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

The review blurbs you’ll find contained herein are typically supplemented in part by longform individual reviews for significant issues. This week that includes The Immortal Hulk #33, X-O Manowar #1, and The Last God #6.

Also, in case you were curious, our ratings are simple: we give a whole number out of five; that’s it! If you’d like to check out our previous reviews, they are all available here.

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

DC #1

ACTION COMICS #1021

After a long and somewhat lackluster amount of build up, the showdown between Superman and the Legion of Doom finally comes to an end in Action Comics #1021, but if readers were hoping for a satisfying ending they will be disappointed. The whole Leviathan plot comes to the fore in the issue, making the end of Superman’s battle kind of a let down. Add to that what essentially feels like an issue full of ham-handed villain monologuing and a lot of needless set up to connect to the gimmicky reveal of Superman’s identity, the issue just feels like a mess. The issue’s art contributes to that, with weirdly distorted figures and just an overall feeling of sloppiness that can’t be dismissed. It’s a lackluster issue on almost every page. — Nicole Drum

Rating: 2 out of 5

AMETHYST #2

Coming off of a truly charming and engaging first issue Amethyst #2 continues that momentum with an issue that captures, both in words and art, the frantic feeling of helplessness Amy experiences upon discovering her entire world gone and no allies to help her. Amy Reeder manages to capture the raw fear the young woman feels as well as her imperious sense of entitlement as she guides her through this next chapter of her story. It’s brilliantly done and equally as lovely to look at as it is to read. The issue even manages to slip in an unexpected twist that, while the substance of it is one readers know is coming, it’s how we get there—how Amy gets to this big revelation—that is genuinely a surprise. An excellent overall issue. — Nicole Drum

Rating: 5 out of 5

BASKETFUL OF HEADS #6

In my review of the first issue of Basketful of Heads, I compared the series charitably to an 80s slasher flick. That comparison has been borne out by subsequent issues, but in a consistently less appealing fashion. After squandering far too many pages explaining a plot and motives that land without purpose, #6 splits its space between additional, aggressive exposition and the third act thrills that manage to keep audiences seated. These characters remain two-dimensional and June’s hardfought quest for survival is compelling because of the nature of the actions, not the people involved; small tangents, like one of her victim’s hidden sexuality, read like notes in the margin of a script that were never successfully integrated. Artist Leomacs manages to make even the most tedious sequences far more engrossing and fills moments of action with tension that is lacking from the script. That’s an argument to visit Leomacs’ future work though, as even his impressive sense of storytelling and perfectly suited style can’t cover the notable flaws found that have transformed form Basketful of Heads from a love letter to slasher flicks to a representation for why they have such a tawdry reputation. — Chase Magnett

Rating: 2 out of 5

BATGIRL #45

This issue fully examines the groundwork for Batgirl‘s latest arc, and the end result is a bit of a mixed bag. The villain is really well-designed, and the general concept unfolds in a pretty bizarre way, but a good chunk of it drags out into technobabble and buzzwords. The art from Di Giandomenico is good at moments, but a little too messy and mudded at others. The real highlight of the issue is two cameos, which do make the set-up for where the story goes next all the more fascinating. — Jenna Anderson

Rating: 3 out of 5

BATMAN BEYOND #42

I’m not quite sure what happened here. This isn’t usually a problem with Dan Jurgens, but ever single line of dialogue in this book felt off-key. Every character is given lines like we’re back in the Silver Age and every ounce of personality for Bruce, Terry and even Blight is inexplicably drained. This wasn’t a problem at the start of this run. Heck, this wasn’t a problem five issues ago yet here we are. And it really doesn’t help that this was the culmination of an arc that introduced the new Batwoman. — Connor Casey

Rating: 2 out of 5

BATMAN: CURSE OF THE WHITE KNIGHT #8

Curse of the White Knight comes to a thrilling close, and while a few pieces are a bit clunky, those who have followed the series should be quite satisfied with the finale. Sean Murphy and Matt Hollingsworth’s art is simply gorgeous, and you’ll absolutely love seeing the 1989 Batmobile brought to life once more. The visuals also nail home the more poignant and personal moments, like in the exchange between Nightwing and Batman, or more fittingly Bruce and Dick. Even in this scene though, there are times the dialogue feels like its trying too hard, and that rings true for some of the dialogue between Azrael and Bruce as well. Granted, Murphy ultimately finds his rhythm in each of those scenes, and there are way more positives than negatives here, but those do drag the book down a bit. This isn’t the strongest issue of the series, but it sill packs amazing visuals and an emotional punch into the book’s big conclusion, and brings this phenomenal series to a close… for now. — Matthew Aguilar

Rating: 4 out of 5

BATMAN/SUPERMAN #8

Batman/Superman brings the Zod-Ra’s conflict to the finish line, and Ra’s is unquestionably the MVP of this issue. Writer Joshua Williamson has some fun with the conflict between Ra’s and Zod, and those are easily the best parts of the issue. It’s not that Superman and Batman’s team-up doesn’t have noteworthy highlights, but Kandor and the Lazarus Pits require some creativity to make inject them with energy at this point, and that isn’t something that really happens here. The artwork of Nick Derington and Dave McCaig is stellar throughout though, especially when Batman’s involved, mostly because there’s a lighthearted charm that comes through and injects some needed energy into the action sequences. Unfortunately, it’s not quite enough to raise the other parts of the story. If you’re looking for a solid Superman and Batman team-up story this will fit the bill, though it had the potential to be even better. — Matthew Aguilar

Rating: 3 out of 5

DC #2

THE BOOKS OF MAGIC #18

The Books of Magic wraps up a stellar arc that sees Tim Hunter wrestling with his inner demons. Rather than eradicating his darker half—how do you kill a dream made up of parts of yourself?—Kat Howard has Tim realize that he has to come to accept, control, and take responsibility for his whole self. Tom Fowler, as usual, provides expressive artwork that handles the weirder, magical aspects of the site well. Tim’s father hangs awkwardly around this issue’ neck. His sons in a life or death situation, yet he’s easily talked into going out for tea and ultimately brushes off all of the magical impossibilities he sees as “goth” stuff. It’s important that Tim has his father to ground him, but the series needs to find a better place for him in its structure. — Jamie Lovett

Rating: 3 out of 5

DETECTIVE COMICS #1021

Detective Comics #1021 continues a very… strange storyline, with Two-Face now leading a cult of vigilantes in the bowels of Gotham City. Batman pieces together that Two-Face’s cult members seem to have terminal illnesses, but he’s confronted by Two-Face (or rather his alter ego Harvey Dent) before he can figure out much more behind this weird behavior. I can’t really say I’m a fan of this issue. Cult leader Two-Face doesn’t really work for me and I’m not a fan of Brad Walker’s depiction of Batman, with oversized white eyes that looks like a weird blend of Neal Adams and the DCAU version of the character. It also seems like this comic seems to be in a holding pattern of sorts, focusing on standalone stories with no wider theme until DC figures out its next steps. — Christian Hoffer

Rating: 2 out of 5

FAR SECTOR #5

Far Sector continues to be a visual tour de force, but the latest issue is building a strong case for its lead hero as well, and that is perhaps the most welcome new addition. Writer N.K. Jemisin has endeared Jo to readers through her personality, sense of duty, and compassion, but #5 is where we get a glimpse into what made Jo the powerful Lantern she is today, and it more than delivers, providing needed context for her drive and approach to ring-slinging with enough lightheartedness to balance out the heavier themes. On the visual side, artist Jamal Campbell outdoes himself on every page, and seriously, a Lantern has rarely ever looked this cool in a comic. There are some parts of the issue where the pacing slows a bit too much for my liking, but overall this is another fantastic addition to the series. — Matthew Aguilar

Rating: 4 out of 5

THE FLASH #752

Williamson and Kollins knock it out of the park with their latest installment of the war against Paradox as Barry struggles with a “perfect world”. Encountering his lost mother, the writing and artwork are top notch in this latest installment, creating a real page turner that will hopefully go down as a classic Flash tale years down the line. Each issue has given Flash fans a banger of a final page and #752 remains no different. Great superhero fare! — Evan Valentine

Rating: 4 out of 5

JOHN CONSTANTINE: HELLBLAZER #5

While Hellblazer #5 still features a “credulous hipster nobhead” it doesn’t make the same mistake as #4 in focusing the entire issue on a comedic odd couple dynamic that wears thin after a few pages. The gags land better here because they are spaced apart with other interactions and something resembling a plot. Much of what’s delivered is set up for a future confrontation rife with the same prophecies and hidden identities that are also the butt of jokes here, but it makes for a more diverse reading experience, if nothing else. Matias Bergara’s depiction of s**t demons and a few particularly twisted moments of violence elevate the second half of this particular story, and gives readers reason enough to stick around, even as Hellblazer struggles to avoid the obvious in favor of something interesting. — Chase Magnett

Rating: 3 out of 5

JUSTICE LEAGUE DARK #21

After a brief detour toward a campy creature feature last month, Justice League Dark quickly finds its way back into the spookiness that makes the title great. Equal parts Stranger Things, Annihilation, and down-right horror, Justice League Dark #21 is a needed trip back into the macabre that’s made this run particularly solid in the first place. As we’ve seen before, the book can run a bit stale and weak once the team breaks up into smaller groups yet here, it works to its advantage as the book splits into a handful of different directions. It may not pay off in the end if it spreads itself too thin but hey, we’re not there yet—it’s working now and it works very well in this issue, at that. — Adam Barnhardt

Rating: 4 out of 5

DC #3

THE LAST GOD #6

[READ THE FULL REVIEW HERE]

The Last God is a tale of the past and the present, and the choices that connects them. The comic wonders aloud whether a society built upon a flawed premise can survive in the face of adversity, or if it’s better to burn it all down and start again. We don’t know the answer to that question yet, but The Last God has become a painfully pertinent comic for readers in this moment, even with so many otherworldly and fantastical features. — Christian Hoffer

Rating: 5 out of 5

LEGION OF SUPER-HEROES #5

Readers unfamiliar with Legion lore, and longtime fans waiting to see what has changed, receive a big update in this issue as all of the highlights of the current Legion’s origin story are laid out. This issue rarely feels exposition-heavy though, as it utilizes a mix of colorful, inventive layouts and the pandemonium of so many ongoing crises to frame moments of retelling. Each segment of history offers a delightful twist, too, including introductions for plenty of Legionnaires, some of the best humor in the series to date, and settings and character designs that continue to stun. It’s a wonderful reading experience, not an extended flashback sequence, that pulls almost all of the story threads laid out over the past several moments to deliver a moment that feels urgent without being rushed. Reconstructing such a complex and off beat team of superheroes has been no easy feat, but if this is the standard for the future of the series, then Legion of Super-Heroes just became one of DC’s must-read titles. — Chase Magnett

Rating: 4 out of 5

RED HOOD: OUTLAW #44

Red Hood: Outlaw jumps out with a new issue this week that will keep readers feeling so-so upon putting it down. The jammed issue is frantic as always, but the weighty strings connecting it to past stories feels cumbersome. While Artemis is a clear breakout in the issue, the rest of the characters’ voices get lost in the fray, but its ending will leave fans curious for how the gang handles their latest deadly vixen out for vengeance. — Megan Peters

Rating: 3 out of 5

SUICIDE SQUAD #4

The new Suicide Squad written by Tom Taylor continues to impress, managing to fold in familiar faces in exciting ways that continue to push the plot forward and enhance its new roster of expendables. Artist Daniel Sampere settles in after Bruno Redondo handled the first three issues and doesn’t miss a bit in maintaining a visual continuity between the issues. It says a lot about a series built on explosions and dangerous missions that this new version can create compelling and worthwhile issues built primarily around people doing none of those things and mostly standing and talking. — Spencer Perry

Rating: 5 out of 5

SUPERGIRL #40

Supergirl #40, had it published at any other time, would have been an average issue. A little bit of a letdown in many ways, interesting in others, a few solid emotional notes that manage to rise above the lackluster art and rather threadbare plot—at least until the rather abrupt lack of conclusion. However, given its release during the coronavirus pandemic, Kara’s status as an Infected and the desperate efforts to save her take on a different tone. There’s a sense of desperation in the story that feels far too rooted in reality and while that doesn’t solve the book’s issues (that threadbare plot and lack of conclusion) Jody Houser manages to give back to Kara some of the humanity that she’s been lacking for the last several issues in spite of the issues’s limitations. It’s refreshing and hopeful, at long last. — Nicole Drum

Rating: 3 out of 5

WONDER WOMAN #754

Wonder Woman gets away from Bostom in Wonder Woman #754 as she heads off to Almerac to help Maxima defeat Ultraa, preventing him from taking the throne. The issue largely functions as a strange sort of gay marriage story for Maxima as she is trying to convince her people that a heteronormative relationship isn’t the only way their world can be led, but it also functions as a way to make Diana examine the ways she’s sacrificed her own happiness for the “greater good”. It’s a lofty premise, but the excecution is lacking with the whole thing feeling a bit like a crowded, rushed after school special rather than a story of real substance. It’s an enjoyable enough of a read, it just feels odd and out of place and a bit like the reader is being preached at rather than entertained. — Nicole Drum

Rating: 3 out of 5

Marvel #1

2020 FORCE WORKS #2

The second issue of Force Works has some big twists in it to keep readers guessing, but the so-so action supporting those moments doesn’t do a lot to set it apart from other superhero stories out there right now. Perhaps it’s because the cast of this series isn’t as star-studded or perhaps it’s because the dynamics between the characters haven’t been given enough time to develop, but it’s difficult to get invested in the story so far. The appearance of the issue’s planet-destroying giant and the varied designs of the Deathloks do lend some needed diversity to the scenes of always accentuated physiques, however, so perhaps it’ll be characters other than the main heroes who steal the show. — Tanner Dedmon

Rating: 2 out of 5

THE AMAZING SPIDER-MAN #42

The Amazing Spider-Man steps out with a new issue this week that will leave fans reeling with emotion. The story starts out easily enough with Peter passing quips about his current enemy, but Gog is not laughing. The issue breaks down the foe’s little-known origin which will have more fans than not crying. The breakdown in communication between Gog and Spider-Man becomes even more upsetting after learning about the monster’s past, so one of us readers are going to have to take in Gog for themselves. He needs a hug – badly. — Megan Peters

Rating: 4 out of 5

BLACK PANTHER #22

Early in Coates’ initial run on Black Panther there were strong threads drawn to the titular character’s many difficult choices and sacrifices from Jonathan Hickman’s Avengers run. This issue returns to those themes and frames the climactic battle to come in spectacular fashion. There is a call and response rhythm established in a wondrous dreamspace that gets to the heart of identity and the nature of leadership, ending on a note pulled directly from James Baldwin’s The Fire Next Time. It’s a poignant meditation that serves to make the final few moments of the issue as the battle begins all the more powerful. While Black Panther has been meandering around its point for some time now, it has refocused itself in these pages and reset expectations for a showdown between King T’Challa and Emperor N’Jadaka by clarifying what that conflict is really about. — Chase Magnett

Rating: 4 out of 5

FALCON & WINTER SOLDIER #2

Falcon and Winter Soldier’s winning chemistry between the two heroes is solidified better than ever in the second issue of the comic as the two exchange quips and bounce of one another while still maintaining a certain level of tension. If the plot of this issue hasn’t been made into a movie before, it needs to happen. A pair of superheroes fighting through a gauntlet of train cars full of different types of foes is a recipe for success, and Falcon & Winter Soldier made the most of it with scenes far grittier than you’d expect them to be. — Tanner Dedmon

Rating: 5 out of 5

FANTASTIC FOUR: MARVELS SNAPSHOT #1

The “Snapshot” idea is an interesting one, telling new stories during some of Marvel’s biggest events of yesteryear. Taking a page from the time of Bendis’ Daredevil and Geoff Johns’ short Avengers run, this latest issue by the writing team of Evan Dorkin and Sarah Dyer does have an interesting hook in exploring the town of the Storms birth but doesn’t have much meat to the bone. It’s a feel good story that is simply begging for something more, but maybe the former is what we could use right now. – – Evan Valentine

Rating: 3 out of 5

GIANT-SIZE X-MEN: NIGHTCRAWLER #1

Whether or not you’ve been keeping up with Jonathan Hickman’s X-Men run since House of X and Powers of X ended, Giant-Size X-Men: Nightcrawler is pretty skippable. The story sees Kurt, Magik, Cypher, Eye-Boy and Lockheed travel to the old Xavier Mansion to check out an unknown disturbance, only to be attacked by something that’s been hiding out inside the mansion. The reveal of what that is turns out to be kind of interesting, but then the book skips over having much of a conflict and jumps right to another reveal and a resolution. Basically, it’s a book missing any sort of climax. — Connor Casey

Rating: 3 out of 5

HELLIONS #1

Hellions is a lot of fun right from the start—it reads like a diversion stocked with barely recognized characters ripe for mistreatment, but that’s also the same formula that produced the iconic first volume of Suicide Squad in the late 80s. The concept is simple: mutants who have behaved in an egregiously anti-social manner are placed under Mister Sinister’s thumb to function as mutant muscle and let their worst urges do “good” work. It’s a concept filled with life by a script that is packed with plenty of caustic wit and spends time giving just enough flavor that most of its cast feels slightly above expendable before the final page. The most recognizable characters are in many ways the most dull as the eccentricities and explanations attached to the real oddities evoke a strange sympathy; Empath’s text page is a perfect example of this. The action and many conversations are all well managed on the page, and the result is a tremendous amount of fun for those who enjoy the oddities of the superhero genre. Hellions begins as inessential, but very welcome entertainment—it still has plenty of space to grow into something better, too. — Chase Magnett

Rating: 4 out of 5

Marvel #2

THE IMMORTAL HULK #33

[READ THE FULL REVIEW HERE]

I love reading The Immortal Hulk for how it showcases Joe Bennett’s storytelling, even when he is paired with one of many talented guest artists to date. His layouts continue ratcheting up tension with each turn of the page. A slow descent from Bruce’s entire face into his iris is madness-inducing. Both the paneling and how these panels frame characters together build a sense of claustrophobia that makes each moment of explosively unleashed violence a far greater release. Bennett is unleashed in a number of spreads, including one very impressive extra-sized display, to demonstrate how he can deliver power as a visceral force strafed by tightly bunched pencils and inks, subtly twisted, and rich with detail. These pages are nothing short of appropriately terrifying. — Chase Magnett

Rating: 5 out of 5

MARVEL’S AVENGERS: BLACK WIDOW #1

Even though this primer for the upcoming Marvel’s Avengers video game pulls its punches at times with action, writer Christos Gage does a fine job weaving this exposition and backstory dump into a coherent and fun read. Artist Michele Bandini does great work as well, taking what could be a low-bar tie-in book and giving it dynamic fights and solid paneling throughout. Marvel fans with a broad knowledge of the Marvel Universe won’t find many surprises here but it’s as decent enough of an elseworlds set-up that feels familiar for long time readers and manages to remain engaging for newcomers. — Spencer Perry

Rating: 4 out of 5

PUNISHER: SOVIET #6

It’s difficult to imagine many artists besides Jacen Burrows executing this issue—one of the most harrowing and horror-soaked Punisher climaxes ever—as well as he does. Much of the violence lands in a sudden, undramatized fashion, leaving only the moment in which the trigger is pulled and the instant, gorey aftermath. What’s even more astonishing is what’s left to the reader’s imagination and how Burrows suggests things so cruel that no actual depictions could induce the sort of nightmares that these brief glimpses will. Punisher: Soviet does not deliver carnage for its own sake, though. This was a comic about class solidarity, in which the all-American soldier Frank Castle found a Soviet brother-in-arms, and they recognized together that their enemy was never defined by national boundaries or ideology, but by the power wielded by Russian oligarchs and American counterparts. This is a furious, final chapter and rage resonates from these pages. Even Frank Castle’s typically passive face seems to hum with an irregular intensity as he delivers some imagined justice for so many very real victims who will never expect an avenging angel outside of superhero comics. This issue, at least, might provide some brief feeling of catharsis for those who recognize the source of Frank’s rage. — Chase Magnett

Rating: 5 out of 5

RAVENCROFT #3

Ravencroft steps its game up a bit with its latest issue by taking a couple more dives into the Marvel catalogue to see what characters they can have fun with inside of an insane asylum. I’m honestly surprised it took them this long to get to Frank Castle, but I’m glad they did (for what little we see of him). Unfortunately the big overarching story involving The Unwanted stills feels undercooked. — Connor Casey

Rating: 3 out of 5

REVENGE OF THE COSMIC GHOST RIDER #4

Cammi’s return to Revenge of the Cosmic Ghost Rider is an expected and appreciated turn of events, but it’d be nice to see Cammi as more of a partner alongside the Punisher instead of someone who needs saving once again. What this issue did make clear though is that Cammi is more than capable of carrying a story on her own as the main subject, so hopefully the two will level out their time in the spotlight even if they don’t have equal powers. The comic’s use of time travel is brief enough to not weigh down the story with convoluted timelines, and it’s quick look back at the history of the parasite at the core of the story provided an impressively detailed and dramatic aside in the issue. — Tanner Dedmon

Rating: 4 out of 5

ROAD TO EMPYRE: THE KREE/SKRULL WAR #1

Road To Empyre: The Kree/Skrull War has a tall task to achieve, but it manages to stick the landing and then some by issue’s end. That’s all thanks to writer Robbie Thompson and the return of the Warner family, whom he guided through the excellent Meet the Skrulls series. This feels like a natural sequel to that, and because Thompson knows them so well, he’s able to frame the rather involved histories of the Kree, the Skrulls, the Cotati, Hulkling, Mantis, and more within a story that still feels personal and with the needed emotional weight. The target of peace comes through loud and clear for the Skrulls, but again, thanks to the Warners it feels genuine and not just an editorial move to get them where they need to be. The combination of Matt De Lulis, Javier Rodriguez, and Alvara Lopez work in tandem to create a cohesive tapestry that still highlights their unique strengths. Now, if you’re looking for a book that introduces completely new concepts, this is not your jam, as the majority of it is a streamlined and effective recap of the important players and events before Empyre kicks into gear. That said, if you want a refresher on those events and characters, this is an absolutely perfect way to get that and still get a compelling and intimate story of pain, grief, and family, and we couldn’t recommend it more. — Matthew Aguilar

Rating: 5 out of 5

SCREAM: CURSE OF CARNAGE #5

And so the first story arc of Scream ends with a whimper. As the series still struggles to justify its existence, it attempts to finally give Andi a modus operandi for her journey but falls a bit flat. We still don’t have a good grasp on Andi’s character or given anything new about the symbiote lore that we hadn’t had told during Donny Cates’ far superior Venom run. The series needs something moving forward to stick out from the crowd. — Evan Valentine

Rating: 2 out of 5

Marvel #3

STAR #3

Superhero sagas often try to depict the ramifications of a hero’s actions whether it’s through the destruction of a city or the creation of a new villain, but it’s often difficult to appreciate the sentiment when it’s told through the perspective of heroes themselves. Star changes that by showing a darker side of how a hero’s powers affect people, though it also shows how the highest powers—the Infinity Stones—wield their own power over even the heroes. The emotions of the characters can’t be misrepresented in moments like these, and the artwork doesn’t disappoint in conveying the proper experiences and adding severity to the story. Star is addressing some weighty themes and questions, and it’s doing so quite gracefully. — Tanner Dedmon

Rating: 4 out of 5

STAR WARS: BOUNTY HUNTERS #2

Our bounty hunters’ quest for Nakano Lash results in Valance taking a stroll down memory lane, offering a glimpse into his violent past with the Empire and his attempts to stand up for what he considered “right.” Aphra and Bossk, meanwhile, pursue leads that could result in unexpected alliances. One problem with this book is it brings together a number of antagonistic characters who all fit similar character molds, creating a struggle for which character takes the spotlight. Valance, Bossk, and Boba Fett could all effectively be described as “badass,” with Aphra being the only character who offers a more interesting dynamic to the fold. Luckily, with much of this issue focusing on Valance, we’re given a relatively engaging glimpse into his history, though we worry that the more these larger-than-life personalities cross over with one another, the tougher it will be to find the balance of creating a compelling ensemble storyline. Focusing more on Valance makes this issue stronger than the series’ debut, though still leaves much to be desired. — Patrick Cavanaugh

Rating: 3 out of 5

TAROT #4

Alan Davis and Paul Renaud’s Marvel masterpiece comes to a close in this gripping issue that makes the scope even bigger and more interesting than the three previous issues, which is saying something. The pair have crafted a unique and original standalone story that gets to the beating heart of why comics work and what makes them interesting. They dig into the timeless nature of these characters and the narrative loops they find themselves stuck in, and why they’re the archetypes they are. If this was a wholly original story Hollywood would be in a bidding war over adapting it into a movie. — Spencer Perry

Rating: 5 out of 5

WOLVERINE #2

Wolverine #2 continues the Benjamin Percy/Adam Kubert story from the first issue, which opened with Wolverine killing his fellow members of X-Force under the influence of the Pale Lady. The Pale Lady is somehow tied to the distribution of counterfeit pollen from Krakoa, which was being sold as a drug, although the connection is a lot less clear. Kubert’s art is as solid as ever, and there a lot less wonky layouts that hamper the storytelling. However, the story fails to really engage readers in any measurable way—choosing instead to go with a rather mundane story in which Wolverine is put under some sort of mind control multiple times. It feels like a very “color by the numbers” Wolverine story, which is a waste of Adam Kubert artwork. — Christian Hoffer

Rating: 2 out of 5

X-MEN #9

Jonathan Hickman and Leinil Yu keep up the big, sci-fi action from last issue in X-Men #9. The X-Men head to space and soon find themselves surrounded by Brood in the path of Gladiator and his Imperial Guard. Yu does action well, expressions less well, and storytelling mostly fine but for a muddy moment or two. Hickman is beginning to make a habit out of creating high octane stories that slam on the breaks right at the end. This is such a story, and it may take a minute for the implications of the final page to settle in. Once they do, you’ll be eager to see what happens next. — Jamie Lovett

Rating: 4 out of 5

X-MEN + FANTASTIC FOUR #3

There’s something familiar to X-Men + Fantastic Four; it’s a story you’ve read before and the rhythms of the team-up story resound on each page. That isn’t an inherently bad thing, though, as they are told with gusto and new embellishments strong enough to remind readers of what this sort of superhero magic felt like the first time. It’s present in the perfectly-honed voices of Sue Storm dismissing Magneto and Doom justify his enormous ego, as well as reveals so big they’ll make readers gasp and grin within a few pages of one another. This is a story told with the confident flourishes of renowned showmen, although that’s an echelon of superhero comics both Zdarsky and the Dodsons attained long ago. — Chase Magnett

Rating: 4 out of 5

Other Publishers #1

ANALOG #10

The finale of Analog is a paint-by-numbers conclusion wherein the hero makes some sacrifices, but is bailed out by their own cleverness and allies in order to see the villain punished and a vaguely optimistic epilogue delivered. It’s like too many other stories, in comics and other media, to make it a worthy object of comparison. Instead, it simply is the final chapter of an adventure like so many before—competently drafted and delivered, but unable to provide any moments or ideas worth recalling. These efforts are sufficient for momentary entertainment, but offer nothing more than that. I suppose Analog #10 offers a perfectly adequate definition for “fine.” — Chase Magnett

Rating: 3 out of 5

ANGEL & SPIKE #10

Angel somehow managed to get better thanks to adding Spike into the mix, and you need look no further than Angel & Spike #9. Spike brings an accountability and brutal honesty to the series that strengthens its lead at every turn, and writer Bryan Edward Hill utilizes that same energy to raise Gunn and Fred to new heights as well. Artist Gleb Melnikov and colorist Roman Titov are on top of their game here, delivering tension, action, and stakes through cinematic panels that feel right out of the TV show. Hill’s dialogue only furthers that feeling with just the right amount of snappy banter between the heavier moments. Angel had already hit its stride, but adding Spike to the series has made this series even more addictive, and here’s hoping he doesn’t leave anytime soon. — Matthew Aguilar

Rating: 4 out of 5

ANIMOSITY #27

Throughout this rollercoaster ride of a journey, it always comes down to Sandor and Jesse, and Animosity #27 adds yet another compelling layer to their whirlwind story. Writer Marguerite Bennett explores themes of boundaries, family, and trust in grounded and nuanced conversations between these characters that make you forget a dog is talking to a goat. The reactions and bonds are all too human, and that’s what makes Animosity such an amazing read every month. Artist Elton Tomasi and colorist Juancho heighten the nuanced storytelling with visuals that don’t pack the pizazz of other series but delivers stellar expressions that help make those smaller moments and personal exchanges land with the necessary impact. It all leads to an issue that ends in a very intriguing place, and we can’t wait to see what’s next. — Matthew Aguilar

Rating: 4 out of 5

CROWDED #12

Crowded consistently manages to be one of the best books out there but this week’s Crowded #12 takes things to a new level as it shakes up the story in a big, big way while also closing out the current arc. Charlie and Vita’s relationship has been the cornerstorne of this chapter of the Crowded story and the issue wisely makes it the focus here, injecting some raw reality in a story that, at times, feels almost a little fantastical. There’s also some extremely well-done, sharp commentary on, of all things, multi-level marketing that feels stunningly on the nose and also riotously funny. It’s a top-notch issue of a top-notch series, full stop. — Nicole Drum

Rating: 5 out of 5

DEATH OR GLORY #10

The penultimate issue of Death or Glory has arrived and, oh boy, it never lets up, even for a second. Rick Remender has taken a simple concept like a car chase and has dragged it out over the past three or four issues. The equivalency of one movie scene spread out over the course and months and yet, it works—it works perfectly, at that. Death or Glory reminds me of a monster truck rally advertisement that accidentally turned itself into a comic book. There’s constant heavy metal, blood-pumping action that always pushes the boundaries without becoming overbearing or unnecessary. There’s only one issue left and that’s a damn shame because Death or Glory is finally firing on all cylinders. — Adam Barnhardt

Rating: 5 out of 5

DYING IS EASY #4

Joe Hill’s neo-noir mystery continues to ride high in the latest issue but is at its best in terms of its narrative when it’s focusing strictly on the characters at play and their interactions. Deepening those relationships and offering the readers moments of development for them is more interesting than the overall plot itself which gets tedious at times. Artist Martin Simmons once again remains the MVP here, delivering a fierce artistic style that brings the entire concept together and a visual flair that makes it memorable. Keep your eyes peeled for some Grade-A easter eggs from Hill’s other works as well. — Spencer Perry

Rating: 4 out of 5

FOLKLORDS #5

Folklords concludes with a rather open ending, seemingly meant to set up a sequel. Ansel and his allies finally confront the titular Folklord, a writer from the “real” world with absolute power in the Folklands. We’re not told much about how the Folklord came to the Folklands, although Ansel is given a new clue to follow. For a finale that promised answers, we really weren’t given much, and I’m disappointed that the miniseries ended with an ending clearly meant to lead to a next chapter instead of giving readers any real resolution. — Christian Hoffer

Rating: 2 out of 5

Other Publishers #2

GHOSTBUSTERS: YEAR ONE #3

Each member of the Ghostbusters has had their personality shine through in their respective issues so far, but none have come across quite as clearly as Dr. Venkman’s. His stories as eccentric as the character himself, Venkman’s mannerisms and responses to the questions during the interview are as true-to-character as anything we’ve seen yet. The ghost story wasn’t quite as eventful as the previous ones, but it made up for it with its comedic retelling that could only work as well as it did in Venkman’s issue. — Tanner Dedmon

Rating: 4 out of 5

GODKILLERS #2

Unintelligible. Remove the captions and word balloons, and you’re left with a comic where it’s difficult to identify any characters. Even the vampiric monster at its heart transforms to a more human appearance in a fashion that is difficult to perceive in the art. The soldiers on which this story centers are so often cast in shadows that their faces are indistinguishable, even when facing the reader with no obvious lack of light. As a result this story can be best read as a series of roughly connected moments, all of which require readers do the majority of heavy lifting in making sense of the moments. It’s possible to parse through ideas of religion and faith being discussed here, but not worth the time. They are superficial covers on a narrative that’s not worth continuing. — Chase Magnett

Rating: 1 out of 5

HIDDEN SOCIETY #2

Hidden Society #2 fills in a lot of big gaps left by the first issue, introducing a protagonist and reason for these mismatched individuals to be drawn together. No sooner is this staging complete then all of the characters assembled are cast out to the winds with very little reason for readers to be concerned about them as individuals or for their collective cause. It’s possible to see how these changes fit into a storytelling guide, but difficult to care about the story itself. Who are these heroes? Why should we care? Only crickets respond. With all of that said, the designs for the villains and layouts are excellent, simply lacking the flavor and details that might transform an adequate story into a memorable one. — Chase Magnett

Rating: 3 out of 5

I CAN SELL YOU A BODY #3

With only one issue left to go, the pitch and potential charm of I Can Sell You a Body is apparent. Denny is finally taking the form of a character reader’s might be able to sympathize with or, at the very least, root for. Yet the cartoonish nature of the problems surrounding him and a failure to realize that world make it difficult to care as the story nears its end. A priest whose sole trait is an inability to grasp English colloquialism embodies the first problem—a gag that quickly grows stale and then draws excessive attention to itself as there’s little else on the page to provide a distraction. There’s a car chase late in this issue that identifies the second problem when what appears to be a love tap (with only a taillight cracked) sends one vehicle flying far above traffic. There’s a good idea embedded deep within this issue, but it’s rarely realized and the end results are hardly worth parsing. — Chase Magnett

Rating: 2 out of 5

JUDGE DREDD: FALSE WITNESS #1

This tale has the same gritty art style as the classic Dredd comics, which is fun change of pace from most other books being printed. It’s colorful, yet feels dirty, setting the scene of Mega City One rather well. It is, however, extremely on the nose, using our current place in history to tell a story of evil, greed, and corruption. That’s not necessarily a bad thing, as comics have always served as a way to highlight injustice in the world. It’s just that this one isn’t quite as creative as you’d hope. — Charlie Ridgely

Rating: 3 out of 5

THE KILL LOCK #4

Livio Ramondelli’s robotic epic continues with its most chilling installment yet. After another round of excellent character interactions between the main four and more heartbreaking backstory for The Wraith, the group comes face-to-face with the ghastly Leviathans. The horrific designs for these things makes them instantly iconic, and their quick display of power shows just how deadly they can be. This series is just way too much fun, and that twist at the end will leave your mind racing. — Connor Casey

Rating: 5 out of 5

KILLADELPHIA #5

Killadelphia has, up until now, presented itself very much as a somewhat straightforward horror story. Vampires in Philadelphia with a unique, American history-oriented twist all centered around a detective mystery of sorts has been the framework for this story about race and society and justice. But Killadelphia #5 flips the script in an unexpected way and injects some deeply fascinating and complex energy into what is already a well-crafted title. It’s a twist that the reader doesn’t see coming even though the pieces have always been right there. This issue has a real energy to it that makes it a thrill to read even with its darker themes. — Nicole Drum

Rating: 5 out of 5

Other Publishers #3

KILLING RED SONJA #1

You wouldn’t think a book called Killing Red Sonja would be a comedy, and yet the first issue is downright hilarious. The story sees a preteen emperor set off on a quest to find and kill Sonja for slaying his father. And yet right from the get-go the book lets you know he’s in way over his head, and all of his failures come from being either too naive or just downright unlucky. Not bad for an opening issue. — Connor Casey

Rating: 4 out of 5

LAZARUS: RISEN #4

From their introduction Michael Barrett and Casey Solomon have provided a human perspective to the subterfuge and battles of an elite class ruling over Earth’s desiccated remains. They occupied a space that could be easily forgotten or missed, but skillful character-focused storytelling, exactly like that in Lazarus: Risen #4, has made them feel essential. The extended page length of this new format provides plenty of space for their stories to move forward and structure a twisted web that would leave soap opera fans everywhere feeling anxious. While the story elements here primarily serve to build tension and set up future confrontations, this “middle chapter” offers plenty of variety on the page, offering up both some of the series’ tensest dialogue and a brilliantly executed silent action sequence near its end. Lazarus continues in fine form this month and its future has never seemed more exciting. — Chase Magnett

Rating: 4 out of 5

MIGHTY MORPHIN POWER RANGERS #49

Expectations are high for Necessary Evil’s big conclusion, and if this issue is any indication, Power Rangers fans are in for one hell of a treat. Right up front, this is easily one of Daniele Di Nicuolo, Walter Baiamonte, and Katia Ranalli’s strongest issues of Power Rangers to date. The colorwork is simply stunning at times, and Nicuolo outdoes himself several times throughout the issue, including that thrilling White Ranger Dayne battle or the poster-worthy morphin sequence just to name a few. Ryan Parrott continues to establish Kiya as more than a one-note villain, and the wild card that is Ranger Slayer and Xi provides enough intrigue to balance out the all-out action scenes. Things are building at a fever pace, and the anticipated conclusion can’t get here soon enough. — Matthew Aguilar

Rating: 4 out of 5

MONSTRESS #27

The best issues of Monstress tend to have a whole lot of Kippa in them and Monstress #27 falls into that category. Over the course of the title, there have been so many threads to Maika’s story as well as that of those around them. In this issue, more and more of those come together and Marjorie Liu weaves them together in a way that can only be described as a masterpiece of storytelling. Monstress #27 is grim and difficult, but somehow there’s this beautiful symphony of storytelling and action. It doesn’t drag, it’d doesn’t overwhelm and secrets manage to be revealed while the story moves ever forward without hanging up on any one development. It’s an exquisite issue from start to finish. — Nicole Drum

Rating: 5 out of 5

THE OLD GUARD: FORCE MULTIPLIED #4

Leandro Fernandez makes violence look spectacular in comics form. There’s the obvious connection to the battles set both milennia into the past and with modern warfare; one particular swing of the axe resonates in this issue. There’s also the surprising emotional violence that comes from old soldiers, friends and lovers, who have experienced traumas so terrible that oftentimes readers are encouraged to imagine the pain as much as witness it. Force Multiplied #4 adds another layer to the mythos surrounding these heavily-scarred characters—offering some sense of a mystical connection to their existence tied to a universal sense for good and evil. Those elements are somewhat half-baked in this issue, raising an array of questions and connections that aren’t entirely satisfying. Connecting mercenaries with a heart of gold to morality reads as ill-considered at best, but that’s an issue set for a future date. For now their story continues to thrill and delivers one of the best cliffhangers of 2020 so far, at least in comics. — Chase Magnett

Rating: 4 out of 5

ON THE STUMP #2

On The Stump sure is something—and if we’re being completely honest, there isn’t anything on the shelves like it. Chuck Brown and company definitely aren’t afraid to put the story they want out there, regardless of the amount of blood and guts involved. The sophomore outing in this creator-owned run did wonders for the world-building of this alternate United States and sure, this issue raises more questions than it has answers. But that’s entirely fine at this point with the understanding we have more issues on the way. On The Stump is definitely a sight to behold, there’s no way around it. — Adam Barnhardt

Rating: 4 out of 5

Other Publishers #4

ONCE & FUTURE #7

Once & Future has been consistently great since it debuted, and that doesn’t seem to be changing anytime soon. Kieron Gillen, Dan Mora, Tamra Bonvillain, and Ed Dukeshire deliver a visually stunning Indiana Jones-style adventure with a King Arthur twist that just doesn’t feel like anything else in comics. Mora’s pencils have never been better, and Bonvillain brings Mora’s work to life with a vivid palette of greens, pinks, blues, and purples that is not afraid to go for a brutal scene when the situation calls for it. The visual splendor doesn’t obscure the relationships between the three leads that really make this book go though, and yes, Gran is still one of our favorite new characters by far. Do us a favor and give Once & Future a chance, because you won’t regret it. — Matthew Aguilar

Rating: 5 out of 5

PROTECTOR #3

Protector is a series not scared to showcase the alien. The most recognizable character in this comic is the war machine fueled by corpses as the people surrounding it have developed cultures appropriately distant from our own. There are no easy archetypes amongst these characters or the story they are telling besides a fish out of water sort of humor surrounding the NATO machine. While it’s fascinating to pick apart the language and traditions that are built into every exchange and panel, there’s a genuine spectacle to this issue when two pieces of ancient technology collide. Greatly varied line weights make explosions and lights resound with power. The action is allowed to speak for itself and it absolutely shouts here. Protector is one of the great comic book discoveries of 2020—a tapestry of alien ideas and manifold stylistic touches offering up one of the most engaging and oddly human new stories of the year. — Chase Magnett

Rating: 5 out of 5

QUANTUM & WOODY #3

After two spectacular issues, this title takes a step back here as Quantum and Woody are entirely too overbearing. The meta-ness can be overwhelming at times, even though it’s a signature of the duo. While Hastings has been able to balance it pretty well so far, there’s a lot of it in this issue, certainly to a fault. For a four-issue mini-series, Quantum & Woody #3 is a very underwhelming penultimate issue and doesn’t really set anything up for the finale. If anything, this issue feels like it’s smack dab in the middle of a story arc rather than a book second to the end. — Adam Barnhardt

Rating: 3 out of 5

RISING SUN #3

Rising Sun is an odd comic. It’s presented as an adventure comic, but it’s one that consistently relies too much on genre conventions and a sort of ill-developed idea of medieval Japan in order to tell its story and Rising Sun #3 compounds those weaknesses by dropping a lot of extremely predictable events and tropes all into one overly rushed, confusing, and crowded finale issue. You read that right: Rising Sun #3 closes out the arc without really ever having gotten the story off the ground. None of the characters ever really flesh out, the quest is too easily completed and the book just stops. The art continues to be lovely, but the whole thing just ends up feeling a bit empty when the dust settles. — Nicole Drum

Rating: 2 out of 5

SEX CRIMINALS #28

Wow, this issue is absolutely exceptional. As Sex Criminals builds to its long-awaited finale, this issue is just the right amount of bittersweet, but largely spends its time doing an exceptional job of moving the arc forward. Matt Fraction’s script is effortlessly crafted, and will probably make you tempted to revisit some of the series’ earlier moments. And Chip Zdarsky’s art is as perfect as ever, with a simple shift in facial expression being enough to make you laugh out loud. This, combined with a brilliant Letters column and a hilarious sort of “post-credits scene”, proves that Sex Criminals is just as weird and truly perfect as ever. — Jenna Anderson

Rating: 5 out of 5

SONIC THE HEDGEHOG #27

As the Zombot saga nears its conclusion, the story has arranged itself into a series of boss fights, much like a video game. Sonic the Hedgehog #27 follows up on two of the showdowns established in the prior issue, suggesting that the next two issues will take a similar approach. It’s the best possible way to handle this, offering up to satisfying battles with clear arcs and some enjoyable twists. It’s unfortunate that the big emotional moment at the end of the issue is broadcast on the cover. Even without that giveaway, there’s still the sensation of stalling as the nature of a Sonic story suggests everything in these pages is simply preamble to the battle readers are reminded of on the issue’s final page. Well told fare and great for a quick distraction, but you won’t need to remember any of it, even to read Sonic the Hedgehog #28 next month. — Chase Magnett

Rating: 3 out of 5

Other Publishers #5

STRANGER THINGS: INTO THE FIRE #3

With Marcy and Ricky finally coming face to face with someone who has answers about Marcy’s sister Jamie, the information they learn gives them a promising lead. Jamie, meanwhile, sees an opening at her facility which will allow her to use her powers, possibly leading to her salvation or her sacrifice. Now that we’re in our third issue, the book finally starts to get its footing in making you care about the adventures of these characters as opposed to merely being an opportunity to use the words “Stranger Things” in its title, though its blend of a fairy tale theme with the narrative’s reality makes for a tonally uneven experience, though could result in an exciting conclusion. — Patrick Cavanaugh

Rating: 3 out of 5

SUPER DUCK #1

This issue brings Super Duck back into the Archie Comics pantheon in a strange and slightly befuddling manner. The adult-oriented book kicks off with what is essentially an avalanche of PG-13 quips, and a super fight that is so concerned with parodying modern-day superhero stories, it ends up being a little frustrating. The second standalone story, which jokes about being a lost installment from the 1940s, is a bit more amusing, but it might not be enough to save the overall issue. It’s unclear at this point who this miniseries is for, or if it will be a worthwhile read by the time things are done. — Jenna Anderson

Rating: 2 out of 5

TOMORROW #2

After wasting little time to set the world ablaze in its debut, Tomorrow slows down to give more context to the “plague virus” as it’s called so far. The dynamic of who’s affected by the virus and who isn’t is an interesting one so far that feels as though it sill holds many secrets. Tomorrow continues to neatly ride the line of being just intense enough while not being overly morbid, and the second issue seems to have found a more comfortable groove by spreading the focus out among its characters instead of focusing mostly on Oscar. — Tanner Dedmon

Rating: 4 out of 5

TRANSFORMERS: GALAXIES #6

Cliffjumper finally gets his heroic moment while trying to step out of Bumblebee’s shadow in this issue of Transformers: Galaxies. The two-part arc was built around Cliffjumper’s meta-origins, namely that his toys are usually repaints of Bumblebee toys. Kate Leth and Cohen Edenfield lean into that a bit, showing that Cliffjumper was literally created as an inadvertent copy of Bumblebee, while showing his struggles to stop a sociopathic Deathsaurus. In the end, this is a fun (if unimportant) issue, one that most Transformers fans will enjoy. — Christian Hoffer

Rating: 4 out of 5

TRANSFORMERS VS. TERMINATOR #1

In 2029, humanity has been decimated by the Decepticons, with Skynet sending a T-800 back to 1984 to prevent that fate from happening. As one would imagine, this “Terminator” crosses path with Sarah Connor and the pair head to the site of a volcano eruption to launch their attack against the Cybertronians. Over the course of the franchise, the Terminator series has created a dense mythology of time travel and artificial intelligence, which can be quite difficult to keep track of for even the most passionate of fans. Unsurprisingly, adding Transformers into the mix doesn’t help matters much, as their addition would be enough to complicate the familiar elements of the Terminator series, only for this book to also offer twists on the more well-known narrative elements of the series. This book is complex, confusing, and jam-packed with complicated details regarding time travel and artificial intelligence that it just feels like a lot of nonsense, but the art also manages to cram exciting sci-fi action into each panel, resulting in a premiere issue that will sure to delight die-hard fans of either franchise while frustrating more casual readers. — Patrick Cavanaugh

Rating: 2 out of 5

WITCHFINDER: THE REIGN OF DARKNESS #5

Though the final issue of this new mini-series from Mike Mignola and Chris Roberson is one of the highlights of the entire run, it ends up making the other issues seems hollow by the end. Almost all of the plot for this entire storyline, something teased for years in the pages of Hellboy comics, was stuffed into the final two issues and made the first three seem superfluous. That said, the fifth issue is a good read albeit still hampered by the less-than-interesting art from Christopher Mitten. In the end this experiment of offering a story from a throwaway line in a comic years ago doesn’t seem to have worked overall beyond connecting further threads. — Spencer Perry

Rating: 3 out of 5

X-O MANOWAR #1

[READ THE FULL REVIEW HERE]

Pardon the corporate buzzword, but there’s no way around it—the creative team on X-O Manowar exhibits perfect synergy that allows the series’ premiere to cement itself as one of Valiant’s best debuts of late. There’s no question Hallum has an excellent grasp on Aric and Shanhara, something greatly complemented by Laiso’s excellent line art and the incredibly clean colors of Ruth Redmond. This book is also a testament to the versatility and range Hassan Otsmane-Elhaou brings to the table—two Valiant series in one week with polar-opposite lettering styles, and that’s not to mention even the top-shelf quality work the up-and-coming letterer puts in issue after issue. X-O Manowar #1 is nothing short of beautiful and serves as the fitting—and very welcome, might I add—return of a classic Valiant superhero. — Adam Barnhardt

Rating: 5 out of 5