Welcome to this week in comic book reviews!
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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 Green Arrow #40, Avengers #1, and Death or Glory #1. The links to those are also included with a snippet from the review in the following slides.
Also, we should clarify that we’ve simplified our ratings. If you’re a longtime fan, you’ve likely seen both letters and numbers attached to comic reviews. Going forward, this is now a whole number out of five; that’s it!
And with that, on to the reviews — which are listed first by DC, Marvel, and the rest of the publishers and then in alphabetical order.
DC #1
ACTION COMICS SPECIAL #1
The Action Comics Special #1, from Jurgens and a cavalcade of top DC talent, gives Jurgens a third consecutive chance at an epic sendoff for his run while also providing DC with an issue of Action Comics to run this month since incoming writer Brian Michael Bendis will be starting with a six-issue, weekly series which begins at the end of the month. The publisher seems to have decided that the best use of that real estate is to tell stories that center more on Lex Luthor than Superman himself, somewhat fulfilling that promise of early Rebirth. — Russ Burlingame
Rating: 4 out of 5
BATMAN #46
The weird alternative universe/timeline story started in Batman #45 continues this issue and doesn’t get any less weird, but it simply works better. The biggest strength in this issue is the writing and Tom King does an outstanding job of setting up that things are absolutely not right while still somehow managing to shock the reader with just how messed up things are. Booster is still not particularly bright this issue, but readers can forgive that since King’s story is so carefully woven that he’s not the only one slow to figure things out. It’s also worth noting that this issue packs another major cliffhanger and while that could easily get tiresome, King’s pacing and story makes it work brilliantly while also making you wonder if there is any happy ending coming next issue or at all. — Nicole Drum
Rating: 4 out of 5
BOMBSHELLS UNITED #17
This issue makes it pretty clear that Bombshells is in its home stretch — and that it isn’t going out without a fight. “Taps” weaves almost all of the series’ sprawling storylines together, in an issue that is a little narratively jarring, but feels earned. There’s heartbreak, there’s new revelations, and certain fan-favorites enter the fold. While the art gets a little muddy here and there, the whole issue comes together in a pretty nice way, serving up a worthy third act for the Bombshells. — Jenna Anderson
Rating: 3 out of 5
CURSE OF BRIMSTONE #2
The second issue of Curse of Brimstone dives deeper into the story surrounding this new character, as well as the villains plaguing him. That bodes very well for series that initially seemed like nothing more than a Ghost Rider alternate. With some worldbuilding, Curse of Brimstone quickly became a lot more interesting, though the internal struggle between the main character and his actual demons is far less fun to read than the over-arching tale of urban legends and massive coverups. The art is exceptionally heavy in this book, which totally matches the tone, but it often borders on the edge of sloppy. At various times throughout the issue it’s difficult to keep up with what’s happening because so many details are bled together. Despite its short comings, Curse of Brimstone showed some real improvement, and there is potential for this to grow into a great book. Whether it does so or not remains to be seen. — Charlie Ridgely
Rating: 3 out of 5
CYBORG #22
Cyborg finds himself taking on giant robots in his newest issue, but his biggest opponent seems to be boredom. The issue does include one big sequence of action, but the robot designs themselves are so generic that it at times is hard to tell which one Cyborg’s in. The issue is at its best when Cyborg is actually allowed to show off his extensive arsenal, but he’s taken down so easily at times it robs any momentum he builds. Overall, this issue just isn’t very memorable, and hopefully, next issue can switch things up. — Matthew Mueller
Rating: 2 out of 5
DC NATION #0
“Your Big Day” serves as a natural interlude for the current Batman run, with Joker going to very specific methods to make sure he’s invited to Batman and Catwoman’s big day. The end result is claustrophobically entertaining, bouncing back and forth from being menacing and meme-worthy. “Office Space” serves as another prequel to Bendis’ Superman run, with a story that moves the plot forward while also highlighting the importance of Superman, Clark Kent, and Lois Lane. If you weren’t a fan of Bendis’ Action Comics #1000 story, this could serve as a good palette cleanser, and probably would have been a better tonal fit with the rest of the earlier issue’s stories. And “No Justice: Prelude” fills exactly the role the title suggests, previewing the fight that this array of heroes and villains are set to face. While the issue itself is largely slightly-disjointed exposition, the end result is so colorful and packed with characters that it will surely keep fans intrigued. — Jenna Anderson
Rating: 4 out of 5
DEATHSTROKE #31
Christopher Priest’s immovable-object-versus-unstoppable-force story, “Batman vs. Deathstroke”, continues in this issue, with Carlo Pagulayan and Roberto Viacara on pencils, Larry Hama on breakdowns, Jason Paz on inks, and Jeromy Cox on colors. The second part is decidedly more interesting than the first, ironically because it has a lot less to do with Deathstroke fighting Batman and is more about establishing the stakes and world of the story. There is a narrative device of each of their “kids” telling stories about them to help frame the story that feels insufficient — it is only one page for each, and they do not seem spaced in a way that makes sense — but otherwise, putting Deathstroke together with Talia while Batman joins Adelaide Kane is a clever maneuver that will likely yield some interesting story down the line. The art is uniformly excellent, and the dialogue is sharp. Aside from some minor pacing issues, it’s an excellent read. — Russ Burlingame
Rating: 4 out of 5
DC #2
EXIT STAGE LEFT THE SNAGGLEPUSS CHRONICLES #5
This isn’t the first story to be told about the Red Scare and it certainly doesn’t appear to be on its way as a memorable one. The inciting event and big speech in this issue all play to noble ideas that have been played out dozens (if not hundreds) of times before. The ideas are good, but the execution is lackluster. A montage of concurrent events at the end bogs down the pacing for brave moments, rather than building a cohesive effect like it might in a film. Unlike The Flintstones, this series seems to be running out of ideas and momentum well before it is complete. It’s probably for the best that it will only be six issues. — Chase Magnett
Rating: 3 out of 5
GREEN ARROW #40
“The Children of Vakhar” finale almost needs to be several different things, and it essentially succeeds at that. The issue is equal parts an emotional examination of the series’ title character, an interlude for what’s to come, and a standalone story that shows the different things a superhero can mean. All in all, the issue shows just how important it is for DC to keep Green Arrow in its quiver. — Jenna Anderson
Rating: 5 out of 5
GREEN LANTERNS #46
“Ghosts of the Past” has been a worthwhile journey into the fears that have always plagued Jessica Cruz, and it seems to be building to a thrilling conclusion. Constantine’s a little underutilized here, but what is there is entertaining, and Tim Seeley spins a gripping tale of Cruz’s past traumatic encounter while also setting up a side of Cruz we haven’t seen before. Some inspired layouts help punctuate the issue visually, and we are definitely on board to see how this story plays out. — Matthew Mueller
Rating: 4 out of 5
HARLEY LOVES JOKER #1
As a continuation of the serial back-up in issues of Harley Quinn last year, Harley Loves Joker #1 is a fun read. Paul Dini’s story is fun, full of action, and compelling. Grison makes for an interesting antagonist for Harley, enough so that it’s easy to get invested in this issue. However, one can’t help be but reminded that Harley Loves Joker is a complete departure from the independent Harley readers had come to know. Once again, Harley is reduced to being a caricature who, despite being smart, talented, strong, and interesting in her own right is shackled to The Joker and his whims. Its a point that the final panel of the issue drives home and serves as a reminder that while there’s nothing wrong with this issue, it feels too familiar and a little outdated. Harley deserves better, especially from her creator. — Nicole Drum
Rating: 3 out of 5
NIGHTWING #44
Nightwing #44 is the first issue of the new creative team of Percy and Mooneyham, and it could not be more of a departure from the previous take. The book, along with its main city of Bludhaven, is immediately dark beginning in this issue, which isn’t necessarily a bad thing. The only problem that the team will run into is trying to make sure this doesn’t seem like another Batman story. They’ve steered clear so far, and the issue’s biggest strength is the way Percy absolutely nails the character of Dick Grayson. He’s an independent, old school kinda guy, fighting crime on his own and trying to remove himself from Bruce’s shadow. It’s one of the better portrayals of the character I’ve seen in quite a while. On the flip side of that coin, the world surrounding Dick is much less interesting. Bludhaven feels (and looks) exactly like Gotham City, and a lot of the dialogue and language used doesn’t really fit the tone that the story is trying to build. Lines like “I work like a horse so I can eat like a pig,” and scene headings like “Grayson’s Hood,” seriously take you out of the experience. When you pair all of that with a couple spots of absurdly lazy art like three consecutive panels without a single detail change, Nightwing #44 is a bit of a disappointment. It’s a fun story, so I’m hoping that changes with the next installment. — Charlie Ridgely
Rating: 3 out of 5
SHADE THE CHANGING WOMAN #3
The visual representation of madness becomes increasingly challenging and rewarding as the second phase of this series continues. Pages and panels are pushed in directions you will rarely encounter at DC Comics and all serve to provide readers a lens into the experience of characters. An earnest interest in experimentation helps the eye to linger as ideas evolve. There is a narrative beneath it all, one that traces abandonment and revenge. That narrative is tangential rather than essential to the issue though, and that’s perfectly alright. This is a trip to take for its own sake. — Chase Magnett
Rating: 4 out of 5
Marvel #1
ASTONISHING X-MEN #11
The Astonishing X-Men’s battle against Proteus reaches a fever pitch as Psylocke and Professor X’s desperate gambit unleashes an old/new threat on the Astral Plane. My favorite part of this issue is how Soule uses Professor X’s narration at the start of the issue to provide an almost melodramatic mood for this fight. Professor X’s narrative boxes are pitch black with white font and really sell just how dangerous Proteus is to both the X-Men and the whole world. Coupled with a deathly serious recap page, it sold the incredible threat of Proteus’s latest plan instead of a cheap character death or maiming. Also, I loved Ron Garney and Matt Milla’s liberal use of Kirby dots, which gave the fights an extra-normal quality you don’t usually see in an X-Men book. — Christian Hoffer
Rating: 4 out of 5
AVENGERS #1
Everything about this comic seems like a home run, especially for me, so why was it such a letdown? Don’t get me wrong, Avengers #1 is a solid book. But with all the hype Marvel is putting behind it, solid isn’t quite enough. The good news is, there is a lot of room to grow and, judging by Aaron’s past work with the publisher, the best is yet to come. — Charlie Ridgely
Rating: 3 out of 5
CAPTAIN AMERICA #701
This issue brings stories from across Captain America’s timeline and beyond, and it mostly hits the mark. After seeing Cap and Bucky on a mission in 1944, the issue mostly follows how that mission impacted Steve’s descendants in a utopian future, and the sinisterness that’s lurking behind that. For an issue that only features Steve Rogers about 50% of the time, you still get a lot of the essence of what Captain America means, and his legacy as a superhero. And there are some narrative standouts, like one sequence of Steve on a mission in the ’60s. While Romero’s art occasionally falters — largely in gratuitous shots of a female character — there’s still enough for readers to enjoy. — Jenna Anderson
Rating: 3 out of 5
HUNT FOR WOLVERINE WEAPON LOST #1
Let’s establish that making this many comics for the whole “Wolverine resurrection” thing is a little unnecessary. We don’t need all this. That said, Weapon Lost #1 was actually a pretty solid book, mainly because it had nothing to do with Wolverine at all. This story follows Daredevil as he puts together a team to find the lost body of Logan, and it consists of Frank McGee, Misty Knight, and Cypher. That’s an all-star lineup for a noir detective series, and Soule treats them as such. Their dialogue is sharp and the character work is crisp. The art is definitely above average, though the choices in panelling keep it from ever being overly exciting. It’s a shame that such a good great cast of characters is being wasted in a Wolverine-centric event. — Charlie Ridgely
Rating: 4 out of 5
INFINITY COUNTDOWN #3
Infinity Countdown keeps mixing things up and wraps the dangling threads from Guardians of the Galaxy here, making it anyone’s guess where the story might go before its done. Those threads are wrapped in a truly spectacular and surprising fashion. While some may criticize the comedic bent, its execution is impeccable and crafts some of the most memorable pages to ever feature Drax. The B-plot focused on Ultron also heads in an interesting direction that keeps the fun of this miniseries mixed with cosmic stakes. With such relentless pacing and a clear eye for comedy and action alike, this is delivering everything fans might want from an event title. — Chase Magnett
Rating: 4 out of 5
RISE OF BLACK PANTHER #5
The penultimate issue in this mini-series is ostensibly about family, but it only says this. The actual bonds, betrayals, and relationships are all manufactured through the telling. There is no work shown to give readers a sense of investment in who individuals are to one another. What ought to be a terrible action at the end of this issue lands with a resounding thud as a result. Everything in this book’s path, romances with Storm, the motives of Killmonger and even a fun cameo, are reduced to caricature. There is no idea that this form of plotting and dense panel construction cannot render inert, which is very unfortunate considering the rich source material it seeks to remold. — Chase Magnett
Rating: 2 out of 5
Marvel #2
ROGUE & GAMBIT #5
It is genuinely said to see this miniseries go. Of all the complicated X-Men histories, Rogue and Gambit is one of the most complicated, but this run constantly reminded readers that these two are drawn together for a reason, and that in and of itself is incredibly powerful. Some might find the ending a bit saccharine, but as a celebration of these two and all they’ve been through? It strikes the perfect final chord. — Rollin Bishop
Rating: 5 out of 5
SPIDER-MAN #240
The final issue of Brian Michael Bendis’ Spider-Man run is charming. Bad guys were defeated, Spider-Man was seriously hurt, Miles was confronted with his own mortality and ultimately put his friends before all else. It’s charming, but it’s also just kind of average. Bendis throws a lot of little things into the story trying to tie things up, but it still feels unfinished and a little disappointing. There’s nothing here that stands out as excellent or interesting. Even the attempt at spinning a little mystery to open the next chapter is more of a miss than a hit. — Nicole Drum
Rating: 3 out of 5
STAR WARS #47
The plot to impersonate a Moff continues with a deceptive shape-shifter being forced to sit through an otherworldly opera and convince his cohorts of his Moff-ness, thanks to C-3PO lending some helpful tips. Meanwhile, Luke, Han, Leia, and Chewie take the real Moff on an underwater excursion that’s reminiscent of the journey from Naboo’s Gungan City in The Phantom Menace, encounters with a massive fish and all. This issue didn’t feature many dramatic advancements in the covert story arc that’s underway, though it also didn’t offer any sequences that ground the forward momentum to a halt. Additionally, the issue didn’t feature many close-ups of human characters, typically artist Salvador Larroca’s most distracting weakness, allowing readers to enjoy the colorful journey. — Patrick Cavanaugh
Rating: 3 out of 5
VENOMIZED #5
Each issue of Venomized has gotten more and more ridiculous, and the trend stayed true in the series finale. This is what happens when you make a book out of a fun idea but don’t give it an ounce of thought. It’s a complete and total mess of a story, top to bottom. It is nice to look at, I’ll give it that. The art in this series truly is a lot of fun. Honestly, Venomized would have been a lot better if the dialogue was removed entirely and you could just look at the pictures. — Charlie Ridgely
Rating: 2 out of 5
WEAPON X #17
Weapon X is a book that is usually very hit or very miss, but #17 manages to fall somewhere in the middle. Logan takes some time out to recover from his birthday chaos, appoints a poor choice in new leader for a challenging mission, and things go sideways pretty much as you’d expect them to. There’s really nothing new here. But despite being a all-too-routine storyline, the issue does manage some interest. Sabretooth is up to something, but its clear the villain of the arc isn’t something anyone accounted for. For the first time in awhile there’s a reason to wonder what happens next, and that’s enough to consider this issue a success. — Nicole Drum
Rating: 3 out of 5
X-MEN GOLD #27
Like X-Men Gold #26, Marc Guggenheim opens with a flashback before checking in with the team and while it’s nice to get a peek at the past — especially as it feels like the flashbacks are hinting at something — the overall story just feels tired. Last issue’s non-heroic shenanigans went south so now there’s an issue, most of the team is second guessing themselves for one reason or another, and now they have to deal with a villain with an fairly overworked evil plan. It’s not the most groundbreaking of tales, but it’s readable enough. The real issue with X-Men Gold #27 is the lackluster art. Geraldo Borges’ work this issue is inconsistent and messy, making the whole issue a little bit of a chore to read. — Nicole Drum
Rating: 3 out of 5
YOU ARE DEADPOOL #1
In a world where many monthly comics are only read once and can be finished in a dozen minutes, You Are Deadpool is the comic we didn’t ask for, but might need. It is a comic focused on gimmick with a gimmick-focused character. Yet once you start to read and re-read the issue, its detailed planning and clever payoffs make it much more complex. There’s a mathematical joy in both constructing and deconstructing this narrative. Several twists in the first issue make it an entertaining read at many times, even if jokes only land at a 50-50 ration (quantity certainly helps this). You Are Deadpool may be the most ambitious Marvel comic of 2018. While not a perfect comic, its first issue executes perfectly on its core story device and make this a comic worth examining. — Chase Magnett
Rating: 4 out of 5
Other Publishers #1
BETTY AND VERONICA: FRIENDS FOREVER #1
“Riot on the Set” sees Betty and Veronica at a Hollywood studio, in a story that ultimately evolves into slightly awkward Johnny Depp jokes and visual gags. “Movie Mix-Up” has its moments of humor and fun, but it’s entire premise is more frustrating than anything else (especially the thought of no one really getting to see the entire “Star Spars” movie). Both “Extra Disastrous!” and “An Un-Living Doll” hold a similar sort of quality to it, with endings that will either make you laugh or be even more annoyed as you keep reading. Dan Parent’s art is consistent and iconic to where you can at least enjoy what you’re looking at, and the entire issue has a tiny bit of charm, but it’s definitely not the most provoking Archie-related read you could pick up. — Jenna Anderson
Rating: 2 out of 5
BLACK SCIENCE #35
Black Science paints an overly grim view of the broken relationship between Grant and his ex-wife Sara. The comic is all about alternate realities, sometimes strange and sometimes familiar. But in this issue, Grant and Sara learn that there are some constants in each world – including that their relationship is seemingly always doomed to failure. I liked how this issue approached Grant and Sara’s relationship, with the “Interdimensional Institute of Marital Restoration” luring the pair into a false sense of security with a thing few people could resist: the prospect of repairing an irreparably broken relationship. Moreno Dinisio’s coloring work this issue is really a delight, with bright colors that feed into that sense of security that makes the carpet pull at the end of the issue so delightful. — Christian Hoffer
Rating: 4 out of 5
BREATHLESS #2
“Characters in cars hunting cryptids” could be an alternate title for this series. It’s a never-ending series of conversations, almost entirely as characters drive between locations, that manage to deflate even the excitement of gun battles with monsters. There’s only so much mileage to be found in seeing the same creature get shot as well, especially when the protagonists seem to make no real progress as a result. Ham-fisted political dialogue tacked onto this already overwrought plot makes it all the more difficult to read. Issues of health insurance and freelancing feel separate from everything else in the story, tacked on to remind readers that reality isn’t great either, as if that was a truly necessary reminder. — Chase Magnett
Rating: 2 out of 5
CODA #1
Simon Spurrier has a real knack for worldbuilding, and it’s on full display in this oversized first issue. The focus on crafting a shaggy dog story with a sardonic tone helps all of the colorful pieces of this world snap into focus quickly. Mermaids, variations of elves, and a whole lot more populate a fantasy world that has seemingly run out of magic. It’s the tone that makes the dark jokes play and dialogue spin as wonderfully as in a Shane Black film. Matias Bergara brings it all together with a perfect balance of the fantastical and ugly, a sensibility revealed in a cursing, fighting Pentacorn that will likely have readers begging for more. — Chase Magnett
Rating: 4 out of 5
COME INTO ME #2
While I’m not the biggest fan of the plot of Come Into Me, which kind of reads like a ’90s slapstick comedy film at its heart, I am a fan of how the story is conveyed in the artwork. The use of “The Watchmen Grid” is aided by the mix of digitization in the colors, like a VCR screwing up, and motion blur obscuring key details. Some of the panels are static, face-forward, and kind of boring, but given the nature of the storyline they kind of work. Piotr Kowalksi and Niko Guardia are fun to read, and any comic with Ryan Ferrier lettering is basically improved from the get go. But this plot has some similarities to another Black Mask comic that has yet to be finished, X’ed. It mostly makes me mad at the publisher for continually pushing out new series and putting established titles on the back burner for who knows why. — JK Schmidt
Rating: 2 out of 5
DARK ARK #6
Sometimes the why is more interesting than the how, and that certainly rings true in Dark Ark #6. The conversations amongst Noah’s children and opposers in the past are the book’s strongest aspects, though that doesn’t mean the battles of the present aren’t without merit, they just aren’t as interesting… at least not yet. The main antagonist of this issue is a bit of a letdown, but hopefully, next issue can deliver some meaningful context and change that. — Matthew Mueller
Rating: 3 out of 5
Other Publishers #2
DEATH OR GLORY #1
In spite of this political framing, Death or Glory doesn’t present a strong ethos of its own. The “live free or die” ethos on one side is lovingly derided by Glory, while the barely distinguishable beliefs of crime lords are shown to be bad primarily because they’re not nice and relate to the verbiage of Donald Trump. If you were to ask what Glory stands for, it would be impossible to answer based on the text. This is a comic that yearns to be political, but possesses no clear comprehension of what its politics might be. The best reason to keep following her story is that it is simply fun to watch. — Chase Magnett
Rating: 3 out of 5
DOCTOR STAR & KINGDOM LOST TOMORROWS #3
This Black Hammer miniseries continues building on the bones of the superhero genre, honing in on the homages and skewering tropes that help flesh out the greater world. I am actually enjoying this book more than the main series, but that could be entirely unique to my situation. Max Fumiara and Dave Stewart continue to do the heavy lifting, lending a gimmicky idea have more weight than it deserves. I’m interested to see how far it goes and what new elements Lemire can bring to the table. — JK Schmidt
Rating: 2 out of 5
EAST OF WEST #37
It should go without saying that East of West is one of the best comics being produced today. The sprawling epic about the dystopian slip into the apocalypse weaves intricate, layered plots with deft characterization, showing ideology and factions warring against autonomy and selfishness. It’s the end of the world, and it seems like everyone has something to gain. Frank Martin continues to be one of the best color artist in the game, using muted flats to provide a stark sense of depth and tone to each scene. And his work goes hand in hand with Nick Dragotta, who is among the best artists working right now. His sensibilities can range for each setting, each genre, balancing emotional moments with epic set pieces. I can’t wait to see where this comic goes, and how long Hickman and the rest can stretch out this march toward Death. — JK Schmidt
Rating: 4 out of 5
FIGHTING AMERICAN: THE TIES THAT BIND #3
Fighting American is a good looking and very boring comic. It competently tells the story it needs to, but unfortunately that story isn’t very interesting. It’s loaded with jokes you’d find in your favorite subreddit, but none of them elicit more than an eye roll. The tone clumsily balances the naive optimism of the old fashioned heroes with the crippling reality of the modern era. I don’t know why they needed Kirby and Simon’s classic character to tell this bland story. — JK Schmidt
Rating: 1 out of 5
GI JOE A REAL AMERICAN HERO #251
This is a comic that has yet to encounter a military cliche it doesn’t like. At the heart of the mission is a story of a soldier who conquers his PTSD by going into combat and killing the most generically constructed terrorists to ever be drawn on a comic page. It’s a real double-whammy of offensive depictions and unexceptional plotting. Night terrors are used as an excuse to draw undead soldiers clawing at a man’s ankle before he “bravely” refuses to consult with a psychologist. On top of this absurdity, there’s a sniped showdown that fails to cohere on the page, with a better sense of action coming from dialogue than panels. Keep it. — Chase Magnett
Rating: 1 out of 5
GIANT DAYS #38
Another delightful, fun, refreshing slice of life. While Giant Days #38 doesn’t really have a problem to solve or an issue to fix, what makes it so successful is that it shows how the characters’ choices work out for them. Daisy becoming a resident adviser at the university turns out to be something she truly excels at and it’s nice to see her get a major win at life for an issue. It’s also nice that the issue does what the title does best: sets up for problems that are real and therefore feel real giving readers a reason to care about Daisy and her friends as the fumble towards adulthood. Giant Days #38 is a rare issue where everything just works in the best way possible making it a great read across the board. — Nicole Drum
Rating: 5 out of 5
Other Publishers #3
GO GO POWER RANGERS #9
“Shattered Grid” invades Go Go Power Rangers, but Ryan Parrott doesn’t sacrifice what makes the book work to implement the big time storyline. The book’s strength has always been relatable characters that ground the crazier aspects of being a superhero, and that is evident in spades here. Still, the “Shattered Grid” aspects do feel meaningful, and Dan Mora and Raul Angulo don’t disappoint with their gorgeous introduction to the Ranger Slayer. We do want to see that Matt storyline pay off sometime soon, but there’s just too much good stuff here to complain. — Matthew Mueller
Rating: 5 out of 5
GRAVEDIGGERS UNION #6
Shave that highbrow clean off and get ready for another issue packed with undead body parts, apocalyptic conspiracies, and space monkeys. The sixth chapter of The Gravediggers Union preserves the series’ now-flagship whit and whimsy, without conceding a grim and gritty presentation.
From cover to cover, the reader’s time is respected as The Gravediggers and The Black Temple both make major moves to set their respective plans in motion, resulting in a massive, supernatural clash that you won’t want to miss.
Toby Cypress and Niko Guardia’s beautiful neo-retro aesthetic dashes from panel to panel, mesmerizing the reader with psychedelic color tracers, wild-and-shifting outlines, and smatterings of unexpected color. It’s not for everyone, but it’s guaranteed to be one of the most unique comics you’ll pick up this month! — Matthew Hayes
Rating: 4 out of 5
HARBINGER WARS 2: PRELUDE #1
Secret Weapons was one of last year’s most pleasant surprises, and those same amazing characters make the Harbinger Wars 2: Prelude a must-read. The group’s leader Livewire gets the majority of the focus, showing just how powerful the hero can be when you push her too far. Writer Eric Heisserer and artists Raul Allen and Patricia Martin deserve credit for showing that power in unique ways, like that hacking sequence she employs mid-conversation, or literally dropping satellites out of the sky. The kids are no slouches either, and it all comes together to set up what looks to be a thrilling Valiant universe event. — Matthew Mueller
Rating: 5 out of 5
KOSHCHEI THE DEATHLESS #5
Suffering can have a transformative effect, and that is what Koshchei the Deathless bears out. Falling ever further into his tragedy, Koshchei is made into a weapon wielded in the worst forms imaginable. Witnessing this element of the story it to witless seemingly unending suffering for protagonist and world alike. Yet this all serves a point and by issue’s end Koshchei never risks being an unsympathetic character. The depiction of these terrible moments goes a long way in improving their impact and making them slightly more bearable. Several sequences in this issue are reminiscent in design and minimalism to Mignola’s work on Hellboy, evoking the very best this comic has to offer. — Chase Magnett
Rating: 5 out of 5
KULL ETERNAL #3
Kull of Atlantis is the predecessor to Conan the Barbarian — a barbarian ruler who lives in a world filled with swords and sorcery. Both Kull and Conan were created by Robert E. Howard and had many similarities, although Kull was a bit more melancholy as a ruler than his more popular counterpart. In Kull Eternal (an adaptation of the “The Mirrors of Tuzun Thune” story by Howard), Kull’s melancholy leads him down a dangerous path as the wizard Tuzen Thune takes him through a strange journey throughout American history. In issue #3, we learn that Thune and his daughter Zarunna are attempting to permanently shunt Kull into the present day in order to vacate his throne, but that Kull seems to remember more than he should. I’ve always had a soft spot for the pulp-fiction fantasy worlds of Howard, and I liked Tom Waltz and Luca Pizzari’s take on this story. Fighting serpent men and werewolfs in the Civil War is always fun times, and this comic doesn’t really try to make Kull as anything more than a really good warrior who’s bored of the duties of royal life. My biggest criticism of the issue is that Pizzari’s artwork is inconsistent. There are times where it’s great and times that it looks positively amateurish. Also, I’m not 100% sure that Pizzari knows how breasts work with gravity, which should probably be a requirement if you’re going to draw buxom shirtless women in fight scenes. — Christian Hoffer
Rating: 3 out of 5
OCTOBER FACTION SUPERNATURAL DREAMS #3
Long-time Steve Niles fans may be disappointed to learn that the third issue of October Faction: Supernatural Dreams doesn’t exactly do its part to ease our doubts for the rest of the series.
A supernatural family is battling a malicious entity who has the power to raise the dead to do his bidding. Guns, gore, magic, and more; how could you go wrong, right?! The problem is that October Faction comes together as a kind of by-the-numbers freak-show. There are no surprises, and none of the characters are interesting enough to care about.
Issue three sees the demon-hunting family splintered by doubt and injury as a small army of living dead gets blasted to bits, but unfortunately turning the page becomes a real chore. Skip this one and catch up with the Allan family in issue four if things manage to get turned around. — Matthew Hayes
Rating: 2 out of 5
Other Publishers #4
RED SONJA #15
The centerpiece to this issue spends a bit too much time establishing itself for an inconsequential payout of an uninspired sword fight. Much of the issue is dedicated to building a sub-plot that could have been better structured within the series or not used at all. After enough pages it seems as though this is building to a moment of significance, and in retrospect it truly reads as filler. The final few pages are a reminder that this series still possesses direction though, as well as a refined style that matches the story well. — Chase Magnett
Rating: 3 out of 5
RED SONJA/TARZAN #1
Intolerable cruelty is the driving force behind this crossover. The selection of a villain who is the very definition of inhumane serves to make any viciousness in the dual protagonist’s feel entirely justified. His choices are the most obvious sort of evil, almost painful to watch from a craft perspective as well. While the plot device weaving this crossover is unclear, it’s also unnecessary in a story that’s all about familiar faces and throwdowns. The fights are simple, but well-adorned with a few good splash panels. If this crossover must exist, then it could certainly find far worse forms to take. — Chase Magnett
Rating: 3 out of 5
RICK VEITCH THE ONE #4
Released during the height of the Cold War, The One was Rick Veitch’s examination of superheroics and tensions between the United States and Russia. It’s a weird book, an early deconstruction of the superhero genre released just a few years before Watchmen. IDW re-released the series earlier this year, with issue #4 showing dueling superhuman battles in Russia and the US. Rick Veitch’s art is all right, especially if you like that 1980s underground style, but this story doesn’t really age well. There’s a rape scene that’s played up for laughs that’s really disgusting and a lot of talk about incest that comes off as edgy as in “look how shocking that comedian is trying to be” edgy. The One is a product of it’s time, but I’m not sure of its relevance today, especially as Veitch has written and drawn more thought-provoking comics since. — Christian Hoffer
Rating: 1 out of 5
SCALES & SCOUNDRELS #9
This issue takes some chances with its methods of storytelling, and for the most part, sticks the landing. Sebastian Girner and Galaad tell their story with only a few lines of dialogue, and while there is a panel or two that requires a second glance, the story beats make it through the artistic translation. This is the second standalone story since the last arc ended, and while these are quite enjoyable, there is a part of me that hopes a longer narrative is in the offing soon. — Matthew Mueller
Rating: 4 out of 5
SEX CRIMINALS #24
“Would You Like Some Help With That” sees our cast of characters take on one new challenge after another, and the end result is super satisfying. Mysteries are starting to be solved, new and old relationships are forming, and you can tell that the series is building up to something crazy. Fraction and Zdarsky still bring so much to this book, and this issue is an example of when it really truly shows. Combined with one hell of a cliffhanger, and a NSFW version of Clippy the Paperclip, you get a delightfully consistent issue of SexCrims. — Jenna Anderson
Rating: 5 out of 5
SHERLOCK HOLMES: THE VANISHING MAN #1
Leah Moore and Jonathan Reppion have a knack for writing great Sherlock Holmes stories that use classic elements from the Arthur Conan Doyle stories while building fresh and innovative mysteries. In “The Vanishing Man #1,” the beginning to the fourth Moore and Reppion story, Holmes and his partner Watson take on the case of a missing clerk whose employer seems overly concerned about his whereabouts. However, the big twist comes at the end of the issue, as one of Holmes’ longstanding vices puts one of his Baker Street Irregulars in a very dangerous situation. Moore and Reppion’s Holmes stories are always a delight, but they were paired up with a solid artist in Julius Ohta. He has a very clean and consistent style and gives each character a distinctive look, something that sadly can be hard to do in a comic set in Victorian times. This has the potential to be Moore and Reppion’s best Holmes story yet. — Christian Hoffer
Rating: 4 out of 5
Other Publishers #5
SPAWN #285
Spawn is a comic that lives and dies by its visuals. There are some standout panels in this issue, the sort that drape the hero in shadow and offer a striking image for a poster on an adolescent’s wall. However, these are the exception as the majority of the story is presented in an indelibly flat fashion. Spawn’s torture and dehumanization is offered almost entirely in symbols with little emphasis or impact. The politics of the issue surrounding his treatment in government custody are as clumsy as possible. Pundits shout obvious talking points with far too many words making for a poor aping of Frank Miller, and the script pokes fun at a President tweeting as if that were original. It’s an unfortunate way to spend your time reading comics.– Chase Magnett
Rating: 1 out of 5
STAR TREK TNG THROUGH THE MIRROR #1
The previous “Mirror Broken” series may have been one of the most exciting Star Trek series ever, and that excitement carries into “Through The Mirror”. The art throughout this issue is fantastic, but what really works is the story. Scott Tipton does an excellent job of setting things up. There’s not too much exposition, but you have a clear set up that doesn’t drag things down. That clear set up, though, is also the issue’s main weakness. It’s all set up. Just when things start getting interesting, it’s “to be continued” time and while there’s always something to be said about a nice cliffhanger, this isn’t it. Overall, though, solid start. New readers have enough of an entry point to invest themselves in while fans of “Mirror Broken” will no doubt be hooked for the next chapter. — Nicole Drum
Rating: 4 out of 5
STRAY BULLETS SUNSHINE & ROSES #34
At first glance this issue appears to be primarily connective in nature. Characters push ahead and make new encounters, but the meat of the story seems primarily useful in building the stages of this long, odd crime saga. That is until the final few pages. Lapham’s clear grids build the confusion and shift in action perfectly. Questions quickly arise about what is actually occurring in the narrative and build to a last page that just sings. If only for last third of this issue, this installment reminds us Stray Bullets never skips a beat and can still stun after all these years. — Chase Magnett
Rating: 4 out of 5
SWASHBUCKLERS: THE SAGA CONTINUES #2
Bill Mantlo, the creator of Rocket Raccoon, wrote a sci-fi epic called Swords of the Swashbucklers in the mid-1980s about a group of space pirates fighting against an oppressive race of aliens. Dynamite re-published that original miniseries earlier this year as a graphic novel along with a sequel series written by Marc Guggenheim and illustrated by Andrea Mutti. Swashbucklers: The Saga Continues is a bit hard to follow if you haven’t read the original series, although Guggenheim does an admirable job of trying to summarize the complicated space opera for new readers. If you enjoy epic science fiction series, this looks like a lot of fun — just pick up the first Swashbucklers series first. — Christian Hoffer
Rating: 3 out of 5
TRANSFORMERS VS VISIONARIES #5
The colors in the Transformers vs Visionaries finale are fantastic throughout, and it’s nice to see some characters that aren’t just giant robots thrashing about on plants seemingly made of code. It’s a fun book to look at, but that’s where the good news comes to a halt. This story is either rushed or completely incoherent, and I’m not sure which one is worse. It’s easy on the eyes, but a total mess nonetheless. — Charlie Ridgely
Rating: 2 out of 5
WALKING DEAD #179
The Walking Dead #179 plays on the expectations of its readers, as they have been trained for years to expect things to go bad. The new group has a naturally tense air to them as the march toward Alexandria begins and difficult decisions are made. A new type of complexity for the zombie series, though, asks new questions about humanity and rebuilding civilization, far beyond whether killing to survive is the right thing to do. — Brandon Davis
Rating: 4 out of 5
XERXES FALL OF HOUSE OF DARIUS #2
Xerxes really takes shape as the legends of ancient Greece take hold of the plot. Miller’s view of women and a few other troubling elements leak in through the indulgent dialogue and narration, but they primarily exist as retellings of classics. And so attention rests almost entirely in the depiction of these stories in grand widescreen action and intrigue. Miller is as much a master as ever and both single images and sequences pop with every turn of the page. His use of silhouette and flat blacks deserve particular attention. This is where Miller works best in 2018. — Chase Magnett
Rating: 4 out of 5
ZODIAC STARFORCE: CRIES OF THE FIRE PRINCE #4
The Zodiac teams are put into a unique predicament, and the end result is pure colorful, hectic fun. The diverse, adorable teams of characters each get their moment to shine in this issue, taking down a foe with some intergalactic friends. While it’s not a perfect issue, fans of the series will definitely be satisfied — and eager to see what comes next. — Jenna Anderson
Rating: 3 out of 5
