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, Dynamite, and more.
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The review blurbs you’ll find contained herein are typically supplemented in part by longform individual reviews for significant issues. This week that includes Venom War #1, Gotham City Sirens #1, The Power Fantasy #1, and Prodigy: Slaves of Mars #1.
Also, in case you were curious, our ratings are simple: we give a whole or half number out of five; that’s it! If you’d like to check out our previous reviews, they are all available here.
DC #1
ABSOLUTE POWER #2
Absolute Power marches on with a frenzied, but significant enough, issue. Mark Waid’s script is densely filled with violent action and occasional moments of character, all of which are delivered at a disorienting speed. Dan Mora’s gorgeous art remains nothing short of thrilling, cracking with electricity even in the issue’s most grotesque or dire sequences. While we’ve only begun to see the full picture of what Absolute Power is delivering, this issue adds some major and necessary details. — Jenna Anderson
Rating: 4.5 out of 5
BATMAN #151
Batman #151, for being a tie-in issue for the “Absolute Power” event, is actually fairly solid. We get a Batman/Catwoman team up that includes a little undercover work and a master plan from the World’s Greatest Detective that goes a little sideways which leaves room for some good story beats but also doesn’t neglect the long history between Bruce and Selina. However, while the main story is decent, the real standout – and the story that feels more like a genuine story that stands on its own outside of being a tie-in is the Harley-centric backup. That one is not only true to the character and her recent in-canon journey, but is a delight to read as well. — Nicole Drum
Rating: 3.5 out of 5
BATMAN AND ROBIN AND HOWARD: SUMMER BREAKDOWN #2
Batman is the hidden comedy in Batman and Robin and Howard. His overthinking and analysis goes well with Talia al Ghul, and Robin could not care less about their awkward relationship. However, one relationship that has been fun to watch evolve is the one between Damian Wayne and Howard. There’s a lot more humor in this issue, and it’s all thanks to Talia and her band of ninjas. And I wasn’t expecting the two guest stars that showed up on the final page. — Tim Adams
Rating: 4 out of 5
BIRDS OF PREY #12
The penultimate chapter of “World Without End” continues to showcase everything that makes this series great. Kelly Thompson’s script has a clever and impossibly-earnest approach to the various team dynamics, as their fight to get out of the pocket dimension gets even more complicated. Javier Pina and Gavin Guidry’s art is as dynamic and boundary-breaking as possible, with Sophie Campbell’s chibi illustrations being an endlessly-charming interlude, and Jordie Bellaire’s color work creating a genius effect reminiscent of animation cels. Birds of Prey remains an absolute blockbuster of a comic book. — Jenna Anderson
Rating: 5 out of 5
BLUE BEETLE #11
This era of DC’s Blue Beetle comes to a close in Blue Beetle #11, and yet much of the issue sets the stage for a new beginning as opposed to bringing its remaining threads to a close. The team of writer Josh Trujillo, artist Adrian Gutierrez, colorist Wil Quintana, and letterer Lucas Gattoni start to navigate of the fallout from the Pinnacle project, and it has a substantial effect on just about everyone. In many ways this feels like the bridge to a new arc, moving personal relationships forward and painting a vivvid picture of a battle yet to come. As has become the series’ trademark, the conversations between friends and family make the biggest impression, with one particular conversation between Jaime and his father stealing the show as the book winds to a close. Gutierrez, Quintana, and Gattoni’s art throughout the issue is simply stunning, and while it’s sad to see the story brought to a close while it still had plenty of gas in the tank, it’s still a lovely farewell to one of DC’s most underrated series. — Matthew Aguilar
Rating: 4.5 out of 5
DC #2
THE BOY WONDER #4
The Boy Wonder #4 depicts Damian Wayne experiencing a dark night of the soul, beginning with his familial roots steeped in violence and unmet expectations before arriving at the present moment in which Damian is sent careening into a cavern where he must confront his own greatest fears. It’s an intimate portrait layered with Batman lore, but unwilling to engage in the easy tropes or moralistic pablum of superhero comics. Instead, it addresses the complexity of generational trauma and irrevocability of harm, specifically murder, in a fashion that grounds this story in the human experience. Ba’s depiction of Damian’s cave—an experience reflecting his own father’s origin—is absolutely stunning. While readers will certainly be captivated by an imposing Ra’s al Ghul and his cadre of monstrous servants, the all-consuming black panels lit only by distinctive lettering and ghostly figures is the most impactful sequence yet in DC’s most impressively presented comic of 2024. It serves to imbed readers in Damian’s mindset, acknowledging guilt, self-loathing, and even love in an undeniably compelling fashion. While Damian’s final battle still lies ahead in The Boy Wonder #5, issue #4 makes clear why the character resonates with readers and delivers a timeless saga of the terrors and wonders of growing up in such a demanding and too-often unforgiving world. — Chase Magnett
Rating: 5 out of 5
GOTHAM CITY SIRENS #1
[READ THE FULL REVIEW HERE]
The latest take on Gotham City Sirens doesn’t flip the script on the trio but it does strengthen what works about these three popular femme fatales. Gotham City Sirens has an energetic, light feeling to it that might have some moving parts requiring a bit more grease to make it a stellar outing, but it’s a solid start for this new gathering of the anti-heroines. — Evan Valentine
Rating: 3.5 out of 5
KNEEL BEFORE ZOD #8
The final issue (for now) of Zod’s first solo series lands with something of a thud. Joe Casey’s script has occasionally fun moments of character, but from the opening quote from Camus to the closing moments, there is a sense of hollow pretentiousness on display. Dan McDaid’s art feels a little too messy and goofy to match that tone, even with a few panels that are truly effective. I don’t necessarily regret reading Kneel Before Zod, but it was definitely an unremarkable experience. — Jenna Anderson
Rating: 2 out of 5
MY ADVENTURES WITH SUPERMAN #3
My Adventures With Superman #3 continues the series’ very strong classic Superman storytelling in which we get a balance of Clark Kent the man and Superman the hero, both of which put doing the right thing as priority even in the face of authority figures who read as corrupt or inflexible. This issue does pull back a great deal from those around him—Lois and Jimmy have reduced roles here, though they are integral to things especially with the addition of two other key people in Superman’s life—and while there is a pretty predictable revelation at the end of the issue, the story still feels very authentic to what one expects from a classic and wholesome Superman adventure. — Nicole Drum
Rating: 4 out of 5
SHAZAM! #14
As the invasion of the submen ramps up, Shazam! gets to be a whole lot of fun as it divides attention between the eldest siblings of the Batson clan. Although Billy is still unwilling to let The Captain return, his angst is balanced by Mary and Freddy’s attempts to save the day. Mary, alongside a delightfully innocent Uncle Dudley, takes the battle directly to the monsters as events in the subway tunnels grow more harrowing. Meanwhile, Freddy engages in a plan that offers just the right balance of humor and exposition, while isolating what makes him a unique addition to the ensemble. The slowly escalating threat of monsters (and other magical figures) combined with a tumultuous but never dour family dynamic makes for a colorful romp promising an increasingly grand adventure next month. Shazam! #14 is a great example of what Shazam comics do well in the superhero genre. — Chase Magnett
Rating: 4 out of 5
Marvel #1
THE AVENGERS #17
Count me among those fans thrown off by the change to Valerio Schiti’s art style. Or perhaps its just having a different colorist. Either way, Earth’s Mightiest Heroes are reeling from “Blood Hunt,” and each individual member is processing what that means. For one member, it means turning to Storm and recruiting her to join the Avengers. Meanwhile, Hyperion makes his return and looks to address the disappearance of his world from the “Heroes Reborn” event. — Tim Adams
Rating: 3 out of 5
BLOOD HUNTERS #1
Blood Hunters #1 picks up on threads from Marvel’s summer “Blood Hunt” event with a newly formed team of Blood Hunters, including Elsa Bloodstone, Dagger, White Widow, and Hallows’ Eve, tracking down and curing leftover vampires in New York City before encountering the newly vampiric Miles Morales. It’s an outstanding collection of characters with a dynamic villain and clear mission, which makes it all the more disappointing when this issue strips everything interesting from that conceit to deliver a paint-by-numbers superhero comic. Dialogue is barely distinguishable between the protagonists besides occasionally inserted accents, as they all rely on the same blend of expositional dialogue and bland quips. The villains—recently revealed in startling fashion in Blood Hunt #1—bicker like a standard assortment of supervillains with designs notably reduced without Pepe Larraz’s pencils. The action is passable but beyond a few panels in the final sequence and a great looking cliffhanger, it struggles to maintain interest on the page. There’s a lot of things the concept for Blood Hunters could have been, but it unfortunately opted for boring. — Chase Magnett
Rating: 2 out of 5
DAREDEVIL #12
Faith is often pushed to the back burner in many Daredevil titles, something Saladin Ahmed was quick to rectify. Daredevil #12 puts the character’s right smack dab in the middle of that coveted front right burner, and it’s a delectable little treat for the Man Without Fear. Couple with Kuder’s epic balance of demonic entities—see his work on Ghost Rider, after all—and this issue is about as well-rounded as a Daredevil comic can be. Ahmed even does some great things with Kingpin too! — Adam Barnhardt
Rating: 4.5 out of 5
DOCTOR STRANGE #18
Jed MacKay utilizes his final issue of Doctor Strange not for bombastic action or never before seen magic spells, but quiet contemplation. What makes a man when he no longer has the title that defines him? Series artist Pasqual Ferry takes the challenge of this drama heavy, lite-on-action script and harnesses the reflection of Stephen Strange into his visuals, like a moment between Strange and Clea where the shot lingers closer and closer on them through the panels. Readers will see this ending for what it is, a celebration that keeps things set for the next writer, and this may be one of the better versions of that in years. — Spencer Perry
Rating: 5 out of 5
THE INCREDIBLE HULK #15
How often does a major superhero title take an entire issue in the middle of its run to turn back the clock 3,600 years and tell a standalone story about characters you don’t know at all? That sounds like a recipe for disaster, and the kind of thing that could derail a great run, but Johnson & co. just continue to deliver excellence with The Incredible Hulk. — Charlie Ridgely
Rating: 5 out of 5
THE SPECTACULAR SPIDER-MEN #6
Peter and Miles are still trapped in Arcane and Mentallo’s robotic nightmare, now having to deal with a combination of robotic and organic familiar foes. Weisman and Ramos are once again doing their career best here, with both shining when it comes to their past experience with Marvel’s resident wall crawlers. There are some well known villains but Weisman is taking the opportunity to inject a brand new antagonist into the Spider-Lore acting as our big cliffhanger here. Once again, Spectacular Spider-Men proves itself to be the best Spider-Man series on the shelves today and that trend doesn’t appear to be stopping any time soon. — Evan Valentine
Rating: 4.5 out of 5
SPIDER-MAN: BLACK SUIT & BLOOD #1
Spider-Man: Black Suit & Blood is a new anthology series using a limited color palette and a darker story tone. While Spider-Man doesn’t shy away from violence and tragedy when needed, several of the stories—especially JM DeMatteis’s opening story—are surprisingly optimistic given the overall theme. Other comics focus on the darker impulses brought by the black suit, with Alyssa Wong and Fran Galan’s story exploring the fear that MJ experiences while Peter’s wearing the suit. If you like the darker side of Spider-Man, you’ll enjoy this new limited anthology series. — Christian Hoffer
Rating: 4 out of 5
Marvel #2
SPIDER-MAN: REIGN 2 #2
The idea of an older Peter reckoning with his failed responsibilities as a young man is an interesting premise for a series; it’s what made Old Man Logan so special. Unlike that book, however, there doesn’t seem to be any real work being done in Peter. His maniacal revenge tour churns the same bit of narrative over and over again, and it sours rather quickly. The non-Peter B-story of the book, however, finds a way to be a pretty fun read. — Charlie Ridgely
Rating: 2 out of 5
STAR WARS: INQUISITORS #2
The Fifth Brother is tasked with tracking down the Jedi Tensu Run in the wake of his fellow Inquisitors failing, only for the figure to learn that Tensu Run actually wants to be found, as he has a larger plan in mind for the Sith. Despite the book being title “Inquisitors,” after only two issues, what has made the series so compelling is how Tensu Run factors into the plot. We’ve seen countless stories about how monstrous various Sith can be, and while Inquisitors delivers on that front, it’s the book’s depiction of an all-new Jedi that is so compelling. This book might not be breaking new ground for Star Wars, but given how many stories have felt like it was repeating the steps of storytelling avenues we’ve already seen in the past 50 years, the overall outlook and narrative trajectory of Tensu feels like one of the freshest new Star Wars characters we’ve seen in years. We won’t necessarily be disappointed to see the titular characters ultimately overtake the Jedi, but we’re surely enjoying the ride this hunt is taking us on. — Patrick Cavanaugh
Rating: 4 out of 5
STAR WARS: THE HIGH REPUBLIC #10
This feels like the final chapter of a book that you already know is getting a sequel. Not much feels final, and you do wonder sometimes what the last 10 issues have really been building to, but the very last page puts you exactly where you didn’t know you needed to be. It’s shaky, but High Republic reaches its destination and does a solid job of getting you fired up for what comes next. — Charlie Ridgely
Rating: 3.5 out of 5
ULTIMATE BLACK PANTHER #7
At its core, Ultimate Black Panther has a propulsive story that it’s fighting to explore, but issues like this feel like the series is spinning its wheels. Every piece of momentum that is gained feels like it has to stall for an unknown reason, be it trade waiting or a lack of commitment to ideas. Series artist Stefano Caselli and color artist David Curiel do get the opportunity to really deliver on action that readers are expecting from Black Panther series, with Curiel’s colors elevating even the dramatic moments into great spectacle. Promise continues to peek its head out in Ultimate Black Panther, but why won’t it let its ideas loose? — Spencer Perry
Rating: 3.5 out of 5
UNCANNY X-MEN #1
Uncanny X-Men emerges as the first “From the Ashes” X-title with a clear purpose achieved in its debut issue – no surprise coming from veteran superhero writer Gail Simone. Rather than aiming for high concept, the series focuses on a core cast of favorite X-Men: Wolverine, Rogue, and Gambit (with an appearance from Nightcrawler). It establishes who they are in the wake of Krakoa’s fall and provides them an array of adventures to develop their relationships and sow seeds of future trouble. Although the issue engages heavily in foreshadowing, there’s plenty for readers to marvel at here including a dragon battle and moving moment at a hospital. Each individual sequence serves a purpose and draws the trio closer together for conflicts they can’t quite discern, presenting them as a family unit more than a superhero team. Artist David Marquez makes both the big action sequences and small emotive ones work well set side-by-side in the issue. Readers can Marvel at an Aztec-inspired dragon in splash panels, but those fireworks never overshadow the tenderness found between the core trio and their mission. Altogether, it makes for the most promising new beginning as the X-line develops its new status quo. — Chase Magnett
Rating: 4 out of 5
VENOM WAR #1
[READ THE FULL REVIEW HERE]
Venom War is the rare event series that really builds upon everything that came before it. Not only are all of Venom’s hosts over the years acknowledged to a degree, but the many facets of his own characterization in that same time is understood to have been pivotal to reaching this point. That’s not only decades of continuity that is being taken into consideration, but vastly different takes on the character as well. Artist Iban Coello does his best to keep his own visual stamp on the character throughout the issue but also makes sure to balance a mix of what fans have come to expect. Ewing mostly makes the balance work throughout the issue, which kicks off the event in a fun way, but its less interesting elements remain stuck in second gear. — Spencer Perry
Rating: 3.5 out of 5
WOLVERINE: DEEP CUT #2
Claremont’s signature mutant stamp is all over Wolverine: Deep Cut #2 from the moment you open the cover to the second you breathlessly put down the issue. The comic is an earnest tribute to every X-Man, both new and old. Plus it’s elevated incredibly well by Edgar Salazar’s moody line art. — Adam Barnhardt
Rating: 4.5 out of 5
Image #1
AIN’T NO GRAVE #4
Ain’t No Grave #4 is the penultimate issue of this series and it’s striking because it’s nearly wordless, but that near-silence is deafening. It’s a fantastic example of just how much storytelling art can actually do as we see Ryder quite literally buried by her past, her present, and her future on her journey to face Death. While one could argue that the stage of grief presented in this issue—depression—isn’t exactly a direct fit and instead this feels more like an amalgam stage, there’s something extremely powerful in watching Ryder process her journey to now and it is beautifully done, making it one of the stronger entries in this series. — Nicole Drum
Rating: 4 out of 5
C.O.W.L. 1964 #1
The Massive-Verse’s latest entry is a familiar titles for longtime fans of Kyle Higgins and Rod Reis. The third volume of C.O.W.L. kicks off a few years after the end of volume two, expanding both the world of the title and the world of the Massive-Verse that much further. Not only does the script from Higgins and Siegel including wonderful world-building, but Reis’ art is perfect for the mid-century setting. One hell of a debut for a new indie superhero book. — Adam Barnhardt
Rating: 4 out of 5
THE DEVIANT #7
The Deviant has done such an excellent job at making this ever-evolving journey about so much more than just one person. The initial lead character has been largely absent for a couple of issues now, but the story itself hasn’t taken a step back in any way. If anything, if feels like the momentum is growing. Each character is so realized and intricate, which only adds to the devastating mystery that has taken hold of the comic. — Charlie Ridgely
Rating: 5 out of 5
FREE AGENTS #2
Busiek, Nicieza, and Mooney are attempting to create a new superhero team that takes the elements of tried and true super groups comic fans have grown to love but ultimately fail at making the members of the Free Agents click. The likes of Salvo, Katari, Maraud, Shakti, Pike, Chalice, and Ridge simply never are given enough time to make them compelling characters, making any big moments in the second issue fall flat. There are some mysteries interweaved in the panels but there’s so much clutter that diving to discover their secrets hardly seems worth it. On top of the cramped storytelling, we get artwork that follows a similar route and has some glaringly major flaws such as characters’ eyes disappearing and quite the lack of environment in some panels. Free Agents is a ship sailing toward disaster and I don’t know if it can right its course. — Evan Valentine
Rating: 1.5 out of 5
KAYA #20
Kaya #20 sets the stage for the series’ newest arc as Kaya and Jin travel the legendary Dragon Road, and everything established in this issue marks a big promise for the story to come. The most obvious elements are the introduction of new characters in both Kaya’s story and that of the Robot Kingdom with the arrival of an auspicious anti-hero and obvious villain who emerge fully formed on the page. From their designs to manner, readers are made to instantly understand what they bring to the page and it’s evident that both will have a big impact on the story. But these hints at what’s to come shouldn’t detract from a truly outstanding opening sequence that defines the issue beginning with a silhouette on the title spread. It’s a much simpler scenario that doesn’t rely on lore or war to make it’s point, instead opting to focus on the humble toll of adventure upon both Kaya and Jin as well as those they encounter. This emphasis on characters beyond fantasy archetypes has empowered Kaya throughout its run and Craig’s attention to detail in the lives and faces of a few unnamed farmers grounds this as an important moment, regardless of the epic story surrounding it. All of this is to say, Kaya is back and as good as ever so don’t miss one of the best fantasy comics on the stands. — Chase Magnett
Rating: 4 out of 5
Image #2
THE POWER FANTASY #1
[READ THE FULL REVIEW HERE]
By the end of The Power Fantasy #1, the reader is left with the impression they’re waiting for a bomb to go off. Or perhaps six of them. It’s intense, yet understated, and gripping. Ripe with the potential for drama, intrigue, nuance, depth, and meaning, The Power Fantasy is primed to explode superhero comics. — Jamie Lovett
Rating: 5 out of 5
PUBLIC DOMAIN #7
There’s an excellent bit of dialogue about writing dialogue in Public Domain #7 made to feel all the more poignant because Zdarsky’s dialogue throughout the issue is superb. Yes, the issue includes some excellent gags surrounding the outlandish lifestyle of Carter Dusk and his “art bro,” but the exaggerated elements never detract from the undeniable humanity radiating from nearly every character on the page. Office meetings and a stop at the local bar are elevated by the words and expressions used to deliver each line, offering at least as much subtext as text in most panels. Public Domain #7 holds all of the comedic charm and allusions to American comics culture that initially made the series a hit, but what’s most impressive is how affecting these mundane scenarios are made to be. — Chase Magnett
Rating: 4.5 out of 5
SCARLETT #3
While the first two issues of Scarlett have mixed in various aspects of Scarlett’s spy skillset, Scarlett #3 is an electrifying mad sprint to the finish, and it’s fantastic. Writer Kelly Thompson keeps fans on their edge of their seats as the action moves from the water to the skies with a host of close combat violence in between, all brilliantly crafted by the stellar team ofArtist Marco Ferrari, colorist Lee Loughridge, and letterer Rus Wooton. The combat is bigger than life but also feels grounded in its messiness, though there’s an efficiency in that messiness that showcases how skilled Scarlett truly is. Capping things off with an anticipated reunion and the tease of big players moving forward makes this a hit across the board and one of my favorite comics of the week. — Matthew Aguilar
Rating: 5 out of 5
SWEET PAPRIKA: BLACK, WHITE, & PINK #2
Sweet Paprika: Black, White, & Pink #2 introduces fans to a new set of charming and sultry stories set in the Paprika universe, and fans will likely eat up these new stories with a spoon. That’s especially true of “Sapore di Sale,” the first story of the issue from Mika Andolfo and Godtail. The story puts series leads Paprika and Dill front and center in a situation that only these two would find themselves in, and the results are hilarious. “Food Lovers by Jarrett Melendez and Franco Thomas Greco also centers on the beloved couple, and the mixing in of food creates some unique circumstances of its own, all perfectly complimented by Greco’s unique style. “My Sweet Sweet Cocktail” by Sylvain Runeberg and Valentine Pasche is another stunner, bringing an almost rom-com vibe to the issue, and “Pussy Control” from Tim Seeley and Emanuele Ercolani delivers an unexpected comedic gem with Anisette at the helm. “#Outdoor” by Samuel Spano and Nova is also fun, if not quite as strong as the previous stories, but it brings the issue to a solid close. All in all, fans of Sweet Paprika will more than get their money’s worth when they dive into Black, White, & Pink #2. — Matthew Aguilar
Rating: 4.5 out of 5
Other Publishers #1
ARKHAM HORROR: THE TERROR AT THE END OF TIME #1
The Arkham Horror tabletop franchise has come to comics. Parasomnia collaborators Cullen Bunn and Andrea Mutti are the creative team behind the new Arkham Horror: The Terror at the End of Time, a new comic miniseries featuring Joe Diamond and Jenny Barnes from the famed tabletop games. The Arkham Horror franchise mixes Lovecraft horror with pulp and noir elements, and Bunn and Mutti seem to understand exactly how this differs from a standard cosmic horror experience. Even within the context that this is a licensed comic, Bunn is probably the perfect writer for this franchise, as he has often touched on those themes and elements in his other books. This is a fun comic, even if you’re not familiar with the franchise, and really provides a strong showcase for Arkham Horror. — Christian Hoffer
Rating: 4 out of 5
BEYOND THE PALE #3
The twists in this issue of Beyond the Pale is much more barbarous than anything I would have expected, and really sells the idea of setting a horror comic in the middle of the Vietnam War. To really outpace the actual real world horrors of the conflict, the creative team presented an awful but simple twist – the US soldiers at Tartarus Base were feeding human sacrifices to a strange occult entity they found in a jungle. What’s more, the sacrifices picked weren’t “just” POWs from the other side, but members of their own ranks, chosen from fresh troops. It’s a frankly fantastic twist for a horror comic and leads to what should be a dangerous and frightening ending. — Christian Hoffer
Rating: 4.5 out of 5
CANTO: A PLACE LIKE HOME #3
The first two issues of Canto‘s final cycle have been battle centric, but now with that big moment passed in the narrative the series finds its footing in a slower-paced issue that keeps the strong storytelling going. Scribe David M. Booher and artist Drew Zucker are rewarding the patience of readers by not only building on everything they’ve done up to this point but effortlessly deploying major new story beats that will shape the entire series. Zucker’s art continues to impress as well, with excellent colors by Vittorio Astone, finding new ways to continue to push the visual style of the series while still telling its story. — Spencer Perry
Rating: 4.5 out of 5
CYBERPUNK 2077: KICKDOWN #2
Kickdown #2 imbeds its protagonist ever deeper into the life of a double agent as she seeks to build trust with local gangs and hide her affiliation with the police. The heart of the issue is a seemingly simple mission as she retrieves a target to earn trust, but it’s how this task unfolds that steeps the miniseries in layers of intrigue. Each interaction draws in new perspectives and creates new wrinkles in the plot, setting the stage for a very messy conclusion. Yet the emphasis on human drama between old friends and allies, as well as plenty of enemies, makes that mess incredibly enticing. Combine this excellent staging and pacing with car chases and action sequences that exude the Cyberpunk aesthetic, and fans of the franchise are bound to be pleased. Even if a few specific panels aren’t entirely clear in what they portray, the overall effect is still impressive for any fan of bleak, sci-fi-infused crime stories. — Chase Magnett
Rating: 4 out of 5
DEADWEIGHTS #5
Deadweights #5 features some stellar visual storytelling, but not much new ground in the character department, and a jarring recontextualization of much of what has come before. Cannonbulk faces the accusation that his attempts to find normal life on the straight-and-narrow are really about him denying his mutant identity and attempting to assimilate. The idea adds complexity to Cannonbulk and his struggles. However, if the concept of being “mutant” as part of a person’s identity has been present in past issues of Deadweights, it wasn’t presented in a way that left much of a mark on my memory five issues in. Thus, the pivot feels confusing, altering the theme thematic throughline that has run through Deadweights from redemption and whether someone is worthy of it into something complicated involving one’s sense of self. This theme’s sudden introduction is lampshaded by an on-the-nose, borderline cliché surprise at the issue’s end that doubles down on the idea that this story is and always has been about Cannonbulk’s struggle with himself. It’s worth reiterating, as the theme seems likely to make Cannonbulk more sympathetic, that there’s been little mention of whether he should do much to make amends for the life-altering destruction and chaos he caused in his previous “career,” instead finding arguably unearned grace from those who were nearly collateral damage in one of his past missions. Ultimately, this is all thematically muddied, with Deadweights suffering an identity crisis that mirrors its main character. — Jamie Lovett
Rating: 2.5 out of 5
GARFIELD #1
The first story in this two-part book plays out like a series of Garfield comic strips, as the story itself is broken into days of the week, resulting in relatively clever and brief setups and punchlines that express Garfield’s desires for midnight snacks. The backup story focuses solely on Jon Arbuckle when Garfield and Odie aren’t around, and as if that isn’t uninteresting enough, the final panel explains that the reason the beloved pets are missing is because of their shenanigans in The Garfield Movie. Even if the first half of the book isn’t especially impressive, in addition to offering a new visual interpretation of iconic figures, it feels like it captures the spirit of the source material and a relatively clever concept. The story in the back half, however, isn’t quite as engaging, with its highlights being how terrified nearby restaurants are of Garfield, as he earns nicknames like “beast” and “tornado” due to his eating habits. Still, the book is harmless enough and could inspire younger readers to dive into Jim Davis classics. — Patrick Cavanaugh
Rating: 3 out of 5
GODZILLA: HERE THERE BE DRAGONS II – SONS OF GIANTS #2
Godzilla: Here There Be Dragons II – Sons of Giants #2 offers Inaki Miranda another opportunity to prove their versatility, presenting the tale of Beowulf, with a kaiju twist, in an immersive style appropriate to the tale’s era (even if some of the lettering is a bit hard to parse at first). However, this leaves Sons of Giants #2 with the same issues as Sons of Giants #1, which is that dividing focus between a tale of kaiju legend, whatever happened in ancient Rome, and the early 19th-century kidnapping of an American journalist means that, while the first story is self-contained, the other two move at a sluggish pace. At this point, there’s little plot at all to the series, which feels more like an excuse to explain the lore that the creative team has worked out surrounding this secret cabal of kaiju worshippers (and the choice to focus much of the attention on historical figures whose lives where highlighted in a recent hit Broadway musical means that certain mysteries are thus far not all that mysterious). Sons of Giants hasn’t made a strong enough case for why readers should be this invested in the titular group and is taking too long to get the point of this sequel. — Jamie Lovett
Rating: 2 out of 5
Other Publishers #2
THE GOON: THEM THAT DON’T STAY DEAD
Readers are reminded that there’s a lot of history behind The Goon at this point as conversations surrounding both Goon and the Zombie Priest take up a lot of real estate on the page to explain how these men reached their current positions. While a callback to Frankie’s eye-stabbing habit is delightful (along with all of the violence inflicted upon the undead in this issue), reminding readers of all the dead women who have driven Goon’s miserable existence seems too close to a recap page. The same can be said of Zombie Priest’s interactions exploring both his own fate and that of villainous allies. While the exposition may be useful for new readers, it notably slows the pacing of a comic driven by action and humor. The result is an issue with multiple highlights that ultimately reads as set up for better things ahead. — Chase Magnett
Rating: 3 out of 5
GRENDEL: DEVIL’S ODYSSEY – DEFIANCE #2
After discovering new allies, Grendel Prime receives a lesson in Earth’s recent history providing much of the exposition readers had to intuit during his exploration of the planet in issue #1. This serves to provide both of Prime’s new companions with distinctive personalities and purpose, as well as providing the Grendel-perspective on recent centuries of conflict. These elements are delivered succicntly and with detailed montage pages filled by untold stories of Grendels and mass death missed while Prime was traversing space. It also serves to highlight how ugly the planet’s current status quo is as both vampires and humans have constructed a nihilistic culture predicated on death. That’s evidenced in an action sequence that upstages issue #1 in a big way as a nigh-invulnerable automaton crashes the equivalent of a raiding party from Fury Road. It’s a gnarly bit of violence expertly distilled into a few pages, which makes it all the more impressive that by the final page it’s suggested the worst is still yet to come. — Chase Magnett
Rating: 4 out of 5
HERCULES #4
While your mileage on the issue’s frustrating central conflict might vary, Elliott Kalan’s script still keeps the momentum building for the overall series. George Kambadais’ art maintains the “house style” of the animated film with some simple reinventions here and there. For diehard Hercules fans, this issue surely won’t disappoint. — Jenna Anderson
Rating: 3.5 out of 5
LESTER OF THE LESSER GODS #3
The final issue of Lester of the Lesser Gods culminates in a goofy, but unpleasant manner. Eric Powell and Lucky Yates’ script is chock-full of halfhearted and painfully topical jokes, which work a bit too hard to undercut the journey of self-discovery within. Through it all, Gideon Kendall’s art is at least ambitious in its intentions and execution. There’s a chance that this brand of humor might be for you, but I’m glad to move on from this series. –– Jenna Anderson
Rating: 2.5 out of 5
PRODIGY: SLAVE OF MARS #1
[READ THE FULL REVIEW HERE]
The third volume of writer Mark MIllar’s Prodigy arrives this week with a new publisher (shifting from Image to Dark Horse) and a new sub-title, Slaves of Mars. The first issue reintroduces readers to Edison Crane, the world’s smartest and richest man until the story inevitably requires seemingly smarter or wealthier men to challenge him (and it’s always men in this series). Edison is a character who arrives on the page fully formed, which is to say two-dimensional, in a debut that only provides readers cause to seek out better comics. — Chase Magnett
Rating: 1 out of 5
RANGER ACADEMY #9
After a major turning point last issue, Ranger Academy #9 is allowed to open up in a big way, both in terms of its characters and its larger story. With the revelations of last issue, many of the secrets are now out in the open, allowing writer Maria Ingrade Mora to fully take advantage of the delightful main cast that is now fully in on the mission. They’ve always been great as a group, but Sage’s story is made all the better with their increased involvement, especially regarding the camaraderie between Sage, Lindy, and Mathis. Artist Jo Mi-Gyeong and colorist Joana LaFuente accomplish so much through expression alone, and that is once again true here. I didn’t really think it was possible, but somehow this series discovered even more ways to charm both longtime fans and those new to the Power Rangers world, and the future continues to be absurdly bright as well. — Matthew Aguilar
Rating: 5 out of 5
Other Publishers #3
RED BEFORE BLACK #1
The litany of twists in Red Before Black range from impactful to predictable, but Stephanie Phillips’ script begins to lay the groundwork for enough intriguing characterization. Goran Sudzuka’s art and Ive Svorcina’s color work blend together to create an underground comix feel, which is both a little understated and fitting of the series itself. Red Before Black definitely posesses potential, but it will remain to be seen if it becomes truly memorable. — Jenna Anderson
Rating: 3.5 out of 5
SPACE GHOST #4
Jan and Jace might have proven themselves to be valuable allies, but when it comes to facing Zorak, Space Ghost knows better than to let children confront the rutheless creature Zorak. Understandably, the young heroes don’t take well to being told to sit out the confrontation, as they show their rebellious side and potentially spell doom for the trio. This installment easily feels like the most fast-paced entry in this series, which makes the adventure breeze by but at the cost of feeling chaotic. The more action-oriented spirit of this installment helps demonstration how monstrous Zorak can be while grappling with Space Ghost, yet without the chance to catch our breath, it’s easy to be overwhelmed by the events unfolding. Still, we’d rather things move by too quickly than too slow and we look forward to seeing an even more instense conflict in the next issue. — Patrick Cavanaugh
Rating: 3 out of 5
STAR WARS: THE HIGH REPUBLIC ADVENTURES #8
This comic book just feels so busy. It’s likely a combination of the multiple narratives and the hard-edged art style, but it’s often difficult to concentrate and really dive in to the story here. Even when the characters have wonderful moments to share, it’s more of a chore to get through their saga than shared experience. — Charlie Ridgely
Rating: 2 out of 5
THUNDERCATS: CHEETARA #2
Despite the era of peace Thundera finds itself in, there’s still a wealth of intrigue to be found in Thundercats: Cheetara #2. Cheetara’s visions of the future provide the series with weighty stakes, and writer Soo Lee also provides a welcome look at Thunderian society and how highly regraded Cheetara is through the reactions to her warnings. We’re also given a glimpse at her way of shepherding Lion-O, and in doing so becoming more and more like a parent to the future leader of the ThunderCats. King Claudus and Jaga also provide unique perspectives and allow fans to see a new side of Thundera as well as early relationships Cheetara forged along the way. Artist Domenico Carbone and colorist Chiara Di Francia make sure Cheetara pops off the page when she’s in the mix thanks to her bright yellow hair, and the book is at its best when that brightness is played off the shadows and nighttime locales towards the book’s end. The dreams and visions are also big standouts, and that final tease delivers a solid hook to keep fans intrigued for what comes next. A win all around. — Matthew Aguilar
Rating: 4 out of 5
VAMPIRELLA: DARK REFLECTIONS #3
Readers get to witness Vampirella pleading with another multiversal Vampirella to join their cause and turn against Queen Tenebris. The resistance is rising up, but Tenebris has her sights sets on becoming the queen of all realities. The stakes seem big, but so far the sense of urgency isn’t resonating. — Tim Adams
Rating: 2 out of 5
A VICIOUS CIRCLE #3
A Vicious Circle comes to an unsatisfying conclusion in its third issue, although anyone showing up to see Lee Bermejo show off his considerable artistic talent and versatility won’t be disappointed. The comic book’s duo of dueling time travelers fight across various eras, with Bermejo varying his style to give each a distinct feeling. All are stunning except for the post-apocalyptic future, which suffers from muddy coloring (the only segment Bermejo did not color himself). However, the conclusion lands with a frustrating thud. Neither character gets a satisfying conclusion and that seems to be the point—it is a vicious circle, after all—but this feels more vacuously clever than meaningful. It’s especially disastrous when the final page tries to add some obtuse gravitas at the last minute that, given the identities of the two leads, could lend itself to a truly vile (if, perhaps, ungenerous) racial reading. A Vicious Circle feels like a story built on a clever plot device desperately grasping for meaning and coming up empty. — Jamie Lovett
Rating: 2 out of 5
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