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

The review blurbs you’ll find contained herein are typically supplemented in part by longform individual reviews for significant issues. This week that includes Legion of Super-Heroes #1, New Mutants #1, Undiscovered Country #1, and Locke & Key: Dog Days #1.

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

BATMAN #82

As a longtime reader of Tom King’s Batman—we’re 82 issues in at this point, folks, and that’s a long time—I’ve largely given up expecting things to stick from issue to issue. Particularly in the last several issues we’ve seen the story swing wildly from “Batman knew everything this whole time and orchestrated all of the major action” to “Batman is the Jon Snow of DC and knows nothing” with an unhealthy dose of Flashpoint Batman in between. That trend continues in Batman #82 with Batman finally taking on Bane. It’s as climactic a fight as you might expect… until it isn’t. The issue leaves the reader hanging in a way that has become all too common in this run, serving as a reminder that this may well end up a story best told in one long sitting as opposed to these brutal, short snippets that make up each issue. If you can get past the threadbare cliffhanger approach once again, though, the use of orange tones in this issue tells a story all its own and is a real treat for the reader. — Nicole Drum

Rating: 3 out of 5

BATMAN: UNIVERSE #5

The second half of Batman: Universe #5 presents the first (and hopefully only) misstep in an otherwise superb series. In revealing the MacGuffin driving this madcap tour of DC Comics, the issue touches upon a bit of DC lore that requires a great deal of page space to explain for far too little return on investment. It’s the dullest bit of a rollicking narrative and one that appears to serve primarily as an excuse to provide the final chapters with an extraordinary setting. The entire issue still delivers an immersive, idiosyncratic, and consistently entertaining visual representation of a diverse array of ideas; the first half has a much more enjoyable plot to match. Even with some notable flaws, Batman: Universe delivers one of this week’s best pages in a spread that details a submarine’s innards and the adventure occurring within. It’s the sort of storytelling that reminds you why you love superhero comics. — Chase Magnett

Rating: 4 out of 5

DEATHSTROKE #49

Deathstroke #49 marks a significant and none-too-soon course correction after several desultory issues distracted by tie-ins with “Year of the Villain.” There’s mention of Luthor’s gift here, but it is transformed into a MacGuffin that requires minimal consideration. With that put away, focus returns to the Wilson family and all of their many failings and tragedies. Each character is presented with a notable decision, with the exception of the eponymous anti-hero who is largely absent, and they build to an appropriately climactic cliffhanger for the upcoming series finale. This is a return to form for Deathstroke as even an issue primarily focused on staging offers plenty of introspection, humor, and unexpected turns. It looks like Christopher Priest’s redefining run with Deathstroke will end on a high note. — Chase Magnett

Rating: 4 out of 5

DOOM PATROL: WEIGHT OF THE WORLDS #5

Doom Patrol: Weight of the Worlds #5 takes the sentiment of the very best letters columns and transforms them into superhero comic. Framed clearly in reference to Morrison’s Doom Patrol run, the story takes a young fan and pulls them into current events within the Young Animal line. Sentimentality makes this comic enjoyable, especially when reading as a fan who enjoyed those Morrison comics as a teenager. However, both the inexplicable pseudo-teenager language and a tendency to veer too close to the twee in presentation prevent this issue from ever being much more than enjoyable. The thoughts are blandly positive and gestures towards more serious themes remain unaddressed. It’s ultimately a nice, but forgettable, installment. — Chase Magnett

Rating: 4 out of 5

THE DREAMING #15

After a couple of standalone issues, The Dreaming #15 brings back Bilquis Evely and returns focus to the story’s core. The issue double down on some running themes in the series. explores how our work gets tied up in our notions of self-worth and how new technology can disrupt that relationship. Si Spurrier’s scripting is a feels of a piece with how Neil Gaiman wrote The Sandman without degrading into pastiche or imitation. Bilquis Evely continues to astound. There’s a two-page spread where Evely uses ornate yet fluid page framing to immerse the reader in dreams. Even that can’t top the thematic weight carried by a page where an empty library looms over a single kiosk containing all its digitized knowledge. This is another fantastic issue in a fantastic series. The Sandman could ask for no more worthy a successor. — Jamie Lovett

Rating: 5 out of 5

GREEN LANTERN: BLACKSTARS #1

Grant Morrison and Liam Sharp brought awe and ambition to The Green Lantern, and now Morrison and artist Xermanico are once again aiming high with Green Lantern: Blackstars #1. The book definitely assumes you’ve read the previous Green Lantern series, so new reader-friendly it isn’t. That said, if you’ve followed along thus far Blackstars is a no-brainer, as it features the same world-building and story seeding that made The Green Lantern such a joy. Xermanico is able to keep up to, which is impressive given the sheer amount of detailing and characters in each scene. While there are a host of characters to take in, it all will rise and fall with Belzebeth and Parallax, and so far there are well deserving of the spotlight, exhibiting a raw magnetism that keeps you invested in not only the big picture but also the more personal one, and it makes for a book that is simply not like anything else on stands. — Matthew Aguilar

Rating: 4 out of 5

HARLEY QUINN #67

On the surface, pretty much every issue of Harley Quinn seems like a bonkers romp in silliness but that’s the beauty of the series. It’s rarely just surface and Harley Quinn #67 is a shining example of that. The issue takes on the idea of what seems like a never-ending string of “crisis” events in comics and wraps it up in an explanation that offers a fresh perspective on the idea of why big, expansive stories are so attractive to readers while also offering the idea of comics characters as a family. Think of Harley Quinn #67 as DC’s Thanksgiving Special and it’s a clever, funny, goofy romp full of heart and a bit of sly commentary that is both fun and fresh. — Nicole Drum

Rating: 4 out of 5

THE INFECTED: KING SHAZAM! #1

Shazam! is now a pretty bad dude—and not the kind with shades and a leather jacket. It’s been a minute since the character’s officially turned heel and that’s where this book picks up. As far as the story goes, a lot is left to be desired by the time the book ends. Sure, there are some fun cameos throughout but the plot just keeps tripping on itself as it falls into a redundant mess. On the bright side, you can never go wrong with Joe Bennett on the artwork. — Adam Barnhardt

Rating: 3 out of 5

DC #2

INFERIOR FIVE #3

Inferior Five has been a rather inferior book thus far, but this week’s Inferior Five #3 does something a bit unexpected, reversing that quality issue by way of finally offering readers a sense of context to the story already in progress. It’s an approach to the book’s larger mystery that doesn’t exactly deliver any major twists or secrets but it does help the story make a lot more sense—even if it waited until almost too late to do so. With the series at its midpoint and context finally being provided for the mysterious and sinister goings on in Dangerfield, Arizona, Inferior Five finally is starting feel like a story that might actually mean something. Bonus points for the art actually feeling like they fit this time around as this series finally finds its pace and footing at last. — Nicole Drum

Rating: 3 out of 5

JUSTICE LEAGUE #35

What happens when the Justice League loses? Despite a frantic race to stop Luthor and his Legion of Doom, the Justice League lost their last-ditch attempt in preventing the rise of Perpetua. This issue takes a much needed break from the non-stop action and explains in rather blunt terms what’s about to happen—the destruction of the entire Multiverse. While this issue still has the same recurring problems as past issues (too many characters that seem to just be around as window dressing and don’t really contribute much or have a real distinct voice), I think that this was a necessary respite from the action that sets up the next step of this mega-arc. — Christian Hoffer

Rating: 3 out of 5

LEGION OF SUPER-HEROES #1

[READ THE FULL REVIEW HERE]

Whether it’s the action at the start or the worldbuilding at the end, Legion of Super-Heroes #1 is, above all else, a lot of fun to read. No matter how many conversations might have occurred about how to handle continuity, they have been left far away from the reintroduction of this popular team. This is a comic that stands apart from everything that came before it, reveling in the unaging thrills of the superhero genre without wallowing in nostalgia. Its ambition appears as obvious as telling the best version of this tale, one that is infused with youth, sci-fi, and superpowers. In leaving the past behind, Legion of Super-Heroes finally appears ready to enter the present. — Chase Magnett

Rating: 5 out of 5

LOIS LANE #5

There’s a way in which Lois Lane could have commented on the modern distrust of media and provided valuable information on how journalists use sources without devolving into a didactical approach; Lois Lane did not find that way, however. Much of this issue is dedicated to what reads either as a blog post about how poorly journalists are treated or a civics lesson, and that creates a disconnect from the characters that carries into the rest of the issue. Action sequences are also disruptive to the reading experience, but that’s due to the uncomfortable presentation of Renee Montoya who often faces the reader chest first. What functioned as a rough and atmospheric style in the first issue now feels rushed and reads as being incomplete and relying on obvious panels to distract from that. It’s a steep decline from where this series started on all fronts and something that hopefully won’t be repeated in the 7 issues to come. — Chase Magnett

Rating: 2 out of 5

SUPERMAN: UP IN THE SKY #5

The narratives here are good, and the art is stellar, but the fact that two issues in a row have the “a story over static images” setup is something that feels like it could have been avoided in such an action-filled storyline. This feels more like an editorial question than a writing one, but either way, the end result is that the book feels like it has been slowed way down. — Russ Burlingame

Rating: 3 out of 5

WONDER TWINS #9

The art is fun and expressive in this issue, and a lot of information is crammed into the pages without it feeling like an exposition dump or overly crowded. If there is a shortcoming, it’s that it very much feels like it’s wrapping up one story and setting up another… even though we’re three-quarters of the way through the series. — Russ Burlingame

Rating: 4 out of 5

YOUNG JUSTICE #10

When Young Justice #10 is good, it’s great. The bits that aren’t good are so obviously not good that they become significant distractions, though. Two prime examples are how badly the cover establishes expectations for an issue that only introduces its concept on the final page and the bold move to make Tim Drake’s costume as dull as the character. There’s now a Drake-shaped hole of color in many sequences that could use anything but beige. All of this distracts from charming dialogue, a lovely balance of artwork from both Derington and Timm, and a neat resolution to a multiversal battle (including a quite funny capstone from Impulse). It’s a good issue of Young Justice that with a few changes could have been great. — Chase Magnett

Rating: 3 out of 5

Marvel #1

ABSOLUTE CARNAGE: WEAPON PLUS #1

Carnage rips out quite a few spines and lops off several people’s heads in Absolute Carnage: Weapon Plus #1 which is to say that the introduction to this series is a pretty accurate and eye-catching portrayal of what the villain is all about. Handing the reigns to the clawed-Hulk hero Clayton in this branch of Carnage’s story, the series treats readers to a behind-the-scenes look at symbiotes and the way factions have used them throughout the years. Good and bad become less important in the fight against Carnage, fights which are depicted with some beautifully gruesome combat and brutality. Weapon Plus feels like an excellent accompaniment to the other Carnage stories and will hopefully continue to present itself that way. — Tanner Dedmon

Rating: 5 out of 5

THE AMAZING SPIDER-MAN #33

Nick Spencer continues to weave his web with regards to his venture into Marvel 2099. As he has done in the past several issues, Spencer’s strength comes from his ability to juggle numerous characters, and plotlines, from Spidey’s past and integrate them into a well oiled machine. Patrick Gleason’s artwork is electric, making for a fantastic addition to the book outside of Ottley’s usual style. The stage is set for a fantastic return to the world of Miguel O’Hara and his future environment. — Evan Valentine

Rating: 4 out of 5

BLACK CAT #6

How is Black Cat always this much fun? This issue focuses mainly on a date between Felicia and a mercenary that she knows won’t go anywhere long term, but her inner-monologue creates an interesting narrative from start to finish. This iteration of Felicia continues to be devilishly entertaining, even when there’s not much else going on around her. — Charlie Ridgely

Rating: 4 out of 5

DAREDEVIL #13

After 12 issues barrelling head first into previously uncharted territory, Daredevil hesitates for the first time in this otherwise impressive run. Matthew Murdock’s story has hinged on the inevitable, mortal consequences of violence, and this issue emphasizes how that thorny issue can be bypassed through genre handwaving. It’s a disappointing opening and one that does little more than tread water in Matt’s narrative. Kingpin’s portion of this issue is similarly tentative in its approach, largely walking back one of the most potentially intriguing cliffhangers at Marvel Comics this year. Even the execution of this reduction in consequences fails to be exciting in its execution on the page, with as much of the action playing out in expository word balloons as within the panels. The worst issue of Daredevil still packs more to critique than most comics contain for praise, but that doesn’t make this misstep any less of a misstep. — Chase Magnett

Rating: 3 out of 5

DOCTOR DOOM #2

If Doctor Doom wasn’t at the top or even in the top three of your favorite Marvel villains, that might change by the time this Doctor Doom run is through. We’re presented with an exceptionally conflicting version of the character this time whose vulnerability shines through more than his power in a welcomed change of pace. It’s a dreary depiction of Doctor Doom’s world punctuated by real-life effects intermingled with the supernatural such as the “Saturn Devouring His Son” painting making an appearance, and Doctor Doom #2 manages to take readers a place where you’re just absolutely unsure of what could happen next. — Tanner Dedmon

Rating: 4 out of 5

FANTASTIC FOUR #16

Is it possible the Fantastic Four are just as compelling (if not more so) when they’re stranded a totally unknown part of the universe on a seemingly perfect world governed by fear and vengeance? Actually, yes, that sounds about right. — Charlie Ridgely

Rating: 5 out of 5

FUTURE FIGHT FIRSTS: CRESCENT AND IO #1

For what it generally is, Future Fight Firsts Crescent & Io #1 isn’t anything particularly special: it’s an origin story for a character that readers may not be particularly familiar with, in this case one from the Marvel Future Fight mobile game. But the origin of South Korea’s Dan Bi—the Crescent portion of Crescent & Io and how she comes to pair up with an ancient mystical spirit bear is a beautifully told tale made even more charming with absolutely stunning art. The book is, on every page, a delight to read and look at and readers will be hard pressed to not walk away from this issue wanting more stories with young Dan Bi. It’s a simple book done beautifully—a real winner. — Nicole Drum

Rating: 5 out of 5

Marvel #2

GHOST RIDER #2

If you read last month’s debut issue and questioned whether this run lives up to the hype of a true Ghost Rider story, I’m confident any doubts will be settled by the end of Ghost Rider #2. It’s absolutely dark and brutal. It’s heavy and complex. It has enough fire and brimstone, you can practically smell the sulfur fall off the page. This bad guy arc that Johnny Blaze is on is intriguing as all get out and it’s comes to a head here. Just when you think it can’t get more bizarre, it does and dammit, it has all of the fixings for a killer Ghost Rider tale. — Adam Barnhardt

Rating: 5 out of 5

THE IMMORTAL HULK #26

Hulk delivers a new world order in The Immortal Hulk #26 when confronting the horror of humanity’s passivity in the face of global catastrophes caused by climate change. This issue doesn’t mince words on its thematic focus either with a dialogue exchange between Bruce and Amadeus Cho that reads with as much impact as many recent fight sequences. There’s a lot more to an issue that reveals just how ambitious Hulk’s short term goals are, and seemingly touches in with every character from a sprawling cast. Yet the careful continuation of themes between individual sequences and the rising tension of a new adversary’s arrival make for a coherent reading experience. Everything is bigger about The Immortal Hulk now, and it has never been better. — Chase Magnett

Rating: 5 out of 5

THE MAGNIFICENT MS. MARVEL #9

Magnificent Ms. Marvel really excels at combining parts of our ordinary lives with the world of superheroes, especially when those parts are things that we’d rather not talk about, like our pain and feelings. Most of this issue is spent exploring the anxiety and fear of a hospital waiting room and it could not be more interesting. — Charlie Ridgely

Rating: 5 out of 5

MILES MORALES: SPIDER-MAN #12

This issue sets up a spectacular, action-oriented premise for a superhero comic; it doesn’t actually contain that premise though, just the perfunctory action sequence and family dramatics to reach the idea… next month. What’s here has all been seen before in this series. A battle with Man Mountain Marko has a couple of grin-inducing moments, but is primarily serviceable. The strife caused by Uncle Aaron’s criminal ties has been thoroughly addressed, and much of his time with Miles in this issue feels like a bemoaning greatest hits. Miles Morales #12 is a bit of linkage that falls below the standards set for this series, but at least it delivers the promise of a next issue. — Chase Magnett

Rating: 3 out of 5

NEW MUTANTS #1

[READ THE FULL REVIEW HERE]

Being charitable, we can attribute this rough start to New Mutants as Hickman and Brisson setting the stage. They want to get the kids into space where the real fun will take place. It doesn’t make the overlong road trip any more fun to read, but the view, at least, is astounding thanks to Reis’ luscious artwork. It’s exciting to think that Hickman and Brisson want to dig into these characters. Moving them away from the rest of the X-Men forces the focus onto their unique roles and personalities. Let’s just hope they have something more interesting to say about these characters going forward. — Jamie Lovett

Rating: 3 out of 5

OLD MAN QUILL #11

As each issue of Old Man Quill gets more colorful and theoretically more action-packed, Peter’s journey becomes increasingly less interesting. “Old Man Logan, but with space stuff!” is as forgettable as you’d expect. –– Charlie Ridgely

Rating: 1 out of 5

SAVAGE AVENGERS #7

Some artists are simply born to draw certain characters, and evidently, for artist Patch Zircher and colorist Java Tartaglia, that character is Shuma-Gorath. Seriously, their take on the villainous entity is all sorts of disturbing, but then again that’s how it should be, so it’s certainly a job well done. The duo’s visual style also caters to Doctor Strange, Brother Voodoo, and Elektra, and we kind of wish we had more chances to see Conan in action, though what was here was enjoyable. Writer Gerry Duggan’s finding unique ways to utilize this team’s various strengths, but we’re kind of hoping they get to come together soon, as right now the stories don’t feel very connected within the issue, and half the fun of a team like this is seeing how they interact with each other. Hopefully, things are building to that soon, but there’s still plenty to entertain you in the meantime. — Matthew Aguilar

Rating: 3 out of 5

Marvel #3

SPIDER-MAN/VENOM: DOUBLE TROUBLE #1

While it’s nowhere near as dark as the ongoing “Absolute Carnage” event, Spider-Man/Venom: Double Trouble turns out to just as fun for fans of the wall-crawler. The story, which takes a laid back cartoonish direction thanks to Gurihiru’s energetic art style, sees Spidey and Venom as roommates in an apartment. Given that Venom is still a troublemaking antihero and Peter still feels compelled to be good, it isn’t long before whacky hijinks ensue. This was a surprisingly fun read, and a good reminder that comics don’t have to take themselves so seriously all the time. — Connor Casey

Rating: 4 out of 5

STAR WARS: DOCTOR APHRA #38

Being enlisted by the Galactic Empire for an archaeological mission might not have been Aphra had hoped for, but the excursion did offer an opportunity for her to catch up with her estranged father. Unfortunately, the Empire isn’t the only one after Aphra, as another fateful reunion lurks just around the corner. With the conclusion of the series just around the corner, this installment in the title offers readers more emotional momentum than exciting narrative reveals, the effectiveness of which rests solely on how much you have invested into the titular character. As far as the actual story is concerned, this book feels a little like it’s spinning its wheels to get readers ready for a potentially fulfilling finale, leaving us to wait and see if this installment’s storyline stagnation was worth it. — Patrick Cavanaugh

Rating: 3 out of 5

SWORD MASTER #5

This is the first issue of Sword Master that shows that its title character has some talent in something besides being generally clueless and untrained. It seems that Lin Lie is good with puzzles, and that’s something that benefits him in both stories. He’s still portrayed as mostly brash and talentless, but maybe these comics can actually build on his one actual non-generic personality trait and turn it into something more. — Christian Hoffer

Rating: 2 out of 5

THE WEB OF BLACK WIDOW #3

The Web of Black Widow spins a deeper, more intricate tale with each passing issue but now, it seems like it’s on the verge of getting lost in itself. Conveniently enough, this issue’s a who’s who of nearly all the characters involved in Marvel Studios’ Black Widow film, creating a forced awkwardness. That said, the incredibly slow place explodes in the span of a page and a half at the end so at the very least, it’s worth the wait. — Adam Barnhardt

Rating: 3 out of 5

X-FORCE #1

The plot of X-Force #1 is undermined by the entire HoXPoX setup to its debut—the one that made it clear death no longer held much meaning for mutants. There’s still a strong case for the existence of a black ops-style mutant away team, one concerned with subterfuge and foreign intelligence, but those ideas are barely addressed here. Instead, the issue drops a number of narrative strands with no clear sense or momentum concerning how they weave together. Individual character moments read well and the issue is extraordinarily well drawn and colored—evoking Tony Moore’s use of visceral details and the implied violence of Charlie Adlard’s best action sequences. However, X-Force fails to cohere behind a clear concept or provide a notable hook, especially considering that the cliffhanger is meaningless to anyone vaguely familiar with the new status quo. There’s a lot of potential in these pages in need of a clear purpose. — Chase Magnett

Rating: 3 out of 5

YONDU #1

If you’re a fan of Michael Rooker, you’re really going to like Yondu #1. This debut issue is a pretty solid set up of what’s to come in the next four issues, setting the stage for this intergalactic western heist. There are tones of Breaking Bad mashed with Star Wars and Hook. While it’s not necessarily a genre-bending piece, it’s a comic that’s chock-full of action and moves at a brisk pace. There are even enough surprises in store to keep fans of the OG Guardians happy plus—McCrea’s rough and tumble art is a perfect match for the story at hand. — Adam Barnhardt

Rating: 4 out of 5

Other Publishers #1

THE ADDAMS FAMILY: THE BODIES ISSUE #1

While it feels a little bit like it’s a week too late coming after Halloween, The Addams Family: The Bodies Issue is spooky little one-shot that is just as much fun in November as it would have been on Halloween itself. The issue follows a decidedly bored Wednesday Addams who, no matter what she tries, can’t seem to find satisfaction in any of her normal creepiness. While the story is spun around the idea of Wednesday needing to find the next great challenge in her dark traditions, the issue itself is really a very well-done story about the importance of being yourself and finding out what works for you by embracing who you really are. Charming, well-written, and quite clever, it’s a fantastic story enjoyable from cover to cover and a solid reminder why the Addams Family can be so charming. — Nicole Drum

Rating: 5 out of 5

B.B. FREE #1

This debut issue opens up on b.b, a teenage girl in a post-apocalyptic Florida, which has been broken off into a series of islands as a result of global warming. While dealing with the expectations of her father, b.b. and her best friend make their dream—of broadcasting a radio show to the teenagers across the country—a reality. Gabby Rivera crafts an opening is largely charming and endearing, even though some of the world-building and vocabulary takes some getting used to. And the art from Royal Dunlap is truly stunning, crafting a pastel-hued apocalypse that looks unlike anything else in comics right now. — Jenna Anderson


Rating: 4 out of 5

BERSERKER UNBOUND #4

Berserker Unbound #4 delivers a series of climactic moments—often delivered in attention-demanding splash panels—that are all entirely unearned by the story preceding them. Friendship and loyalty lie at the heart of this battle against dozens of warriors and an evil sorcerer, but it’s a bond between two individuals barely shown to be friends with the most tenuous of connections. Every dramatic twist hinges on this relationship and, accordingly, rings hollow. There is simply to little to be found in this pair of protagonists to make readers care. The action itself is similarly absent of effect with little attention to detail. Someone leaping from beneath a river appears entirely dry and a seemingly serious wound is entirely ignored after reader’s have their attention drawn to it. Deodato’s excessive panel borders corrode momentum and even a well illustrated spread at the end—an exception for Berserker Unbound—winds up being over-written. Keep it. — Chase Magnett

Rating: 2 out of 5

BUFFY THE VAMPIRE SLAYER #9

The Buffy the Vampire Slayer cast seems at rock bottom after the opening events of Hellmouth. Willow seems a shadow of her former self after losing a piece of soul. Giles’s seems a far cry from the paternalistic figure longtime Buffy fans know him as. Xander is still struggling with his new life as a part-vampire. The sense of time in this series is still an issue, in particular as it relates to Hellmouth. The last issue of Buffy led straight into the events of Hellmouth #1, which ended on a cliffhanger. This issue takes place days later. The story lacks a smooth flow, but the characters—while not at their most endearing here—are still those lovable Scoobies. Now that Jordie Bellaire, David Lopez, and company have broken them down, it should be fun to see them built back up again (presumably) over the course of the crossover event. — Jamie Lovett

Rating: 3 out of 5

COFFIN BOUND #4

Coffin Bound is, by leaps and bounds, one of the most stunning comics in stores right now. This issue, which serves as the end of “Volume One,” brings Izzy and the various people tangled in her web together in a truly incredible way. Dan Watters’ plot and dialogue buzz with electricity, and Dani’s art buoys from gorgeous to genuinely macabre at the drop of a hat. While it’s disappointing that we have to wait until next summer for the series to continue, the immense amount of work that Dan, Dani, and company put into it makes the wait so worthwhile. — Jenna Anderson

Rating: 5 out of 5

COPRA #2

It’s only upon reflection that the juggling act occurring in COPRA #2 becomes apparent, and that speaks to the subtle artistry beneath so much adrenaline-fueled action and gross out, cyborg violence. More than a dozen characters are engaged in various states of strife, tumbling through a convoluted, industrial setting complete with secret tunnels, yet there’s never a moment of confusion for the reader. Momentum is maintained and conflicts are clarified with each subsequent panel, presenting a tremendous amount of information in a fashion that is far more fun than anything else. That this seemingly non-stop, twisty brawl can also make room to check in on those being left out reminds us how very confident Fiffe is in his telling. COPRA #2 is a roundhouse kick to the ocular nerve, increasing stakes without forgetting its sense of humor (and the unadulterated joy of action comics). It doesn’t get much better than this. — Chase Magnett

Rating: 5 out of 5

CRONE #1

Decades after embracing the blood of battle, a warrior has taken to a desolate mountain to live out her years. That is, of course, until a former ally asks her to come out of retirement to face a familiar foe. The concept can be boiled down to, “What happens when Red Sonja gets older?” As it stands, the writing and artwork absolutely make good on that question, delivering a blend of action and fantasy, though it doesn’t offer anything more. For some readers, that will surely be enough to satiate your interests, but Crone might not have enough to entice new readers to the sword and sandals genre. The book is setting the stage for the toll the aging process takes on even the mightiest of warriors, a narrative thread which could be explored to a fascinating degree, though it’s possible we’ll just get a storyline that is “Badass Female Warrior, but Older.” — Patrick Cavanaugh

Rating: 3 out of 5

DEAD EYES #2

Gerry Duggan and John Mcrea manage to deliver another solid entry into the anti-hero story that is Dead Eyes. Following our first issue, we see our titular character attempting to find his next big score in order to save his wife from one of the biggest monsters of them all: The US Healthcare System. While of course the score itself goes awry, and is honestly somewhat by the numbers, Mcrea is drawing some of the best work of his life here. This second issue doesn’t quite live up to the first, but in the art department, it continues to be stellar. — Evan Valentine

Rating: 3 out of 5

Other Publishers #2

DEADLY CLASS #41

Reading one page narrated in the fashion of Marcus’ journal is stupefying; several of them strung together borders upon the coma-inducing. Not only is the narration self-involved at a plodding pace, the prose is torturously overworked to the point of almost succeeding as a sullen teenager’s attempt at Hunter S. Thompson. Unfortunately, this style spills into the rest of the narration in Deadly Class #41 smothering the one element of the issue that isn’t a snore: Wes Craig’s ever excellent artwork. His characters are as well poised and charismatic as ever, filling each panel with a potent mood. That isn’t enough to buoy a story that spends more time considering itself than being told and even when a more silent sub-plot is added at the end, it’s clownish lampooning of modern politics leaves it feeling as obnoxious as the rest of this comic book. — Chase Magnett

Rating: 2 out of 5

DIE #9

This issue of DIE provides some stirring insights into the origins of this strange fantasy world and how it ties in with the sometimes subtle and sometimes not so subtle references to literature. In this issue, we gain some insight about DIE‘s ties to the Bronte family, who created a prototype version of a fantasy RPG during their youth. Gillen and Hans had alluded to the Brontes since the beginning of the series, and I was curious as to whether one or more of the literary giants would eventually appear in the same manner as Tolkien did in the first arc. It’s not all literary references though, as Ash makes a decision that could fundamentally alter the dynamics of the already broken party. This remains a fantastic fantasy series that takes a hard look at how the games we play affect our lives. — Christian Hoffer

Rating: 5 out of 5

DRAGONFLY AND DRAGONFLYMAN #1

Truth be told, I loved the original miniseries The Wrong Earth the spawned these very two different “DragonFlyMen.” The premise of this story is essentially “what if Adam West’s Batman and Frank Miller’s Batman switched places” and while this issue does an adequate job of taking us into those two worlds, it misses out on the humor of the original series. Granted, seeing how these two worlds operate from pathetically saccharine to ridiculously grimdark is chuckle worthy, it loses something when the two worlds don’t intersect. — Evan Valentine

Rating: 3 out of 5

DUNGEONS & DRAGONS: LEGENDS OF BALDUR’S GATE #1

Dungeons & Dragons: Legends of Baldur’s Gate #1 is an unusual comic. The comic is actually an oversized collection of the first issues of all of Jim Zub’s recent D&D series, which star Minsc and Boo (of Baldur’s Gate fame.) The content itself is great—the Zub D&D books are absolutely fantastic, especially those drawn by frequent collaborator Max Dunbar, and this comic reflects how consistent Minsc and his companions have been portrayed over the year. However, it seems like an odd choice to collect all of the #1 issues, especially as these comics do have a chronological order to them. It’s akin to watching the first episode of four seasons of television, and then trying to gather up context about what happened in each season from there. At best, this comic serves as prelude for next month’s Days of Endless Adventure trade, which collects the first three full arcs of Minsc and Boo’s most recent adventures. If you want to check out the new D&D comics, this is a solid first step. — Christian Hoffer

Rating: 4 out of 5

EVERYTHING #3

Everything #3 continues to drip feed information about the titular mysterious mall, but to author Christopher Cantwell’s credit the story keeps the reader guessing with a long string of bizarre images and character interactions throughout. All the while I.N.J. Culbard’s artwork continues to give off the nagging feeling of discomfort and unease, as even the most basic panels of characters smiling seem deranged. — Connor Casey

Rating: 4 out of 5

GRENDEL: DEVIL’S ODYSSEY#2

Matt Wagner invests a notable amount of space to exploring Gyk society—the developing culture encountered by Grendel Prime at the conclusion of Devil’s Odyssey #1—and it makes for a fascinating bit of hypothetical anthropology and a disturbing reflection on imperialism. What’s most impressive is how easily the issue jumps between a tone of scientific exploration and one of explosive actions. Both perspectives enhance the other, making the learned information tragic and subsequent choices horrifying. Violence continues to define humanity’s legacy beyond Earth in both familiar and unexpected fashions. In some ways Devil’s Odyssey #2 reads as an initial foray, the first adventure on a journey not unlike Ulysses’ from antiquity. If the promise presented here is borne out across the remaining 6 issues, then the newest installment in the Grendel saga may become one of its best. — Chase Magnett

Rating: 4 out of 5

KISS/ZOMBIES #1

In the wake of what appears to be a pretty standard zombie apocalypse, the survivors are forced to adopt a life of near-silence, as the undead ghouls are attracted by sounds. Refusing to accept the status quo, a group of friends follows clues to what they believe could be their salvation, putting them on a collision course with ancient figures from a forgotten world. Recent years have seen KISS be viewed merely as a novelty to those uninitiated, forgetting the group’s roots in horror culture and the fear they conjured in the hearts of parents, with this debut issue of the new series largely delivering a unique horror story with only a tenuous connection to the rock ‘n roll titans. As it stands, the book is entertaining, engaging, and gruesome, with just enough references to KISS to delight longtime fans of the group. Even if you’re not familiar with the Detroit rockers, you’re given a promising first installment in a zombie story, with a handful of tweaks to the well-worn apocalyptic narrative tropes, making for a strong premiere chapter, which we hope will amplify its accomplishments in subsequent installments. — Patrick Cavanaugh

Rating: 4 out of 5

Other Publishers #3

LOCKE & KEY: DOG DAYS #1

[READ THE FULL REVIEW HERE]

This entire one-shot is light on content, and may be disappointing for those who had their hopes up about it potentially beginning a new series. While it definitely accomplishes that, it’s more of a teaser than an actual book. And honestly as a fan, that’s okay with me, at least for now. The Locke family is on a Rodriguez-drawn page in front of my eyes and there’s a smile across my face. Even if for just a moment, this feels like home. Welcome back to Key House. — Charlie Ridgely

Rating: 4 out of 5

MAGICIANS #1

Inspired by the series of Magicians novels and the SYFY TV series, this new narrative, takes a number of familiar characters to an all-new, and officially sanctioned, academy to train in magic. As the new students have to adjust to these more traditional training techniques, the established students also don’t take too kindly to the new recruits being regarded so highly without the proper training. In the book’s opening pages, those unfamiliar with the source material will likely be overwhelmed, yet the popularity of Harry Potter will make it quite easy to acclimate to a school full of wizards and witches, while those with pre-existing knowledge of this world will be quick to immerse themselves in a new story. Rather than spoon-feed its readers required exposition, the characters and their conversations help clarify those points, all while driving the narrative forward. Add to that a rather exciting display of magical abilities in the book’s final sequence, include an immensely effective fourth-wall-breaking moment, and any fan of wizards and witches, no matter when you know about Magicians, will be given an enticing first installment of a promising miniseries. — Patrick Cavanaugh

Rating: 4 out of 5

MANIFEST DESTINY #38

Manifest Destiny delivers another gruesome twist, and this one raises the question of whether this Heart of Darkness-style journey is at risk of repeating itself and simply reveling in misery. Repeated atrocities stack upon one another and there are only so many times that a cast of characters can commit genocide before they lose any sense of sympathy. Yet, even as the crew discusses abomination there’s an attempt to address small issues of motherhood and care that reads as being entirely disconnected from the conflict at hand. While the building tension and presentation of one terrible moment are delivered in excellent fashion, the subsequent attempt to make sense of those events through excessive dialogue falls short. It appears to be time that Manifest Destiny move towards its conclusion or risk devolving into meaningless repetition or self-parody. — Chase Magnett

Rating: 3 out of 5

MARVEL ACTION: AVENGERS #8

There’s quite a bit going on in Marvel Action: Avengers, and that’s both its biggest strength and its greatest weakness. Writer Matthew K. Manning continues to plant some promising seeds, with Black Panther’s father and the Fear Eaters both featuring solid hooks. That said, the Black Panther narrative is handled in a more compelling way, as the Fear Eaters storyline features a bit too much exposition and sort of stalls that part of the narrative until later in the issue. It does hit full swing by issue’s end though, and despite not really adding to the plot much the battle is quite entertaining thanks to artist Marcio Fiorito and Protobunker’s delightful artwork, which embraces a more lighthearted nature. This isn’t the strongest issue of the series, but if the next issue can deliver on the promise established here, we’re in for quite a treat. — Matthew Aguilar

Rating: 3 out of 5

MARVEL ACTION: BLACK PANTHER #6

Marvel Action: Black Panther continues the “Saturday Morning Cartoon” style of storytelling for T’Challa and the people of Wakanda. The issue centers around Shuri, who winds up on a fetch quest after believing she’s fallen under some sort of curse. It’s a quick read and has some pretty good slapstick comedy. So if you’re looking for a more lighthearted Marvel tale there’s a lot of fun to be had here. — Connor Casey

Rating: 3 out of 5

NO ONE LEFT TO FIGHT #5

Make no mistake: No One Left to Fight #5 is a fittingly epic conclusion to the series that delivers on its promise of being a full-on fight for the ages. It wastes no time getting into the battle between Bruton, Timor, and Vale, and it doesn’t let up until the last page with dazzling attacks and clashes decorating its pages. It’s also a somewhat conflicting issue though. As rewarding as this culmination is, it feels like we’ve only just gotten a taste of what the fighters are capable of right as the story ends. It’s a nice change of pace to see a story end with some ragged edges and loose threads to show us only a brief excerpt of the larger picture without a need to tie everything up neatly. The usage of bright colors and explosive scenes make it a bit hard to track who’s doing what at times, but if you keep in mind the Dragon Ball Z flare the story is harnessing, it’s not unlike what we’ve seen elsewhere and comes through as a controlled chaos. One thing is certain from this final issue: Somehow, somewhere, No One Left to Fight needs to continue. — Tanner Dedmon

Rating: 4 out of 5

OVER THE GARDEN WALL: SOULFUL SYMPHONIES #4

The truth behind this miniseries’ spooky mystery finally comes to light in this issue, and it puts the narrative as a whole on an interesting, but melancholic, ground. As Wirt and Greg reluctantly prepare to star in their play, Beatrice discovers exactly how the sisters’ theater came to be. If you’ve been keeping up with the series thus far, it stands to reason that you’ll enjoy this issue, and hopefully be eager to see how things conclude. — Jenna Anderson


Rating: 4 out of 5

Other Publishers #4

PRETTY DEADLY: THE RAT #3

Pretty Deadly: The Rat is a comic that demands your time. Rushing through this issue, or any of the series so far, seeking out word balloons and plot misses much of what makes this essential reading. Emma Ríos builds pages into elaborate visual metaphors, capturing nightmares and concepts at every level from the construction of juxtaposed panels to the silhouettes of each individual figure. Bellaire’s colors enhance each of these compositions, clarifying the distinct acts of this installment with rich pinks after deep oranges. The overall effect is immersive, one that allows readers to perceive the emotional journey of Conjure-Man as he seeks to better understand his neice’s fate (as well as his own culpability) far better than dialogue ever could. All of this is framed by a beautiful introduction that stands out as some of the best pages to emerge from the entirety of Pretty Deadly—one that makes a poignant case for the value of storytelling at a global scale. It is quite an accomplishment and one that is difficult to imagine existing outside of the comics form. — Chase Magnett

Rating: 5 out of 5

RICK AND MORTY PRESENTS: UNITY #1

Just in time for the season 4 premiere, this new one-shot brings a bizarre and delightful new tale to the Rick and Morty universe. This issue sees Rick sucked into an adventure by his kinda-love-interest Unity, and the end result involves fuzzy handcuffs, airports, and a sentient piece of pizza. Tini Howard creates a narrative that’s unpredictable, but nuanced, and is echoed nicely by Marco Mazzarello’s art. If you’re a fan of Rick and Morty’s world, this is definitely a must-read. — Jenna Anderson

Rating: 4 out of 5

SPAWN #302

Spawn #302’s writing is both overwritten and cringeworthy. It’s story gets very little done despite so many people talking It’s needlessly ultraviolent and it’s artwork somehow relishes in the grittiness while also making action scenes hard to follow. Overall it’s one big mess. But if you’ve stuck around for more than 300 issues, you already know that and either don’t mind or can’t help but keep reading. — Connor Casey

Rating: 2 out of 5

STRANGE SKIES OVER EAST BERLIN #2

Horror is exceptionally difficult to pull off in comic books. While this second issue doesn’t quite live up to the promise of the first, which I touted as one of the best single issues of the year, it still manages to really set the scene and take us deeper into this claustrophobic, paranoia rich world. It’s biggest weakness comes in the form of splitting the spotlight among a tad too many players, but the terror of the situation and the amazing artwork is never lost. This latest installment doesn’t quite knock it out of the park, but manages to hit a solid “triple” when all is said and done. — Evan Valentine

Rating: 4 out of 5

THE TRANSFORMERS #14

The War for Cybertron is continuing to kick up, and it’s having a bizarre effect on the series as a whole. The dialogue is still as over-flowery as ever, in a way that simultaneously makes the series nuanced and a little flat. And while the visuals from Anna Malkova and Bethany McGuire-Smith is admirable, the character designs are either super distinct or require a second look at the “who’s who” page at the start of the issue. There’s a feeling that Transformers is still swinging for the fences, but there’s a question of whether or not causal readers will care enough to follow. — Jenna Anderson


Rating: 3 out of 5

UNDISCOVERED COUNTRY #1

[READ THE FULL REVIEW HERE]

For the moment it feels wise to hold commentary on the relationship between Undiscovered Country and its subject matter. The first issue frames the United States and problems facing it in a fashion that is familiar enough to relate to reality, but it never makes the mistake of announcing its approach with banal axioms. There is ample room left for complexity, along with characters, a premise, and a map that offer plenty of room for exploration. What Undiscovered Country #1 does better than most other #1 issues is to present that potential clearly from the very start. It does not seek to save its scope and ambition for a future date, even if there are plenty of mysteries embedded in the story. Instead, it treats this debut like an overture providing readers with every enticement they could desire. That alone makes it worth reading, even if these creators or this concept are outside one’s typical reading habits. The structure, presentation, and ideas swirling in Undiscovered Country #1 make it an exemplar of how to introduce a new idea and earn the sort of hype that has swirled about this title. If future issues fulfill the promises found here, Undiscovered Country is bound to be a hit. — Chase Magnett

Rating: 4 out of 5

UNEARTH #5

Unearth #5 finally takes this twisted horror series and lays all of its cards out on the table. By the end of the issue we know what’s in the cave (and what the cave really is), what’s been happening to what’s left of the crew and what the series’ endgame will be. What seemed like a take on the sci-fi horror like Alien has now veered into Lovecraftian territory, and if that’s your speed you’ll definitely enjoy the twists this book keeps taking. — Connor Casey

Rating: 3 out of 5