns are supposed to be space cops. I think that was the point, but honestly the end of this issue just made me scratch my head. At least this issue successfully established Zod as a universal threat instead of a Superman bad guy, and I really enjoyed Brandon Peterson’s art, as it seems like he’s a great fit for the Green Lantern franchise. — Christian Hoffer

Rating: 3 out of 5

HELLBLAZER #20

The art — from Davide Fabbri, Christian Dalla Vecchio, and colorist Carrie Strachan — continues to not entirely fit Tim Seeley’s run on The Hellblazer, making a well-written story feel a little out of sorts… and probably not in the way the team wants. The story itself is not helped by the fact that the big reveal in the final few pages was spoiled in solicitations and, to an extent, on the cover. The setup, though, is interesting, and the art itself is not bad, it just feels like it doesn’t fit the story it’s in. The visual storytelling is very strong, and everyone always feels like they are moving, even when there are pages of characters just kind of walking, talking, and not doing much. There is definitely room for this to become an interesting story that will read better in trade. — Russ Burlingame

Rating: 3 out of 5

IMAGINARY FIENDS #5

Imaginary Fiends continues its strangely satisfying blend of True Detective-style horror and the weird world of creepypasta. This issue digs into some of the backstory of protagonist Melba Li and her motivations as to why she tried to kill her best friend as a child. As Melba deals with the demons of her past, her partner Virgil Crockett finally enters the weird and dangerous world of “imaginary” monsters. Despite a couple of choppy sequences involving characters dropping to phantom injuries, I really enjoyed the creepy feel of this comic. Part of it is due to Quinton Winter’s clean coloring — most horror comics use a lot of shadows and muddled colors, but Winters keeps Stephan Molnar’s art very clean and bright. It makes the imaginary monsters and gory fights seem so much more real, and it’s a great contrast to the typical horror comic. If you like weird and creepy, Imaginary Fiends is the comic for you. — Christian Hoffer

Rating: 4 out of 5

JUSTICE LEAGUE OF AMERICA #27

Simply put, Justice League of America #27 is an average, sometimes-disappointing bridge issue that paves the way for something better. This installment begins a new story in which Ryan Choi, the new Atom, comes face to face with Chronos, who’s mission is to go back in time and steal the first ever superhero, in turn eliminating every hero that came after. The first problem here is that Chronos acts more like a wacky, Silver Age comic villain obsessed with “taking things.” His childish dialogue and absurd cackling never make the stakes or danger of the issue feel real. Then there’s the whole time-travel issue which, as you can imagine, leaves readers with more confusing questions than it does answers. You can tell that Steve Orlando is trying to do something different with this new arc, and the final pages do tease a potentially fun adventure ahead. Unfortunately, the book tries too hard to do something new that it loses itself on multiple occasions, becoming the same, over-ambitious comic story that we’ve seen time and time again. — Charlie Ridgely

Rating: 2 out of 5

DC #3

LOONEY TUNES #242

The best thing about Looney Tunes is that reading each issue is truly the comic-book form of sitting down and watching classic Looney Tunes cartoons, and this issue keeps that tradition going strong. This issue features three hilarious stories, one featuring Wile E. Coyote, one featuring Daffy Duck, and one particularly hilarious one featuring everyone’s favorite “puddy tat”, Sylvester. In fact, Sylvester’s harrowing tale of dealing not just with Tweety but with Taz and a pretty rough-looking dog is what truly makes this issue just the right dose of nostalgia done with a contemporary twist that makes Looney Tunes a fantastic read. — Nicole Drum

Rating: 5 out of 5

MERA QUEEN OF ATLANTIS #2

Leave it to Dan Abnett to somehow make Ocean Master a somewhat empathetic figure. Oh sure, he’s still an A-class jerk, but there’s a humanity to him now that he previously lacked, and it helps to turn this story into something other than a prolonged battle sequence. To be fair, that action sequence is lovely thanks to the art of Lan Medina and Veronica Gandini, but it’s nice to have that extra layer. This is issue moves the story forward significantly compared to the first, but the constant narration still takes me out of the story from time to time. Hopefully, the series will fully hit its stride next issue. — Matthew Mueller

Rating: 3 out of 5

MOTHER PANIC GOTHAM A D #1

[READ THE FULL REVIEW HERE]

In spite of the rich setting surrounding this relaunch, Mother Panic: Gotham A.D. is a series in search of a story. The past lingers with little purpose and the future primarily serves Batman, a character who doesn’t exist within these pages. As staging for a dramatic change, the work is functional, but whatever comes next must address key elements of theme and character that are entirely lacking here. Yet it’s difficult to dislike a comic that is so well presented. The world building and depictions of Violet Paige take a first issue that serves neither new nor existing readers, and make it far more visually compelling than the narrative supports. — Chase Magnett

Rating: 2 out of 5

MOTHERLANDS #3

One of the best books being printed right now, Motherlands #3 is a another wise-cracking and endlessly fun journey, paired nicely with the dramatically tense mother-daughter relationship of its conflicted heroines. Driven by their past, on display in heartbreaking flashbacks, the hunt for Selena’s son continues with a sufficiently raunchy, action-packed batch of pages. — Brandon Davis

Rating: 5 out of 5

MYSTIK U #3

Mystik U #3 is a great finale to a fun and unique DC series, or at least its first chapter. I love how Alisa Kwitney found a way to distill each character’s essence into familiar college tropes. Sebastian Faust is the bad boy, Sargon is the nerdy student, and Enchantress is the college student trying to find herself. Not only did Kwitney allow those tropes to fill in some of the characterization and motivation at times, she also subverted those plots to great effect. Making the pre-med student a necromancer or the soulless bad boy a champion of good were great twists, made possible only because Kwitney used some misdirection in her earlier issues. Mike Norton’s art is strongest in the quiet and weird moments of the comic, when the characters are trying to figure out what’s real and what’s an illusion, or pondering how to get out of their latest predicament. Unfortunately, the big fight scene at the end of the issue stumbled a bit — neither the writing nor the art, while high quality, really captured the stakes of a big battle for the fate of the school/characters. Still, I hope we get more Mystik U in the future. It was easily one of the best comics DC has put out in 2018. — Christian Hoffer

Rating: 4 out of 5

RAVEN DAUGHTER OF DARKNESS #3

Three issues in and we finally start to get some serious forward motion with Raven Daughter of Darkness, but that forward motion doesn’t quite do enough to offset the major problem with this and previous issues, and that is the bloat of exposition required to get anywhere. When Raven is questioning why her father factors into all of her stories, there’s a serious problem with the storytelling. Add to that a weird side trip to the 1906 San Francisco earthquake and this issue is a big miss for Marv Wolfman. If things don’t pick up soon, it’s going to be a long journey to get to the end of this 12-issue series. The only thing saving this issue from a lower score is that the art is, as alwayss beautiful. — Nicole Drum

Rating: 2 out of 5

DC #4

SCOOBY DOO TEAM UP #36

This issue has a lot going on — for better or worse. As the title of “Too Many Kooks” suggests, the Mystery Machine Gang’s trip to a telethon brings about a comical number of characters. The end result arguably make the story a little too cluttered, with a story that increasingly changes focus and direction. But a handful of genuinely funny jokes make this issue worthwhile. — Jenna Anderson

Rating: 2 out of 5

SILENCER #3

John Romita, Jr.’s name is on the top of the book, and it’s for good reason: the success of Silencer hinges almost exclusively on his huge, dynamic visuals (along with the rock-solid inks of Sandra Hope), his command of visual storytelling, and a frantic pace that is expressed through his widescreen, emotive artwork.

It mostly works.

The dialogue here lacks the personality that writer Dan Abnett has infused the first couple of issues with, making the whole issue feel a bit more rote and repetitive… but those adjectives make the issue sound slow and boring, and it’s neither. Thanks in large part to this being the conclusion of a short, brutal story arc, and the introduction of a surprising cliffhanger, the script works even while it’s less great than it has been.

The month’s MVP is arguably colorists Dean White and Arif Prianto, who manage to give a vibrant, widescreen life to every page that goes above and beyond the dull color palette that most books about hitmen on the run tend to have. — Russ Burlingame

Rating: 4 out of 5

SUICIDE SQUAD #38

Suicide Squad #38 is a little predictable, but delivers more of a punch than its previous issue. Last issue made it clear that The Wall is in charge, but this issue drove home exactly what that looks like, and how very, very bad a situation that is. The surprise betrayal of The Wall and that only the Suicide Squad can help is a compelling enough story to keep reading, and this issue certainly doesn’t lag so it’s a quick read, but thus far it feels like Amanda Waller is just getting criminally underused in this story. It’s a little difficult to reconcile especially as things are starting to pick up, story-wise. — Nicole Drum

Rating: 3 out of 5

TEEN TITANS #18

It’s not often that a bridge issue in a comic arc is actually exciting. Even less often can a group of teenagers be made to feel genuine and relatable. Teen Titans #18 find a way to do both. This issue really dives into the themes of being an outcast and just how important (sometimes dangerous) feeling accepted can be. It’s fitting that this comic is out the same week as Ready Player One, as the tool for happiness, acceptance, and escape comes in the form of a world of virtual reality where you can be anything you ever dreamed of becoming. It’s a dark tale the more you think about it, but it has a lot to say, and may speak to many of us more than we’d care to admit. This issue is definitely one of the stronger installments in the Teen Titans series. — Charlie Ridgely

Rating: 4 out of 5

TERRIFICS #2

The Terrifics is a good comic that would probably be an excellent comic book if it just had a few more pages to breathe. As with the first issue, Ivan Reis’s art (supplemented by Jose Luis) is the strongest part of the issue. I never really appreciated some of the subtle looks and expressions Reis puts into faces, but I think he adds a lot of unspoken characterization to the cast of The Terrifics, a quality you don’t see a lot of in modern superhero comics. Jeff Lemire’s dialogue also gives the comic a unique Silver Age feel, which is probably deliberate given that The Terrifics is a homage to the Fantastic Four. We even see the team start to fall into established Fantastic Four roles: Mr. Terrific is the dickish team leader, and Metamorpho and Plastic Man have a very Thing/Human Torch-esque rivalry. However, the breakneck plotting of the book is a bit of a letdown. Last issue’s cliffhanger receives little explanation, and there’s a massive Jack Kirby-esque monster appearance and chase sequence that wraps up in four pages. It’s one thing to leave the reader wanting more and another to blow past things so quickly that the reader doesn’t have time to care. Hopefully, The Terrifics finds some balance soon, because right now it feels like this is a comic that isn’t quite firing on all cylinders. — Christian Hoffer

Rating: 3 out of 5

TRINITY #20

There is no kind way to say this: Trinity #20 is another disappointing, boring, poorly written issue of a once-promising title. If Trinity had stopped when the heroes left Skartaris, there might have been hope for the story, but instead we’re sent off on a continuation of the same, tired, pointless story just to go looking for a missing Steve Trevor, and frankly, there is nothing in this issue to make the reader care that he’s missing at all. It’s just a lot of pointless fighting and questionable motives, and to make it even worse, inconsistent and subpar art. The dialogue is bad. The story is boring. The art is questionable at best. There is nothing in Trinity to make the reader care what happens from here. — Nicole Drum

Rating: 1 out of 5

WONDER WOMAN #43

Each issue of the current Wonder Woman run manages to accomplish very little in the least interesting manner possible. A conversation between Steve Trevor and Jason fills pages with the most trite and cliché bits of squabbling, overprotective men. Wonder Woman has a fight with two female furies that serves no purpose at all, except to fill time. These characters fill space like actors missing a cue and waiting for a stage director to save them. Even the action is presented in a tedious fashion. There’s no more obvious indictment of this issue than the fact that Darkseid is made into an underwhelming antagonist. He fills the shoes of every generic dime-store supervillain and tyrant, transforming one of DC Comics best characters into a caricature of his role. Keep it. — Chase Magnett

Rating: 1 out of 5

Marvel #1

AVENGERS #686

This chapter is another great example of “Avengers: No Surrender” serving as a kind of “greatest hits” of classic Avengers stories. You’ve got the morality play of Wonder Man trying to talk down the Hulk, the big action when the less pacifistic Avengers arrive, the soap opera of Voyager choosing between the Avengers or her father, and the big-time escalation when The Challenger realizes what The Grandmaster has been up to. Waid, Zub, and Ewing are working together well as a writing team, and Paco Medina draws it all well. This may not be a traditional Avengers lineup at work, but its classic Avengers storytelling in top form. — Jamie Lovett

Rating: 4 out of 5

BEN REILLY SCARLET SPIDER #16

Ben Reilly: Scarlet Spider might have just had the worst event tie-in in recent history. The tertiary Spider-book ties into “Damnation” because Ben Reilly lives in Las Vegas, the location of the current event. Of course, the Scarlet Spider doesn’t have any connection to magic, so he ends up beating up a dude with uveitis in a misguided attempt to stop demons from coming to Mephisto’s aid. I think the point of that sequence was to really drill it in that Scarlet Spider isn’t very good at being a hero, but it just comes off as a really poor attempt at playing on the concept of “Parker Luck.” Hopefully Mephisto makes a deal in “Damnation” to erase this unnecessary comic out of existence. — Christian Hoffer

Rating: 1 out of 5

BLACK PANTHER #171

There’s a temptation in superhero comics to throw character and theme out the window in the midst of a giant battle, but it’s one that Black Panther smartly avoids. Despite having so many different characters in the midst of chaos this issue never loses the thread. There are excellent culminating moments in several relationships. That doesn’t mean the action doesn’t play well too. A showdown between Black Panther and Klaw offers a worthwhile twist, as does the final page of the issue. It’s a great climax before the final issue of this arc. — Chase Magnett

Rating: 4 out of 5

CHAMPIONS #18

I wasn’t the biggest fan of the previous issue of Champions, but Waid and Ramos proved me wrong here in #18, which is disappointing considering its their final issue as the book’s creative team. This installment seems to really understand the dynamic between teen heroes, and between members of a complicated family. The Viv 2.0 story was concluded in a way that I truly didn’t expect, making for a finale to the arc that was more satisfying than one might guess. If every issue of Champions were more like this one, leaning more on the quality of the relationships than the quirky teen jokes, the book would have a lot more people talking. — Charlie Ridgely

Rating: 4 out of 5

DAMNATION JOHNNY BLAZE GHOST RIDER #1

Damnation: Johnny Blaze Ghost Rider #1 is a fun tie-in to the larger “Damnation” event that explains why Ghost Rider went on a suicide run against Mephisto earlier in the event. Christopher Sebela gets to play in Ghost Rider’s headspace a bit as Johnny Blaze tries to convince his demonic alter-ego why it should continue on their hellish mission even though they were technically separated by Blaze’s death. Blaze and Ghost Rider’s conversation takes up most of the issue as the pair battle their way through multiple circles of hell, which are brilliantly illustrated by Phil Noto. The comic paints a fun contrast as Blaze and Ghost Rider bicker their way through Mad Max-esque car chases, spectral dragons, and even a prison yard-style fight. Because of the casual style of conversation, the pair’s battle through hell seems almost easy… which seems deliberate given Ghost Rider’s past adventures. This is a fun issue and sets up an interesting new status quo for Ghost Rider, which hopefully lasts past “Damnation”. — Christian Hoffer

Rating: 4 out of 5

DAREDEVIL #600

[READ THE FULL REVIEW HERE]

It’s all a bit too much zigging and zagging for a single issue to handle, even an oversized milestone issue. Soule throws so many surprises into this issue that it’s easy to forget what direction the story is supposed to be going, and so, with the exception of the Daredevil vs. Kingpin beat, none of these plot turns are quite able to sink in and resonate the way they should. — Jamie Lovett

Rating: 3 out of 5

Marvel #2

DESPICABLE DEADPOOL #297

After a very rocky storyline, Duggan has hit his stride again on Deadpool. This issue manages to capture both halves of the equation that has made the run outstanding: humor and pathos. The jokes regularly land and take full advantage of the Marvel sandbox with at least one Stilt-Man appearance. Deadpool’s self-loathing is still the driving force behind the plot, and it sneaks into the issue in a handful of poignant moments. There’s no need to wallow though as Deadpool’s coping mechanism is the chaos he’s known for. It’s a fusion of mayhem and raunchy humor driven by the soul Wade Wilson can never quite bury. This is the best possible version of a Deadpool comic. — Chase Magnett

Rating: 4 out of 5

INVINCIBLE IRON MAN #598

Invincible Iron Man continues the search for Tony Stark, but at this point, we’re kind of just ready to let him stay lost. There are some highlights to the issue of course, but most of them have nothing to do with Tony. RiRi leading this group of MIT heroes is delightful, and will hopefully continue in some other book down the line. The Doctor Doom parts just weight it down though, and Tony not wanting to be found kind of takes the urgency out of the whole premise. There are some highlights here, but the quest itself seems to be the least interesting part of this whole adventure. — Matthew Mueller

Rating: 2 out of 5 

JESSICA JONES #18

Brian Michael Bendis is putting his best foot forward as he walks out the door at Marvel Comics. The final issue of Jessica Jones (until the series returns with new creators this fall) is a perfect example of what has made the character appealing both in comics and on television. It’s a shaggy dog mystery emphasizing character and dialogue above all else. Those elements dig into the oddities of Marvel Comics, The Armadillo in this case, but they never poke fun at them. There’s a genuine love for superheroes and their strange genre, one that’s based in humanizing their narratives. It’s a great single issue and everything readers could hope for from Bendis’ departure. — Chase Magnett

Rating: 5 out of 5

LEGION #3

There are few things more frustrating in comics than a squandered premise. It’s clear that a great idea is still at the heart of Legion as a psychologist works through issues like paranoia in a metaphor-filled mindscape. The depiction of the world in David Haller’s head is so underwhelming that it’s questionable who signed off on the designs. It is stated that bizarre animals are around, but every creature in sight is recognizable. In both the real world and the world of the mind, lines are thin and so are the concepts. This is a series made for visual creativity, but there is none to be found. At the midway point of the mini-series, it appears that fans of Legion are better off sticking to the television series in 2018. — Chase Magnett

Rating: 2 out of 5

LOCKJAW #2

Another installment to yet another title which begs the question, “Do we really need this?” provides the obvious answer of “no.” Though it has moments of fun provided by the supporting characters, an animal speaking no words other than “Aroo?” and “Woof!” proves to be as unworthy of a standalone series as Groot did years ago. — Brandon Davis

Rating: 2 out of 5

MOON GIRL AND DEVIL DINOSAUR #29

The opening of this issue of Moon Girl and Devil Dinosaur sums it up: “we don’t have time for this. We have more imortant things to do. But somebody’s got to do it.” Like the previous issue, this is one to read only if you’re already invested in the series, but at the same time, despite being kind of lacking and inconsistent, if you can hang on to the end there’s a big bright ray of hope. Things finally start to get interesting in the final panel of the issue, and, for the first time in a couple of issues, there’s actually something to look forward to. The art this time around is bright and fun as well, and overall it feels like the story is taking a turn for the better. — Nicole Drum

Rating: 3 out of 5

Marvel #3

MOON KNIGHT #193

Moon Knight continues to be a breath of fresh air in Marvel’s lineup, mostly because of how self-aware it is. Max Bemis knows what you’re expecting, and typically changes course at the last possible second to deliver a sharp left turn, though this issue is probably the most predictable of the series thus far. If you need an example of its brilliance though, just wait until you observe “the power of crazy!” Jacen Burrows and Guillermo Ortego give the action sequences an appreciated grit and brutality, perfectly in line with Marc Spector’s approach to superheroics. This issue ties things up rather neatly, so it will be interesting to see where this series goes next. — Matthew Mueller

Rating: 4 out of 5

OLD MAN HAWKEYE #3

Old Man Hawkeye #3 reveals a lot about the motivations of the soon-to-be-blind archer and his one man quest for revenge. Last issue revealed why Hawkeye was looking for revenge — he was deliberately left alive during the massacre of the Marvel heroes — while this issue reveals who he’s gunning after, and honestly, it’s pretty heartbreaking given their shared history. Marco Checchetto’s artwork is absolutely fantastic in this issue, capturing the grim, sad reality that the comic takes place in. There’s no joy, no happiness to be found in the Old Man Logan/Hawkeye world, and Checchetto really drives that home, especially in close-ups of Hawkeye and his opponent’s face. Old Man Hawkeye is turning into a very tragic story, one filled with a bit more heartbreak and nuance than its Old Man Logan predecessor. — Christian Hoffer

Rating: 4 out of 5

OLD MAN LOGAN #37

Old Man Logan is trying its damndest to be a tightly wound political thriller, following an exciting game of cat-and-mouse as a renegade hero tries to use information to expose a corrupt mayor. I’ve said it before, and I’ll say it again: Logan is not the right character for this type of story. Period. I could talk all day about how this isn’t who Logan actually is, but I’ll just focus on the issue at hand. This book is dull. Bullseye isn’t used well, given that he isn’t even unleashed until nearly the end of the book, and his appearance as the villain is one of the only reasons this storyline could be exciting. If you want to spend 15 minutes reading a more-boring version of Captain America: The Winter Soldier without any of the action, characters, or storylines, maybe Old Man Logan #37 is the right comic for you. — Charlie Ridgely

Rating: 2 out of 5

PETER PARKER SPECTACULAR SPIDER-MAN #302

Every great Spider-Man comic makes room for tragedy, and the fun and games of this Back to the Future storyline come to a sudden halt this month. It’s the sort of twist that makes for a compelling narrative and that plays into the proverbial Parker luck. Getting into exactly how things go awry would spoil the fun, but Zdarsky and Quinones do a great job of inverting expectations. In the meanwhile, they continue to show off classic Ditko adventures and designs with aplomb, including appearances from several excellent, early villains. This is a story that clearly hasn’t shown all of its cards, but grasps the multifaceted greatness of Spider-Man. It could be a modern classic for the character. — Chase Magnett

Rating: 4 out of 5

SPIDER-MAN DEADPOOL #30

Spider-Man/Deadpool #30 dials up the manic action to 11 as the two superheroes try to prevent Chameleon from offloading a ton of different superhero LMDs to the highest buyer. The tension is high between the two heroes as external pressures are pushing Spider-Man and Deadpool towards a decisive and final conflict. This is a pretty standard superhero fare — lots of fighting, lots of pieces moving, but not a ton of character development or memorable moments. If you enjoy slapstick action, this is a solid issue. If you liked the more nuanced moments of Spider-Man and Deadpool’s complicated relationship, you’re probably going to be disappointed. — Christian Hoffer

Rating: 3 out of 5

STAR WARS DOCTOR APHRA #18

WIth Hera Syndulla in her possession as a “prisoner,” Doctor Aphra manages to get on board an Imperial space station that is home to weird and wild abominations of science, from Wookiees with rail guns for heads to Hutt Clone Troopers, which the doctor can’t help but admire. Unfortunately, the Empire doesn’t allow her much time to marvel at the wonders of science before threatening to kill her crew, despite the flirtatious relationship she has with Tolvan. This arc introduced many ancillary characters into Aphra’s world, with this dangerous mission picking them off one by one, reducing the number of unnecessary characters readers have to keep track of or care about. Additionally, Kieron Gillen and Si Spurrier’s writing in conjunction with Emilio Laiso’s art highlighted how Aphra is more affiliated with science than any larger organization, making her a unique character in the Star Wars saga, delivering readers a bizarre book filled with magnificent machinations that we’ve only ever dreamed of. After a clunky start to this arc, things look like they’re back on track just in time for its conclusion. — Patrick Cavanaugh

Rating: 4 out of 5

X-MEN BLUE #24

The events involving Polaris in this issue of X-Men Blue are sure to be polarizing, no pun intended. Cullen Bunn continues to escalate his story so far to some kind of climax as elements introduced throughout the run come back into play. The series hits peak brutality with a single sequence as the X-Men’s enemies come out of the woodwork. Jorge Molina draws it all well, but the execution is hampered by some hammy dialogue and convenient timing that provides resolutions that aren’t earned. Bunn seems to be going somewhere, but the road to get there is a bit bumpy. — Jamie Lovett

Rating: 3 out of 5

Other Publishers #1

ABBOTT #3

Things fall apart as Abbott reaches its midway point. With characters, setting, and threats established, the series is exploring both its potential for dark action and conspiracy-based mystery. Both elements succeed in this issue, especially the centaur battle following up a prior cliffhanger. Illustrations of the Umbra are dark and twisting, offering panels that allude to danger and some that create a truly frightening effect. That becomes all the more impactful by the end of the issue as several secrets are brought out of the dark in quick succession. It’s a promising climax that pushes this miniseries forward into its final couple of issues (and hopefully an ongoing series). — Chase Magnett

Rating: 4 out of 5

BLACK MAGICK #11

As we move into the second chapter in this new arc, tensions are mounting between Rowan and Morgan as he learns the extent of what she’s capable of. Conversely, Laurent and Alex are furthering their partnership to satisfy the needs of their respective organizations, hinting at a larger union over the horizon. The key players are merely moving into place as the arc unfolds, with Nicola Scott reminding readers why her art makes Black Magick one of the more unique-looking horror books out there. This issue didn’t have many major revelations, but our interests are officially piqued at the direction this story is taking. — Patrick Cavanaugh

Rating: 3 out of 5

BLOODBORNE #2

Bloodborne is the rare video game comic adaptation that actively explores and expands on its source material. There are so many unanswered questions in the world of Bloodborne, and this comic seems poised to finally give fans of the franchise some answers. Ales Kot and Piotr Kowalski do a fantastic job of bringing the creepy and unsettling world of the video game to life, focusing more on the atmosphere of the world rather than trying to cram in a lot of plot. It’s a slow moving comic, but I feel that it fits for something like Bloodborne. — Christian Hoffer

Rating: 4 out of 5

CROW MEMENTO MORI #1

The Crow: Memento Mori is a rare thing. Not only is it absolutely stunning visually — Werther Dell’Edera’s art and Giovanna Niro’s colors are gorgeous and perfect for the feel of the issue — but the story is striking while also bringing something new to the table. This first issue hits a little uncomfortably close to home in a world where terror attacks seem to make the news nightly, but you also can’t look away. Everything is so deftly crafted and balanced — the horror with humor, the sadness with hope — that the only choice is to keep reading as Robert Recchioni’s story truly makes you want more. The short story at the end, “Buried Virtue”, is absolutely fantastic as well. — Nicole Drum

Rating: 5 out of 5

CYBER FORCE #1

Against all odds, Cyber Force has found a way to do what its other old school Image counterparts like Savage Dragon and Spawn have always failed to accomplish: be relevant and interesting in the 21st century. While this first issue is mostly setup, it’s clear that Cyber Force knows where it’s going, and it gives you the information necessary to bring you back for another installment. The book certainly contains some of the campy comic tropes that made its ’90s counterpart popular, but the characters, story, art, and dialogue have all been updated, giving new readers in a new century the chance to connect with the material. This comic isn’t groundbreaking by any means, and it isn’t without flaw, but it’s a competent and fairly exciting first issue that opens the door for a solid series going forward. — Charlie Ridgely

Rating: 4 out of 5

DAYS OF HATE #3

Following the fireworks of the first issue, Days of Hate has gone further and further down its philosophical rabbit hole. This is a good thing for the series though as it shines in dialogue. Part of that is the script, which often provides a wistful final line for each scene that lingers long after reading the comic. Part of that is the artwork with character’s face carefully acted or cast in shadow. There is a dark beauty rising up from the machinations and conspiracies of this series, and it’s a joy to consider the meaning before any more explosions occur. Days of Hate is a meditation that reveals its careful, complex thought in the quietude of the American countryside. I suspect we should enjoy these moments before that countryside is torn apart. — Chase Magnett

Rating: 4 out of 5

Other Publishers #2

FACTORY #1

Factory is definitely cut from the same cloth as those comics from Moebius and Alejandro Jodorowski, which makes sense given series cartoonist Yacine “Elgo” Elghorri collaborated with the two in the bast. It’s a reprint of Elgo’s European comic series, and sometimes that works against it. First, the lettering gets a little clunky. The characterization is spot on so it didn’t take more than a second to realize who is speaking, even if the dialogue bubbles don’t make it particularly clear. And the comic abruptly changes scenes just as they gain momentum, almost as if they’re cut off in mid thought and jumping to the next. But Factory is visually stunning, that’s for sure. The story is very strange and slightly arresting, set in a dystopian society with telepathic fetuses, a destitute lower class, and a mysterious food inspector who may or may not be a protagonist. The comic ends rather quickly on a strange note, including clunky dialogue. The story wasn’t terrible, but it wasn’t compelling. All in all, fans of the art will find a lot to enjoy here. — JK Schmidt

Rating: 3 out of 5

GI JOE A REAL AMERICAN HERO #250

A train-top showdown plays out like something from a 1990s sidescroller in this big anniversary issue. There’s plenty of exposition to catch up new readers, recounting relationships and history, but none of it makes the events displayed any more exciting. In spite of the open air setting for sword and gun battles, this issue fails to be exciting. Its panels are claustrophobic, often requiring actions to be explained even as they attempt to be shown. Catharsis doesn’t appear to exist in the midst of a story that has lasted this long and only the illusion of change remains. It’s a disappointing installment in a line capable of much better. — Chase Magnett

Rating: 2 out of 5

GILES #2

The pacing of this issue of Giles is fast, but it’s also kind of perfect. There is no drag here and now that Giles and Roux have teamed up it’s full steam ahead trying to figure out what’s causing the brain drain and the demon trouble at Living Legends Academy Charter School. The best part of this issue, though, has to be how the story answers some of the questions about what’s going on with the school by tying things to previous stories, but also makes it pretty cleary that just because one thing is seemingly resolved the mystery is far from over. Another solid mx of humor, action, and exposition, Giles #2 is a fun read, and you can’t help but find yourself hooked. — Nicole Drum

Rating: 4 out of 5

GOOSEBUMPS DOWNLOAD & DIE #1

There’s basically two sides of the coin when it comes to licensed comics: slavish devotion or not. Goosebumps: Download & Die #1 seems to follow the latter, and it makes for an interesting introduction to some bare bones of what makes a Goosebumps story: Slappy, Creeps, and other odds and ends. The first issue is a little thin, but it sets the stakes well and features interesting characters and art. — Rollin Bishop

Rating: 3 out of 5

HIGHEST HOUSE #2

It only took two issues, but I am all in on Highest House. The new fantasy tale by Peter Gross and Mike Carey has endeared to me through deft characterization and inventive worldbuilding, which should come as no surprise for fans of Lucifer and The Unwritten. The hues remain in a restricted palette that does more to set the mood than strain the eye. Soft reds, browns, and oranges are punctuated with grey and black, creating scenes that present the story less as primitive, and more magical. It balances somewhere between the medieval and the modern with deft coloring. The narrative is starting to take shape but it still has room to surprise. The first issue was intriguing but it didn’t have a strong hook. But issue #2 is loaded with promise, raising the stakes and giving a clear purpose. I’m excited to see how this series plays out, especially after getting in on the ground floor. — JK Schmidt

Rating: 4 out of 5

HIT-GIRL #2

If Fredric Wertham had objected to Hit-Girl #2, it would have been difficult to argue his point. The comic engages in pornographic levels of violence. It slaughters animals and disposes of people in a fashion most video game developers might find repellent. What makes it all the worse is the absolute glee it displays in popping out a jaguar’s eyeball or microwaving a human being. Yet the even darker core are the threads of racism as it pits Latin Americans against one another, using stereotypes and broad statements, while a small white girl stands victorious above their corpses. Transgressing taboos seems to be the only purpose of this issue, providing a perfect example of: Just because you can doesn’t mean you should. Hit-Girl #2 is cruel, hateful, and completely irredeemable. — Chase Magnett

Rating: 1 out of 5

Other Publishers #3

JIM HENSON’S LABYRINTH: CORONATION #2

More beautiful art, another perfectly paced and brilliantly crafted chapter in the haunting story of Countess Maria’s determination to rescue her son from the goblins. The first issue in this series was so well-crafted that it didn’t seem possible to top, but this issue adds a bit more humor to the tale while also turning Maria’s pain into a steely resolve that elevates the whole adventure. Labyrinth: Coronation manages somehow to stay true to the ’80s fantasy while also being fresh and timeless at the same time. This book is truly a master work and if you aren’t reading it you should be. There’s only one negative thing to say and that’s that we have to wait for the next issue! — Nicole Drum

Rating: 5 out of 5

LUMBERJANES #48

First, let me say that Ayme Sotuyo and Maarta Laiho’s visuals are really starting to grow on me. Initially, the art seemed a bit over-simplistic, but they continue to capture the tone and characterizations of the cast extremely well, and that previous stance has softened greatly. Shannon Watters and Kat Leyh spin an entertaining tale of friendship and ego, with that much appreciated Lumberjanes mystical spin that the series is known for. A nice improvement over last week’s issue to be sure, and one you won’t regret dedicating some time too. — Matthew Mueller

Rating: 3 out of 5

MANIFEST DESTINY #34

Many fell in love with Manifest Destiny for it’s brilliant colors that seemed to pop off each and every page. This current arc doesn’t have that, as it takes place in the dead of winter, but the book doesn’t miss a step in its absence. With a mutiny on the horizon, this thrilling issues simply focuses on a few minutes of the lives of Lewis & Clark. The dialogue is crisp, sometimes terrifying, and the art does a fantastic job of making you feel in a tightly enclosed space right along with the characters in the book. This issue may not feel like classic Manifest Destiny, and the book has certainly been more exciting in the past, but this take on a thrilling political coup is a great installment nonetheless. — Charlie Ridgely

Rating: 4 out of 5

MIGHTY MORPHIN POWER RANGERS #25

[READ THE FULL REVIEW HERE]

“Shattered Grid” takes all the aspects you love most about the franchise and weaves them into a storyline that delivers tension and stakes, something longtime fans will most certainly appreciate. Coupled with some stellar art, this is the Power Rangers event you’ve been waiting for, and it more than delivers. — Matthew Mueller

Rating: 5 out of 5

MY LITTLE PONY LEGENDS OF MAGIC #12

The final battle of the Legends of Magic begins, but it takes a little bit to get there. A large part of the story is essentially devoted to some pretty wordy planning and discussing, something that readers are either going to enjoy or be bored by. And the actual battle is arguably a little short, before the story transitions into a sort of epilogue. The art continues to be colorful and light, and will hopefully be enough to keep fans going into the final stretch of issues. — Jenna Anderson

Rating: 2 out of 5

REDNECK #11

Redneck is at the stage of its life where it’s actually getting stronger with each passing issue, and #11 marks possibly the best installment of the entire run so far. Not only did the issue possess some of the most heartfelt dialogue of the series, but a mind-blowing flashback sequence revealed Redneck‘s biggest plot twist to date, and the final page reveal contains a moment readers have been waiting on for some time. This is undoubtedly the most important issue of Redneck‘s brief, yet exciting history. — Charlie Ridgely

Rating: 5 out of 5

Other Publishers #4

RICK AND MORTY #36

This issue of Rick and Morty is split into two stories that feel equally half-baked. Kyle Starks and Marc Ellerby’s “A Jerry Bad Day” starts of strong, with a callback to one of the better jokes from the television series that could easily be built upon, but the rest of the story relies more on randomness to provide the entertainment than jokes or carefully constructed humor. “Rick Salon” by Josh Trujillo and Rii Abrego has a solid premise, but ends suddenly before reaching any kind of punchline. This issue tries, but fails to recreate the humor of its source material, playing instead like a watered down gag strip. — Jamie Lovett

Rating: 2 out of 5

RUGRATS #6

Old cartoons turned into comics rarely work out very well, and Rugrats #6 represents some of the worst that the odd sub-genre has to offer. This issue lacks the fun charm of the show, and it’s made clear in the dialogue and interactions that these infantile characters aren’t easy to write for. The original series found a way to make Tommy and his pals adorable and endearing. This just feels forced, rushed, and totally unnecessary. Rugrats is also utterly lazy when it comes to the art. There are multiple panels where the artist didn’t even bother to add the same color in the background, much less an ounce of detail. From top to bottom, this comic feels like an utter waste of time. — Charlie Ridgely

Rating: 1 out of 5

SAGA #50

Saga #50 eschews the mainstream comic book tradition of turning 50th issues into a “major milestone event” — something subtly commented on through Marko and Alana’s attitudes towards anniversaries — and is instead a quieter issue that nudges the characters forward on their current trajectories without hitting any major plot beats. The issue is structured as a series of conversations with each group of characters considering the next steps on their individual journeys, but Fiona Staples remains as impeccable as ever, once again delivering on a beautifully rendered moment of raunchiness. It isn’t particularly eventful, but it is flawless in its execution. — Jamie Lovett

Rating: 4 out of 5

SHADOWMAN #1

While you might know the name Shadowman, you might not remember why you should care. Thankfully, Andy Diggle and Stephen Segovia came prepared, and deliver a great jumping on point for new and old readers alike. Diggle gives just enough callbacks to the previous lore to satisfy longtime fans but doesn’t get bogged down in it, allowing those unfamiliar with Jack Boniface to still get the gist of who the character is. It helps that Segovia and colorist Ulises Arreloa’s visuals are a perfect compliment to this Voodoo-centric world, making this the perfect way to get acquainted with the Shadowman. — Matthew Mueller

Rating: 4 out of 5

STAR WARS ADVENTURES #8

The Ghost crew continue their attempts to free a variety of rare animals from the Empire, as they have sacred connections to the planets from which they were captured. With fans still reeling over the conclusion of Star Wars Rebels, seeing our heroes partake in more casual adventures reminded us of why we connected with the characters in the first place. Additionally, the story’s overall theme included messages about protecting one’s environment, which all planets could use more of. In “Tales From Wild Space,” readers learn the backstory of the memorable Gonk droid from the original Star Wars. Not only do we get to witness the adorable relationship between the droid and a Jawa infatuated by the walking trash can, we also learn the lessons about the importance of letting go of what we cherish most in the sweet story. — Patrick Cavanaugh

Rating: 4 out of 5

TMNT ONGOING #80

After a powerful and focused penultimate issue, the final issue of “Invasion of the Triceratons” struggles a bit to stick the ending. The issue is a little all over the place in trying to cover all of the battles taking place in this war but spends most of its time on the Turtles’ showdown with Splinter. The problem there is that Splinter’s descent into darkness as leader of the Foot Clan has gone on a bit too long so that his motivations, which once felt look good intentions gone astray, have begun to feel like a near-comical determination to do exactly the wrong thing in every situation. The story being spread out as much as it is mean that Brahm revel isn’t able to settle into the scenes as well as he did in the previous issue, but it’s still a good looking comic. — Jamie Lovett

Rating: 3 out fo 5

WEIRD LOVE #23

These reprints of romance comics from the 1950s might require a sense of irony or appreciation of comics history, but they stand out as an excellently curated collection for a great price. If melodrama is what you want, there’s no better source than this set of tales that only take a handful of pages to tell. The excitement of adventures in Soviet Russia or encounters with the wrong side of the law show their age, but they are also all earnest and exceedingly well told. It’s easy to see origins for great modern storytellers like Sean Phillips and Darwyn Cooke in the work of these artists (some of whom never received credit). This is one reprint collection that may surprise and delight readers who were likely born long after their initial publication. — Chase Magnett

Rating: 4 out of 5

X-O MANOWAR #13

X-O Manowar #13 serves as a satisfying conclusion to Matt Kindt’s year-long arc, while also setting up an epic homecoming that will have a major impact on the Valiant Universe moving forward. Ryan Bodenheim uses simple effective layouts to tell a widescreen action story about a fallen king fighting to survive, and at the same time running from his life. Andrew Dalhouse continues to be the perfect pairing for Bodenheim, adding vibrancy and subtly saturated hues that match the bright sun that warms the alien planet. Kindt provides a satisfying conclusion to Aric of Dacia’s attempt at exile, showing how he’ll never be able to escape his true nature. While fans might have thought that ‘true nature’ to be as a king or a warrior, the narrative makes it clear that X-O Manowar is, above all else, a hero. It builds nicely off of Robert Venditti’s epic run on the character that preceded it, and sets up a homecoming that I’m genuinely excited to read. — JK Schmidt

Rating: 5 out of 5