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, Valiant, 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 Batman/Catwoman #1, King in Black #1, Lumberjanes: End of Summer #1, and Redfork.

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 #104

Batman #104 may be the most interesting installment of the “Ghostmaker” arc thus far, but that doesn’t necessarily make it good. The issue serves, largely, as narrative filler with readers getting yet another version of Batman’s general origin this time as told by Dick to Barbara while they try to figure out the Ghostmaker situation in Gotham. In the process, this gives us a bit more backstory about Ghostmaker and reveals what seems to be the only theme anyone can come up with for “deep” Batman villains: former friends of Bruce Wayne who are clearly mentally unstable. Ghostmaker feels like a polished up Hush at this point, only with blades. Also a little draining is how, with each issue, Clownhunter makes less and less sense. Again, interesting to read, lots of curious information, but much of it feels like territory already trod. This isn’t helped by the myriad of artists on the issue creating an uneven visual sense of things. None of the art is bad. The transitions are just odd, though David Baron’s color work helps hold it together. — Nicole Drum

Rating: 3 out of 5

BATMAN/CATWOMAN #1

[READ THE FULL REVIEW HERE]

The much anticipated Batman/Catwoman #1 is finally here and while it’s not a perfect book, it’s one that lives up to the hype. Telling a story split between the “present” and the future, the issue is more of a story about the women in Bruce Wayne’s life—Selina Kyle and his first love, Andrea Beaumont. Fans of Mask of the Phantasm will love how the series brings Andrea into canon and will also love the absolutely stunning artwork in this issue—especially that of Andrea. General readers, however, will love to see a story in which the two women aren’t acting as rivals. Indeed, the “future” portion of the story sees Selina seek out justice for Andrea many years after a horrific tragedy strikes. The real missteps are some odd choices in terms of character relationships and some of Tom King’s standard storytelling conventions. There are also some truly odd revelations about the Joker that feel too sanitized and fake. However, it is still a solid comic and a great first issue. — Nicole Drum

Rating: 4 out of 5

DCEASED: DEAD PLANET #6

I think it’s fair to say at this point DCeased has pivoted over from being a full-on zombie apocalypse book to being more of a “here’s another Elseworlds we’re giving to Tom Taylor to have fun with.” And fun it is. — Connor Casey

Rating: 4 out of 5

THE DREAMING: WAKING HOURS #5

The Dreaming: Waking Hours #5 wraps up G. Willow Wilson and Nick Robles’ first arc in the Sandman Universe beautifully. Wilson returns to themes laid out in her first issue, recasting the question of Shakespeare’s identity as one that says more about the one asking the question than about its subject. Libby comes face-to-face with her guilt and doubts while Ruin meets his maker and manages to teach Dream a lesson. It has all the narrative poetry fans would expect from a Sandman tale, along with the signature meditation on stories and their meaning, but still feels fresh and additive to what came before. Robles depicts it all with expressive, dreamlike beauty. This first arc of Waking Hours is an excellent, worthy addition to the Sandman canon. — Jamie Lovett

Rating: 4 out of 5

FAR SECTOR #9

The City Enduring is far away from Earth, but as Jo has learned over the course of her adventure in Far Sector, there aren’t as many differences as she initially assumed. In fact, expectations is a big theme of Far Sector #9, from hard light emitted food to the real truth about the commodity that powers Atville, there are plenty of expectations shattered throughout this issue, and writer N.K. Jemisin continues to find new and interesting ways to explore the differences between biologicals and the various beings of City Enduring while simultaneously blurring the lines between them and highlighting the relatable aspects of each. There’s also a welcome focus on Jo’s varied skillset without the ring, and Jamal Campbell gives each of these sequences just as much panache and style as any ring slinging fray. If you haven’t given Far Sector it’s due yet, it’s time to change that ASAP. — Matthew Aguilar

Rating: 4 out of 5

JUSTICE LEAGUE: ENDLESS WINTER #1

The “Endless Winter” event has a weird spot in DC’s canon—Dark Nights: Death Metal isn’t quite done yet, and the line-wide Future State launch is just a matter of months away. That sort of knocks the wind slightly out of the sails of this first issue, as it sets up stakes that both seem wide-ranging and like a flash in the pan, but the creative team makes the best out of it. Andy Lanning and Ron Marz’s narrative does some fun things, especially with the more intimate character interactions of the issue, all of which have an oddly nostalgic, Silver and Bronze Age energy. The art from Howard Porter and Marco Santucci is a largely-worthy compliment, although some of the scale and proportions in Porter’s sequences are a little too cartoony. Endless Winter has the makings of being a fun event, and while it’s unclear at this point if it will entirely deliver on that front, this issue is definitely promising. — Jenna Anderson


Rating: 4 out of 5

METAL MEN #12

With this issue, DC’s latest take on the Metal Men comes to a close, in a way that both feels fittingly sentimental and a little too cheesy. The group’s war against the Plutonium Man reaches a significant and epic conclusion—one that sets the team on new paths along the way. For those who have read the entire twelve-issue run, there are some cute moments and callbacks, but they also feel somewhat obvious at the same time. But in a roundabout way, you can’t really knock Dan DiDio and Shane Davis for the way this comes to an end, as it is as much of bizarre, oddly charming labor of love as the entire series has been. — Jenna Anderson


Rating: 3 out of 5

STRANGE ADVENTURES #7

Strange Adventures continues interrogating how war and atrocity (but I repeat myself) dehumanize all involved, but its’ framing of these questions reveal a lack of awareness that undermines the entire enterprise. Issue #7 focuses on the idea of murdering a man while continuing to cover the faces, language, and motives of the Pykkts who are murdered and vilified with minimal regard. The objections of a lone superhero are noted, but the comic itself presents them as inhuman demons. If there is a twist waiting in the wings, it’s questionable whether it will have much impact after such consistent disregard for the many alien species Adam Strange has murdered throughout this series. His appeals to being a hero ring with self-delusion, but the story itself seems unaware of the gap between how its self-serving, imperialism “heroes” present themselves and how their actions in a fantastical universe map onto modern history. Strange Adventures is a comic filled with unlikable characters struggling to justify obviously barbarous decisions with only the siren song of “but it’s complicated” to fall back upon. With so little to say, readers and creators alike would be better served listening to those who have suffered under similar conquests than continuing to opine about the struggles of conquerors. — Chase Magnett

Rating: 2 out of 5

TALES FROM THE DARK MULTIVERSE: WAR OF THE GODS #1

There are some interesting things going on with Tales from the Dark Multiverse: War of the Gods #1. Something of a dark reflection on an older story Vita Ayala crafts a story that goes a far bit darker than the original version, offering up a grim “what if” though in this case it’s less tragic and more horrific as Diana ends up a host of Hecate. However, while the story is solid and the art from Ariel Olivettie with color by Trish Mulvihill is outstanding, the book suffers from being overly long. This is a dense book and one not for a casual fan. It’s a heavy, complex take of something that’s been done, and while it’s worthwhile and excellent, it can be a lot to take in. Though, bonus points for the authentic 90s feel all around. — Nicole Drum

Rating: 3 out of 5

Marvel #1

ATLANTIS ATTACKS #5

The conclusion to Atlantis Attacks is a strange duck, in that it is completely sold on being a crossover, that ends on the promotion of another crossover, “The King In Black,” with its cover. It’s a bit misleading, but it doesn’t hamper the strong story that was one of Marvel’s best crossovers of the year. — Evan Valentine

Rating: 4 out of 5

BLACK WIDOW #4

This Black Widow run continues to be an absolute, unabashed, heartwrenching perfection, and this issue is the perfect indicator of that. Natasha’s seemingly-perfect suburban life begins to unravel, establishing a status quo before quickly pivoting into something else altogether. This issue hits like a gut punch on multiple levels, thanks to Kelly Thompson’s authentic and electrifying narrative, and Elena Casagrande and Carlos Gomez’s emotional art. This issue further cements Black Widow as one of the must-read Marvel Comics around today. — Jenna Anderson


Rating: 5 out of 5

CHAMPIONS #3

Champions is still something of an odd duck in the Marvel Universe as it stands, following the teenage heroes attempting to combat the government as they face their own “Civil War”. Ewing and Quinn are a serviceable creative team for these heroes, it’s just that the structure just doesn’t hold the impact that it could. The final page of the story hints at some big revelations to come and though this is the best issue of the run to date, it still has a way to go. — Evan Valentine

Rating: 3 out of 5

CIVIL WAR: MARVELS SNAPSHOTS #1

Civil War: Marvels Snapshots #1 is a new take on the “anyone can be a hero” mantra, and it’s one that would make Captain America proud. Its protagonist, Clyde Dobronski, is so very mundane and unexceptional and is average in every way based on what we’re led to believe, but that’s exactly why the story works so well. It could’ve easily gone a different direction by making the kind-hearted S.H.I.E.L.D. agent dopey and a source of comic relief, but keeping the focus on his warm nature and anchoring him to a familial responsibility to protect superpowered kids was a smart choice. From the way his bigger moments are framed to his stalwart and expressive reactions, Civil War: Marvels Snapshots #1 manages to make a hero out of Clyde. — Tanner Dedmon

Rating: 4 out of 5

DAREDEVIL #25

Character reveals typically result in overpriced issues that read terribly in Big Two comics, but sometimes—very rarely—they work like gangbusters. That’s the case in Daredevil #25 which features a genuinely jaw-dropping splash page. It’s not about the page itself, although Marco Checchetto’s layout and new costume design are both outstanding. This is really about all of the work that went into earning this reveal. Matt Murdock’s path to repentance and dedication to his current circumstances combined with the careful development of his supporting cast create a change in the status quo that is simultaneously shocking and perfectly sensible. It’s only in the page turn that surprise is held because upon reflection it seems abundantly clear that this is always where Daredevil was building. It speaks to the creative team’s dedicated engagement and consistency with both characters and theme in this run, then promises that even greater moments and ideas lie ahead. It’s rare to find a Marvel superhero comics that can deliver a genuine epiphany, but that’s exactly what Daredevil #25 does. Bravo. — Chase Magnett

Rating: 5 out of 5

FANTASTIC FOUR: ROAD TRIP #1

Family dynamics are at the core of the Fantastic Four, and nowhere is that more true than in Fantastic Four: Road Trip, though you’ll likely walk away with a familiar feeling. Yes, Reed Richards is kind of terrible… like really. Writer Christopher Cantwell starts things off with a delightful car sequence that feels immediately relatable, which is saying something when you have people who can turn invisible or alter reality. That gives way to a familiar through line how devastating Reed’s scientific curiosity can be, not just from the physical dangers it can bring but also the emotional toll it takes on his family. At best he’s aloof and at worse he’s completely neglectful of what being a father and husband really means, and while Cantwell does explore some of that toll, it doesn’t go far enough in dissecting it, which keeps the payoff from being completely satisfying. What is satisfying are the visuals from artist Filipe Andrade and Chris O’Halloran, who bring a refreshing and instantly memorable style to the story that is a perfect fit for some of the chaos throughout. There’s a lot to enjoy about this Road Trip, though it would’ve been even better if some of its concepts, especially regarding Reed and the family dynamic, had been pushed a bit further. — Matthew Aguilar

Rating: 3 out of 5

HELLIONS #7

Even with the resurrection protocols in place, Hellions makes it clear that violence still holds serious consequences for mutantkind. Following the bloodbath in Hellions #6, readers are reintroduced to the team—all of them changed in fashions both obvious and subtle. These changes are often unsettling, but that darkness never overwhelms the series’ quick wit and some of the best Mister Sinister gags unleashed to date. In the course of a few pages the comic ranges from disturbing to hilarious, yet always feels consistent in its approach. No member of this oddball team is forgotten and two of its absolutely strangest members—Nanny and Orphan-Maker—are provided signposts that should keep readers’ eyes glued to the duo. Hellions has been a dark horse hit in the “Dawn of X” from its very start, but after Hellions #7 it appears that this series is just getting started and that indicates great things lie ahead. — Chase Magnett

Rating: 4 out of 5

Marvel #2

KING IN BLACK #1

[READ THE FULL REVIEW HERE]

Stegman brings out the best in Cates, and vice versa. They make a formidable duo capable of telling some of the most imaginative and death-defying stories in the modern era of superhero comics, even when the premise seems simple to start. Thanks to their creative partnership, King in Black is one hell of a banger. — Charlie Ridgely

Rating: 4 out of 5

MILES MORALES: SPIDER-MAN #21

Writer Saladin Ahmed brings his “Ultimatum” storyline to a close with a rousing success, delivering an emotional gut punch that will become a defining storyline for Miles Morales. Artist Marcelo Ferreira does a tremendous job with the layouts in this issue which features multiple splash pages that feel energetic and alive. Pacing is a clear strong suit here as well as this giant climactic battle features enough participants it shouldn’t work in a 22-page issue, but this creative pair deliver an ending like an Avengers movie where everyone gets their fair square of time. — Spencer Perry

Rating: 4 out of 5

M.O.D.O.K.: HEAD GAMES #1

M.O.D.O.K.: Head Games sees Patton Oswalt and Jordan Blum (the showrunners of the upcoming Hulu animated comedy series) team up for a new comic series about the titular floating head. And if the show winds up being anything like this, it could turn out to be very promising. The two are very aware that MODOK is a downright weird character, but buried underneath the appearance and bluster there’s a potentially tragic character underneath. Add in Oswalt’s comedic timing and you’ve got a fun read, even if MODOK isn’t usually your thing. — Connor Casey

Rating: 4 out of 5

SAVAGE AVENGERS #15

Savage Avengers hit a high note last issue, and while this one doesn’t quite reach the same high bar, it’s still an exciting and brutal adventure. Writer Gerry Duggan is clearly having fun with these teacups, bringing together the volatile team of Wolverine, Punisher, Elektra, Helstrom, and Black Widow for this go-round. If you were looking for action, this issue has it in spades, and each character gets their moment to shine…or in this case, brutally take out someone. Artist Patch Zircher and colorist Java Tartaglia are quite adept at showcasing this team’s lethal side, and if there was one issue of the series that lived up to the Savage Avengers title this is it hands down. Duggan’s done some amazing work with Elektra in the series and would’ve loved to see her more in this particular issue, and not everyone will love the Widow scene. That said, it was otherwise a solid issue, though have to admit we’re excited to get back to the other team next issue. — Matthew Aguilar

Rating: 3 out of 5

THOR #10

There are aspects about Donald Blake and Thor’s relationship that make less sense the more you think about them, but that doesn’t keep this comic from being as fun as it can be. Blake is terrifying, and Thor is helpless, and it feels like Cates is really onto something. — Charlie Ridgely

Rating: 4 out of 5

THE UNION #1

The Union #1 never manages to fully introduce its core cast of characters or premise, instead delivering a “King in Black” tie-in and emphasizing the one superhero who’s supposedly not a member of this team. It’s an awkward debut bolstered by clean linework and some clever bits in the script, but ultimately unable to provide readers a clear sense of what the comic is about. The potential is clear as a PR maneuver forced by parliament pushes up against very real personalities, but readers only receive hints about those personalities—Snakes is most defined by an atypical lettering choice. It’s a case of too many cooks and, where it might have been possible to introduce this new team concept and a trio of characters in a debut issue, the forced tie-in element adds nothing and detracts from some very necessary work. The talent is here, but it’s still difficult to recommend this debut on its own merits. — Chase Magnett

Rating: 3 out of 5

X-FACTOR #5

X-Factor is one of two comics to address the fallout of “X of Swords,” focusing on Rockslide’s flawed return along with the resurrection of Wind Dancer after her death in the Mojoverse. I appreciated that the comic delved a bit deeper into Krakoan culture and brought back a bunch of the Academy X characters to celebrate Wind Dancer’s return and re-powering. The comic still feels jumbled and unfocused at times, in part due to the large cast and various plotlines getting touched upon. Another minor nitpick is the use of several big spreads with tiny panels—the panels were so small that it was hard to make out what characters were doing what. Still, this was an overall enjoyable comic. I’m intrigued about the last page cliffhanger and ready to see what will happen next. — Christian Hoffer

Rating: 4 out of 5

Other Publishers #1

BUFFY THE VAMPIRE SLAYER #20

Buffy the Vampire Slayer #20 throws another slayer into the mix by introducing this timeline’s Faith Lehane. With Faith comes her recently deployed watcher, Wesley Windham-Pryce, and little explanation about why three Slayers exist. While the plot is scattered and the artwork is inconsistent, there are some interesting themes here. Xander’s problem and whether he is a demon to be destroyed or a lonely, pitiful misanthrope is a tricky conundrum for the Scoobies to debate. The apparent plot to destroy the Watchers and free the Slayers from their control needs a little more explanation, but it fits well with how this new Buffy scrutinizes some of the show’s more questionable assumptions. As is par for the course with Buffy the Vampire Slayer, there are excellent ideas hampered by messy, uneven execution. — Jamie Lovett

Rating: 2 out of 5

DEAD BODY ROAD: BAD BLOOD #6

Dead Body Road: Bad Blood‘s ending is both unexpected and very predictable at the same time. If you’ve been here from the start, it should be no surprise for a sendoff to be marked by flurries of bullets accelerated and punctuated by streams of quick, almost primal utterances. It’s all action, and much of it comes across as something you’d see in the culmination of a B-movie, but it’s got a certain rugged appeal to it. There’s an uncomfortable mix of hatred, determination, and hopelessness in our characters’ final acts, and compared to what we’ve seen leading up to these events, it’s both tough to keep ingesting and difficult to look away from. If there were a flowchart of potential outcomes, this ending of Dead Body Road: Bad Blood would be the best, most fitting one we could arrive at. — Tanner Dedmon

Rating: 4 out of 5

DISASTER INC #5

Disaster Inc‘s twisty narrative comes to an interesting (and seemingly conclusive) head with this issue, with a quasi-finale that veers between bombastic and underwhelming. There are some good character moments, and Sebastian Piriz’s visuals prove to be perfectly ghastly, especially once the undead samurai really make their presence known. But the inconsistent pacing (something that has been apparent in previous issues as well) makes this conclusion both feel a little too drawn out and a little too rushed. — Jenna Anderson


Rating: 3 out of 5

DRYAD #7

Raising a teenager is already challenging, and gets immensely more challenging when you throw in the fact that they rescued from being experimented on and everything they thought was true crumbles in front of them. That’s where Rana and Griff find themselves in Dryad #7, and writer Kurtis Wiebe knows how to convey the sense of pain, hurt, and anger having your world pulled out from under you would cause without dipping into overdramatic or angsty territory. It’s also worth pointing out that the chaos these revelations have caused also extends to their parents, and it’s all the various relationships that ground all the backstabbing and subterfuge we see play out in the story. Artist Justin Barcelo and colorist Francesco Segala shine in both the past and the present, with some killer sequences that highlight the various aspects of the city towards the end of the book, though their Stella expression work throughout is appreciated as well. Things are probably going to get worse before they get better for this family, but the nuanced family dynamics and science fiction magic mixture that Dryad offers has us in for the long haul. — Matthew Aguilar

Rating: 4 out of 5

HELLBOY AND THE B.P.R.D.: HER FATAL HOUR AND THE SENDING #1

Mignola remains sharp as ever in crafting the narratives for these short stories featuring Hellboy and still manages to throw surprises in there just for good measure. Artist Tiernen Trevallion does outstanding work as well, with the moody and dark “Her Fatal Hour” having the feel of classic Mignola solo stories (even the inks by Trevallion have the same depth of MM’s work). “The Sending” on the other hand has much more daylight in it, which removes almost any comparison that could be made between the two artists. Still two fine stories with two great monsters. — Spencer Perry

Rating: 4 out of 5

INKBLOT #4

Inkblot puts forth an enticing chapter that sends out lovely time-traveling cat back to a period of adventure. Issue #4 finds itself focused on a family traversing the dessert, but things get wild when a rogue Sphinx promises to wipe out the clan after a meeting gone wrong. The simple story gives fans a better look at our cat’s place in history, and it seems trouble follows the feline on a leash. So if you are into traveling cats, well – this story is for you! — Megan Peters

Rating: 2 out of 5

KNOCK EM DEAD #1

Knock Em Dead is a supernatural horror series about a comedian who makes a Faustian deal with the entity taking up residence in his head. At least that’s what the solicitations say. We don’t get any of that supernatural angle here as the protagonist’s near-death experience that ends the first issue sets up the otherworldly being’s introduction. What we do get is Eliot Rahal’s raw rendering of a young man trying to cope with the sudden death of his parents by throwing himself into his passion in the hopes that it will become his career. Anyone with a passing interest in stand-up comedy is likely to have heard the horror stories about a comedian’s early days honing their craft and bombing to nearly empty rooms on open mic nights. Rahal’s choice to depict these sets impressionistically instead of writing actual routines gives Mattia Monaco a runaway to visualize the terror of those wholly real moments with a grim, sketchy dread. Knock Em Dead #1 is a stellar character piece. Here’s hoping the additional supernatural element in future issues proves additive rather than a distraction. — Jamie Lovett

Rating: 4 out of 5

LUMBERJANES: END OF SUMMER #1

[READ THE FULL REVIEW HERE]

When Lumberjanes made its debut in 2014, readers were not prepared for its clever characters or the emotional story that would unfold. The past six years have been delightful for the beloved Roanoke girls as readers have formed tight friendships with Molly, Jo, and the rest of the gang. But as every season must, this summer has come to an end. An inevitable endpoint for the comic has arrived as Lumberjanes: End of Summer closes out the series’ six-year run with an abundance of heart and care. — Megan Peters

Rating: 5 out of 5

Other Publishers #2

OVERWATCH: TRACER – LONDON CALLING #1

To me, Overwatch‘s plot and world-building have never been all that important. But Overwatch: Tracer – London Calling is a fun little read, the art is lively and Tracer is as endearing as ever. — Connor Casey

Rating: 4 out of 5

RED ATLANTIS #2

After an ambiguous debut issue that felt a little too relevant for its own good, Red Atlantis continues on with a clearer—and more fantastical—story. Over the course of this issue, Miriam – and the readers – begin to learn more about who she is and why there’s a conspiracy tied to her, culminating in some heart-racing moments along the way. There’s just enough narrative intrigue to make Red Atlantis a story worth following, especially when coupled with the noir-like art from Robert Carey. — Jenna Anderson


Rating: 3 out of 5

RED X-MAS #1

A book like Red X-Mas somewhat defies description, as its debut issue largely features Santa doing all manner of lurid acts on Christmas Eve, with readers witnessing his sexual trysts, elf eviscerations, and consumption of things far stronger than spiked egg nog. During his debauchery, we also see one parent attempting to warn their young child about the dangers of believing in Santa, as the world has too many rapists and murderers to fixate on fanciful things. It’s hard to believe that this is where the series starts, as we’re left wondering where else the series could possibly go to live up to the immoral standards that have been set, yet those with a sadistic sense of humor will surely be drawn in by the concept of Santa engaging in such despicable acts. Despite the disturbing nature of these ideas, artist Fabio Ramacci brings them to life with sophistication, making each panel far more engaging than a crude joke might warrant. We don’t know where this book could be going, but this twisted debut issue sure has us morbidly curious. — Patrick Cavanaugh

Rating: 4 out of 5

SH*TSHOW #1

Editor’s Note: Adam Barnhardt, the writer of Sh*tshow, is an employee of ComicBook.com.

Full disclosure, writer Adam Barnhardt is a colleague here at ComicBook.com, but comics stand on their own merit and as that goes, Sh*tshow is a comic with a solid premise: the world had an Age of Heroes who were pretty much wiped out in an instant the hero left behind—Legend—is now just a drunken mess named Richard McCoy traveling around with other powered folk in sort of a carinval act attempting to survive. However, the threat that took down the heroes returns leaving readers to wonder of Legend can get his crap together to end things once and for all. It’s a good premise and it’s one that seems like it could play out well over the coming issues. Unfortunately, Sh*tshow #1 spends way too much time cramming the premise and its history into the first issue. There’s simply too much narrative background, too many details about the trauma Legend suffered, too much telling and not enough showing. The flipside of that is the art. Sami Samao’s art especially as paired with Warnia K. Sahadewa’s colors feels just spot-on for not just the overall story, but the tone of things. There’s a ton of promise here, just prehaps a bit more of a bumpy start than you’d expect. — Nicole Drum

Rating: 3 out of 5

SONIC THE HEDGEHOG #35

Sonic the Hedgehog brings together its’ A and B-plots this issue to the detriment of the former. As Sonic and Tails make their way to the chateau, concerns about Chao racing—a delightful concept fraught with peril for the adorable creatures—are pushed to the wayside by obvious villains. There are a number of charming elements and some exciting sequences, but they never build to something larger and it’s only in issue #35’s final moments that the story begins to cohere. Stringing these pieces together is a messy task in this week’s issue, but all of the potential in this new setting and with Sonic’s supporting cast remains. I’m excited to keep reading, even after this uneven continuation of plots both excellent and okay. — Chase Magnett

Rating: 3 out of 5

STRANGER THINGS AND DUNGEONS & DRAGONS #2

The new Stranger Things series continues to explore the gang’s relationship with D&D, this time focusing on what happened after the events of the first season. Mike is struggling with his role as the Dungeon Master, as he feels that the game is both seemingly unimportant compared to the real life events that happened, and also all too important to bring Will and his friends back to a sense of normalcy. Honestly, this comic focuses on another great aspect of D&D—how people use it to grapple with complex emotions like grief or rage. It’s a surprisingly deep comic, one that clearly comes from a place of love for D&D. — Christian Hoffer

Rating: 4 out of 5

THAT TEXAS BLOOD #6

It seems clear that “A Brother’s Conscience” began with this ending in mind. As the bodies hit the floor and the killer is revealed, there’s an abundance of patented noir twists for both the leading characters and those left in the background. While it’s not difficult to see how this climactic concept may have been inspired by the likes of Cormac McCarthy, it doesn’t possess the foundational work that allows his novels to earn a cynical ending like this. The characters lack any sense of interiority and there’s not a clear sense of the setting to support this horrifying “return to normal” in the wake of so much bloodshed. It’s impossible to care for people who were barely there to begin with and failed to express any clear hopes or redeeming qualities. The ugliness seems to have been the only point and Joe Bob’s meandering path through the tale makes him seem more aimless than identifiable. It’s a strange, half-conceived tale with an ending that could be tragic, but instead leaves readers to ask what the point of all this was. — Chase Magnett

Rating: 2 out of 5