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 Black Adam: Endless Winter Special #1, King-Size Conan #1, and Yasmeen #5.

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

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

DC #1

ACTION COMICS #1028

Brian Michael Bendis spent the overwhelming majority of his time on his Action Comics run muddling stories, rushing some plots, dragging out others, and pretty much throwing everything and then some at the wall to see what would stick, something pretty much left little more than a mess for readers to try to make sense of. That mess ends with Action Comics #1029 and while the same rushing around while also dragging feet continues, there’s a bit of “aw shucks” about things that feels very Superman-y. It’s a nice bone tossed at readers. Fun? Yes. But it’s also absolutely a bunch of weak fan pandering that feels like the comic book equivalent of drinking flat stale soda—which paired with John Romita Jr.’s somehow still even worse art just feels sticky, bloated, and unsatisfactory. Bendis’ run held promise; this finale shows just how much that promise was wasted. — Nicole Drum

Rating: 2 out of 5

BATMAN/SUPERMAN #15

Sometimes you need a bit of fun to break up all the saving the world, and while the latter is definitely the focus of much of Batman/Superman #15, what resonates most are two very distinct moments of compassion and friendship. Writer Joshua Williamson knows how utilize Superman and Batman’s contrasting personalities for best results, and over the course of the issue builds the Grundy storyline from a throwaway plot device into something that might even elicit a tear or two (you leave me be!) that is also credit to the art team of Andrei Bressan and Alejandro Sanchez. We then get a touching moment of honesty between the two heroes that you can’t help but smile at, and while some of the other elements of the book don’t hit those similar high marks, it’s an enjoyable team-up that left a much bigger impression than I expected, and what a welcome surprise. — Matthew Aguilar

Rating: 3.5 out of 5

BATMAN BEYOND #50

Dan Jurgens’ run on Batman Beyond closes out with a breezy 50th issue. Terry is framed by yet another imposter, Wonder Woman shows up and Bruce nearly dies due to heart issues but everything works out. The only real cliffhanger is Terry getting involved with the Justice League, which we’ll likely see down the road. I’ve been really lukewarm on Jurgens’ run here, especially the latter half where the book felt like it was on autopilot. But this is a decent ending for now and Sean Chen’s art is rock solid. — Connor Casey

Rating: 4 out of 5

BATMAN: WHITE KNIGHT PRESENTS: HARLEY QUINN #3

When a book works it just works, and man does Batman: White Knight Presents: Harley Quinn just work. Writer Katana Collins’ take on Harley Quinn is simply wonderful, instantly commanding every and any panel she’s in. The collision of Harley’s family and work life makes for some hilarious scenarios (like hyenas babysitting at a crime scene), and Harley’s evolution into an investigator also provides opportunities for Collins to shine a light on her psychiatric background. Artist Matteo Scalera and colorist Dave Stewart’s visuals are once again absolutely stellar, injecting modern designs with a noir flair that’s only heightens with characters like Gray Ghost in the mix. There are quite a few iterations of Harley Quinn out in the world, but I can already say that this is by far my favorite, and I don’t see that changing anytime soon. — Matthew Aguilar

Rating: 4 out of 5

BLACK ADAM: ENDLESS WINTER SPECIAL #1

[READ THE FULL REVIEW HERE]

I walked into “Endless Winter” with no expectations, but after reading Black Adam Endless Winter Special I’m ready for more events like this one. It is simply, succinctly, and well told—purposefully designed to allow drop ins to enjoy the spectacle along with devoted readers. It pulls from the strengths of the past, those very back issue bins that hooked so many superhero fans, by emphasizing clear conflicts and explosive action. There’s plenty of space for readers to see some cult favorite villains and a spectacular showdown between two superpowered giants, and the emphasis is consistently placed on the artwork rather than the narration. Black Adam Endless Winter Special #1 is a lot of fun, providing readers both an enjoyable, mindless diversion and appropriate penultimate chapter for the more expansive story at play. — Chase Magnett

Rating: 4 out of 5

DARK NIGHTS: DEATH METAL – THE SECRET ORIGIN #1

It would be easy to think with the length and messiness of the Dark Nights story that there would be one shot that could encapsulate so much of the narrative into a digestible state and also be a primer for a fan-favorite character’s place in it, but Dark Nights: Death Metal The Secret Origin #1 does all of that. Written by Geoff Johns andScott Snyder the issue puts the spotlight on none other than Superboy Prime, delivering a proper story about him as a character and also how he fits into the larger “Death Metal” story. It’s succinct, fun, and everything that the best superhero comics aspire to be. An A-list stable of artists brought it to life as well including Jerry Ordway, Francis Manapul, Ryan Benjamin & Richard Friend, and Paul Pelletier & Norm Rapmund. — Spencer Perry

Rating: 4.5 out of 5

DC #2

DETECTIVE COMICS #1033

Detective Comics #1033 wraps up an underwhelming final story by Peter Tomasi, who has provided several years of quality Batman work on different titles. This issue mostly serves to set the pieces for the next Detective Comics run, while also establishing a new status quo between Batman and Damian, and also wrapping up an awful Hush storyline. I wish Tomasi could have gotten to go out on a stronger storytime, but I feel like a lot of his stories will be more fondly remembered over time. — Christian Hoffer

Rating: 2 out of 5

JUSTICE LEAGUE DARK #29

When it comes to Justice League Dark, issue #29 is really JLD in name only. With a new creative team here, led by Andy Lanning and Ronz Marz, this shameless “Endless Winter” tie-in has little to do with the titular group and rather, helps fill in a piece or two of an event puzzle that may or may not be all too necessary. That said, there is at least one slight nod to the previous 28 issues; without giving too much away, it results in a pretty gnarly reimagining of Swamp Thing, which looks like a delight. — Adam Barnhardt

Rating: 3 out of 5

THE LAST GOD #11

The Last God rushes towards its ending, and not necessarily in a good way. This issue is non-stop action, to the point where it feels like the creative team are attempting to jam together as many moments as they can before the book’s first chapter comes to an end. There are several important moments that unfortunately are given little room to breathe, and lessens their overall impact on the readers. Still, it ends with a doozy of a cliffhanger, and I’m excited to see how this arc ends. — Christian Hoffer

Rating: 3 out of 5

RED HOOD #52

As the last Red Hood issue before Jason gets into “Future State” and “Infinite Frontier,” this installment has a lot of ground to cover. Whether or not it succeeds will probably be up for debate, as it feels like a rushed way of wrapping up Jason’s tenure at The Hill for the time being. There’s something oddly admirable about efficiently shoving what could be an entire arc’s worth of storytelling into one installment, and Shawn Martinbrough’s narrative definitely has some high notes, but I can’t help but wonder what it would be like if we’d gotten to spend a bit more time on The Hill. The art from Tony Akins, Moritat, and Stefano Gaudiano fluctuates between being clean and striking to a little too dorky, but not so much so that it distracts from the entire issue. Overall, this seems like a good cap on where Jason Todd’s story has gone thus far—while also teeing up the future that’s ahead. — Jenna Anderson


Rating: 3 out of 5

WONDER WOMAN #769

Mariko Tamaki’s Wonder Woman run started strong and, ultimately, ends strong with Wonder Woman #769. The issue feels much like a solid Wonder Woman tale with the Amazon ultimately choosing to try to help her foe rather than merely defeat them. It’s true to the character. Unfortunately, it has to carry with it the missteps that were scattered here and there in the issues between leaving things off with something of a cliffhanger and some too-easy solutions. In the end, this whole arc feels like filler and this issue specifically feels rushed in the name of “Future State” which just makes things feel flat. However, Steve Pugh’s art gives the issue just a bit more oomph, helping to even out some of the strengths. It’s a good, but not great issue. — Nicole Drum

Rating: 3 out of 5

Marvel #1

THE AMAZING SPIDER-MAN #54.LR

The Amazing Spider-Man brings together a group of unexpected villains and mysteries in its most recent “Last Remains” issue. The update checks on Mary Jane’s unchecked feelings about Norman Osborne, and fans are met with a shocking fate for one of Peter’s comrades. And if you make it to the end of the issue, you will be left wondering what is next for Kindred given his new enemies. — Megan Peters

Rating: 4 out of 5

DOCTOR DOOM #10

Doctor Doom‘s tenth issue manages to be both unpredictable and inevitable at the same time. It puts a malicious twist on the “what could’ve been” trope before handing autonomy back to Doom to once again forge his own reality as he wishes. There’s a mounting, chilling tension throughout the whole issue that’s punctuated by close-ups and tormented expressions that show Doom’s drive and foreshadows his actions better than anything he could ever say. Despite being driven by vanity and selfishness, Doom remains persuasive in his tragic actions to make you feel for the character rather than condemn what he does. — Tanner Dedmon

Rating: 5 out of 5

EXCALIBUR #16

In the wake of “X of Swords,” Excalibur finds itself with a clear mission statement that brings the oft fractured team together in both presence and purpose. The quest to find Betsy Braddock provides each hero involved with their own motive, but the lessons left by Apocalypse ensures they must work together. This results in one of the most cohesive and engaging issues in the series to date. As the teams works through their issues, they also learn more about the purpose within Krakoan society, all while new threats and troubles simmer about them. Excalibur has struggled at times to define itself, but here it’s clear who this story is about and what they seek to do. The result is an accessible collection of characters with more than a dozen hooks to excite readers about what may come next. — Chase Magnett

Rating: 4 out of 5

KING-SIZE CONAN #1

[READ THE FULL REVIEW HERE]

Readers will find personal preference with one story over another, whether it be creator Roy Thomas‘ take on the barbarian in the issue’s opening salvo or the tale of Conan sailing the seas with his queen in Belit, but there still isn’t a “loser” in the bunch and each installment is most assuredly worth your time. Even if you are not currently a fan of Conan The Barbarian as a character, this issue may very well make you one. — Evan Valentine

Rating: 4.5 out of 5

KING IN BLACK #2

The gang is all together for the second issue of King in Black, fighting for the life of Eddie Brock with some truly wild ideas about how to claim victory. The premise is simple but it’s executed wonderfully, and Ryan Stegman remains the king of all things gnarly. There’s a lot to love throughout this entire issue, but it’s the final page that will leave folks talking about King in Black for quite a long time. It’s as daring as it is disheartening, and it makes for one of the biggest moments in the history of Venom. — Charlie Ridgely

Rating: 5 out of 5

Marvel #2

MAESTRO #5

So they’re making more of this? Maestro concludes with a whiff as it repeats what happened before in more ways than one. In the wake of the first couple of issues, the series has been connecting two obvious points as one leader is swapped for another. Nothing in that connection is particularly interesting and the final moments of Hulk’s transition are peppered with incident, but without effect. It was always the story that seemed obvious and the sudden appearance of a deus ex machina doesn’t make it any more exciting. While the series has been well drawn and presented, that patina of quality can’t cover up what is an essentially hollow narrative lacking any clear sense of character or purpose. And now there will be more of the same in 2021 as readers learn more about an alternate universe that’s now old enough to drink. — Chase Magnett

Rating: 2 out of 5

MARVEL #3

The framing device for this anthology is likely the best element of Marvel #3, if only because readers get to see Alex Ross dish up some of Marvel’s omnipotent forces in a glorious splash. What falls between the opening and closing pages is a diverse collection of work in both approach and style. Even if none of the individual stories are particularly resonant, it still serves as a celebration for the diversity within mainstream American comics alone. Whether it’s a Golden Age-style tale of Namor or an idiosyncratic vision of The Watcher (with a hagiographic appreciation for artists that is a bit much even for this comics devotee), these are tales that run in wildly different directions and produce a similarly vast array of results. Even when you’re not thrilled by what’s on the page, the opportunity to discover something wholly fresh after a few more creates a consistently exciting promise. — Chase Magnett

Rating: 3.5 out of 5

SPIDER-WOMAN #7

Sometimes a character has to go to some uncomfortable places to truly grow, and that couldn’t be more true of Jessica Drew. If you’re like me the friendship between Jess and Carol Danvers is one of comics’ greatest pairings, but writer Karla Pacheco puts some unbelievable strain on that friendship in Spider-Woman #7. It’s not of the ridiculous variety either (no Civil War II nonsense here thankfully) but steeped in hurtful words and feelings, so much so that at one point I had a hard time even liking one of my favorite characters. Her words were so incredibly raw that while you understand it’s not really her saying those things, the hurt and pain that emerges from the encounter feels more than real, and it’s not going to be easy to put those words back in the bottle. That said, this kind of growth can be painful but is necessary to keep Jess and her friendship with Carol moving forward, and I’m here for all of it. On the art side, artist Pere Perez and colorist Frank D’Armata deliver a stunner every time Jess is in the spotlight, though not just in showing off her skills. Their rendition of a serum overdosed Jess is one I won’t get out of my mind anytime soon, and when you throw in that final page hook, it makes for one of the most painful yet compelling issues of the series yet. — Matthew Aguilar

Rating: 4 out of 5

STAR WARS: BOUNTY HUNTERS #8

After previous issues offered things like “plot” and “character development,” this issue is back to the rougher spots of the series, leaning heavily into action and bounty-hunting badassery, seeing Valance not only looking back to his adventures with Han Solo, but also hinting at him teaming up with the Rebellion. Despite having a few interesting callbacks to well-known bounty hunters and the cantina band from Star Wars: A New Hope, this issue feels like little more than fan-fiction, an approach to the character we had hoped the series would leave behind. We won’t abandon all hope for the character, we just hope there will be fewer panels of characters in combat with their mouths agape, yelling some nonsense about how strong they are. — Patrick Cavanaugh

Rating: 2 out of 5

U.S.AGENT #2

After a rocky first issue, Christopher Priest brings a bit more focus to his attempt U.S.Agent’s character rejuvenation with issue #2 of the American Zealot’s miniseries. Throughout the story, we see a conversation between John Walker and his sister Katie, one where we get a batter understanding of his fractured childhood, the complicated relationship he has with his older brother, his feelings about the American deep south and his (seemingly) willful ignorance about all three. It’s compelling when it gets going, but the dialogue is oddly choppy and the book keeps getting interrupted by other character interactions. Still a mixed bag but a step up from issue #1. — Connor Casey

Rating: 3 out of 5

Other Publishers #1

ASSASSIN’S CREED VALHALLA: SONG OF GLORY #3

If you want a lesson in how to deliver a fatal blow, look no further than Assassin’s Creed Valhalla #3. Artist Martin Tunica and colorist Michael Atiyeh convey weighty impact with each blow, and I’ve never winced so much as I do when I see that “slckk” sound follow someone’s blade. These fights are incredibly brutal, but feel right at home with those who have played the games, and are easily the highlight of the series. It’s also nice to see writer Cavan Scott bring Eivor and Sigurd’s arcs in line with where Valhalla begins while adding some interesting new elements to the mix. That said, some panels and character expressions look a bit awkward or over the top (like Basim’s reaction towards the end of the issue), but overall this was a fun dive into Ubisoft’s latest Assassin, though it isn’t required reading. — Matthew Aguilar

Rating: 2.5 out of 5

THE COMIC BOOK HISTORY OF ANIMATION #2

The Comic Book History of Animation continues to shine through the Disney/Looney Tunes years, detailing both the rise of cartooning as an artform and the struggles that the rank and file cartoonists dealt with in the studios. Animation powerhouses like Walt Disney are depicted in the comic as complex figures, people who commanded respect but were also horrifically flawed. This is another must-read issue for anyone who loves cartoons. — Christian Hoffer

Rating: 5 out of 5

THE DEPARTMENT OF TRUTH #4

After two issues spent getting lost in trying to over-explain its rather simple central premise, The Department of Truth #4 finally returns the series back to its own mythology. This issue at least tries to explain the “whys” of conspiracies—namely how these easily disproven theories gain root in portions of the populace—but it tries to frame that in its own mythology by claiming that the recent rise in conspiracies is an attempt to flush out a shadow-y government cabal. Honestly, this comic seems to be very caught up in a very particular use of conspiracies, and I’m still waiting to see if it will address the fact that it’s peddling in the same fanciful alternative storytelling as the conspiracies the book itself is trying to address. — Christian Hoffer

Rating: 3 out of 5

DUNE: HOUSE ATREIDES #3

Dune: House Atreides splits its narrative into five separate threads that each move without any sense of urgency. Baron Harkonnen plays the role of the galaxy’s pettiest villain, denying his unexpected Bene Gesserit guest any refreshments at their meeting and then declaring his disgust for “the procreation process with women” in a bizarre sequence. Duncan Idaho goes through a sci-fi riff on “The Most Dangerous Game.” Young Leto Atreides arrives at his destination. Political intrigue unfolds at the capital, and Pardot Kynes does all the things anyone who has read Dune already knows he’s going to do. When it isn’t confounding, it’s merely dull, going through the motions to tell a story we already know the most important beats of and failing to add anything of interest to the larger narrative. — Jamie Lovett

Rating: 2 out of 5

EDGAR ALLEN POE’S SNIFTER OF BLOOD #3

Snifter of Blood #3 lacks the standout feature like the previous issue, though fans who enjoy a good joke at the expense of Poe’s hubris will undoubtedly enjoy him complaining about the success of Sherlock Holmes in the opening story. — Connor Casey

Rating: 3 out of 5

FAMILY TREE #10

Family Tree focuses on connecting the five year gap between the moment the world changed and the post-apocalyptic landscape introduced at the end of its first arc. The steps it’s taking are all necessary, but also familiar. Issue #10 doesn’t read much differently than early installments of The Walking Dead as wary strangers encounter one another and slowly establish trust. While the backdrop for all of these events provides a surreal joy, the plot and character elements lack any of the series’ prior novelty. Without focusing on what’s happening inside the tree-people or any understanding of why mysterious agents remain so focused on locating Meg’s tree, it reads like events are happening to these characters. They lack much autonomy in this strange new world and a deeper appreciation for this unique zombie-type crisis is necessary to appreciate what makes Family Tree special. — Chase Magnett

Rating: 3 out of 5

FIREFLY: BLUE SUN RISING #1

Setting aside the odd decision to end a long-running series in a new number one issue, Firefly: Blue Sun Rising #1 serves as a turning point for the series. Knowing that the ongoing Firefly series will jump past the events of the Serenity movie in its next arc, Greg Pak uses this final pre-Serenity issue leans into themes explored in that film, prime among them being the cost of heroism. It’s always nice to see Dan McDaid back on the Firefly titles as no one has matched his ability to convey the sense that the corner of the universe Mal and his inhabit is cobbled together with leftover space junk. He’s inked here by Vincenzo Federici, which pulls the linework in a looser direction, shedding some of the pulpy-cartoon vibes. The issue wraps up this era of Firefly nicely and in a way that will have longtime fans eager to see what comes next. — Jamie Lovett

Rating: 3 out of 5

Other Publishers #2

ICE CREAM MAN #22

Hope, sincerity, charm, none of these are words that readers would typically associate with Ice Cream Man, but they’re exactly the sort of mood that Ice Cream Man #22 manages to evoke without losing any of its characteristic creepiness. The series’ holiday special frames the plot using an advent calendar with each page delivering a day accompanied by a loosely-related gift as an 18-year-old Catholic woman discovers she is pregnant and contemplates having an abortion over the holiday season. It’s heavy stuff and the issue recognizes that small touches (like the discovery of a dead cockroach) are better than any splashy effects in making this story haunting. What’s most surprising aren’t the nightmarish effects that are Ice Cream Man‘s hallmarks, but how it provides space for the woman in this story to make it her own. The choices she makes and how they are effected by those around her are centered before any genre elements and that elevates the entire reading experience. Ice Cream Man is often about a stylistic choice, but here it’s about a very real one and manages to honor that choice—and all of its complexity—in a sincere fashion. — Chase Magnett

Rating: 4 out of 5

KILLADELPHIA #11

Killadelphia #11 is one of the more complicated ones of the series, tying in not just the Sangsters story and Abigail’s story, but throwing in John Adams again as well despite his apparent demise previously. There’s a lot of moving back and forth, between the present and the past and even Heaven and Hell and while it’s clear from a bigger perspective point of view that this issue is setting up for larger story to come, it feels a little difficult to read and hard to keep track of. Certainly an issue that will be a better fit when it can be read as a whole with the series more generally. Killadelphia #11 feels a bit like filler even as much as it comes across as another unexpected right turn in an already slightly confusing narrative. — Nicole Drum

Rating: 3 out of 5

MILES TO GO #3

Miles to Go #3 is the best kind of origin story that Moses could hope for. The way it flips back and forth between present day in the past is seamless with easy-to-follow transitions that plant the characters in key settings throughout Moses’ life, and the dialogue and relationships between those characters nail the small-town feeling. Moses may not be the main character in all this and is instead part of the bigger picture, but it’s evident he could carry his own series if he had to. — Tanner Dedmon

Rating: 4 out of 5

REDNECK #29

The only real downside to Redneck, especially this deep into its story, is that there’s an entire month between issues. Its hard to keep up with the now-sprawling saga when so much time passes. But that’s not Redneck‘s fault by any stretch. It remains great, as it always has been. Even in an issue like this one, which can be seen as a filler sort of situation to set up the bigger confrontation ahead, it’s hard to take your attention away from the Bennett clan. — Charlie Ridgely

Rating: 4 out of 5

RICK AND MORTY: EVER AFTER #3

As this mini continues, Rick and Morty start to feel more and more like, well, Rick and Morty. The characters are growing, but the story feels less interesting. Ultimately, that isn’t so bad, because journeying with Rick and Morty into stories that don’t really do anywhere is kinda this franchise’s thing most of the time. It works and it’s fun to read. — Charlie Ridgely

Rating: 3 out of 5

SCARENTHOOD #3

Scarenthood is a story that I really wish were a novel or a novella rather than a comic. That is to say that it’s a really good story very well-told and well developed, something that is very clear in Scarenthood #3. However, for as good as it is, this issue feels almost like it missed something between its pages and the end of Scarenthood #2. It’s as though the whole issue lurched forward suddenly and there are lots of details and things that have fallen about and need to be cleaned up. A lot of ground is covered which is good as it makes for a solid bit of forward thrust and threads about grief and being overwhelmed start to really make sense in this complex tale. It’s good, just shaky, especially with the sudden big reveal at the end. Scarenthood is a complicated book and this issue certainly is that. — Nicole Drum

Rating: 3 out of 5

THE SCUMBAG #3

I can’t believe I’m saying this, but The Scumbag #3 made me have an epiphany. This title is charming! Charming in the sense a comic publisher let a writer tell the no-holds-bar story they wanted to tell, and they even saw the book through to print—and that’s about all the charm you’ll ever get out of The Scumbag and Ernie Ray Clementine. At some point or another, the repugnant dialogue and nastiness in this book is going to start wearing thin, but not today. Luckily here, the book does an excellent job of pushing the plot forward while introducing a few other helpful world-building devices and characters. All and all, this title continues to be a solid read, if you can manage to stomach Mr. Scumbag. — Adam Barnhardt

Rating: 4 out of 5

SEA OF SORROWS #2

The concept behind Sea of Sorrows still crackles with energy. The cold climate of the Northern Atlantic provides no safe harbor for sailors obsessed with gold in an even more precarious position. You don’t even need to add monsters to all of that darkness and hostility to make it terrifying, but when you do it can be outstanding. The trouble in Sea of Sorrows #2 is how difficult it can be to read the events presented on the page. More than one sailor disappears in this issue and each occurrence is visually confusing. The sudden appearance of blood in the water occluded by reader’s inability to distinguish the forms of divers before or after. It’s a very thin line between hiding specific events and clearly detailing important information, and these pages defer to hiding more than they show—often to the detriment of the reading experience. There remains a strong premise, but with thin characterization and little else beyond the horrors hidden in the waves, the execution behind each encounter needs to be much stronger. — Chase Magnett

Rating: 3 out of 5

Other Publishers #3

SEA OF STARS #8

Sea of Stars always is a tale split in two, though one side is clearly more compelling than the other at the moment. Jason Aaron and Dennis Hallum’s space-faring adventure is at its best when Kadyn and Dalla are the focus, as their evolving relationship only makes them more compelling as characters, and it doesn’t hurt to have Kyle’s smartass remarks either. The other side of the story has its moments as Kadyn’s father searches for his son, but those are fleeting for the most part, and just aren’t to the high level of Kadyn and Jalla’s storyline. Artist Stephen Green and colorist Rico Renzi fill each page with larger than life creatures and a color palette that makes you truly feel in another world, and crazy space sharks have never looked more threatening. There’s a lot to like here, but to truly reach its potential both sides of the story need to hit the same bar. — Matthew Aguilar

Rating: 3 out of 5

SHADOW SERVICE #5

Shadow Service continues to be fun, if not still a little frustrating. The latest issue sees a few important questions about Quill and the mysterious artist from last issue, but it keeps stopping short of explaining Gina’s personal motivations. For a world as wild as this one having a central character to latch onto would be ideal, but the book keeps baiting us with that only to pull it back further and further. — Connor Casey

Rating: 3 out of 5

SLEEPING BEAUTIES #4

Sleeping Beauties jumps forward with an impressive chapter that investigates the sleeping curse impacting women, but things get wild when secrets begin flying about its origins. The world is about to turn on its head, and it seems the reason behind the change is more dire than humanity ever imagined. — Megan Peters

Rating: 4 out of 5

SOMETHING IS KILLING THE CHILDREN #13

Things are really starting to hit the fan in Something Is Killing The Children #13, and it had us on the edge of our sets right up until the final page. Writer James Tynion IV has quickened the pace considerably, and all the earlier planted seeds are starting to come to fruition. You genuinely care about these supporting players as the House of Slaughter takes over, and Erica taking on the organization she’s come to loath all by herself (and protecting James and Bian simultaneously no less) has a 80s action movie vibe that gets another supernatural boost from that final page. Artist Werther Dell’Edera and colorist Miquel Muerto’s artwork continues to deliver brutal brutal action and expressive moments aplenty, and issue #14 can’t get here soon enough. — Matthew Aguilar

Rating: 4 out of 5

SONIC THE HEDGEHOG: BAD GUYS #4

Bad Guys provides a solid counterpoint for the ongoing Sonic the Hedgehog series in its final installment. While Sonic can sometimes seem overstuffed, it’s charm lies in the diverse array of characters who regularly reassemble themselves to tackle new challenges. Bad Guys has made it clear from the start why each of these loners (and the duo of Rough and Tumble) can barely make it through 4 issues together. The finale provides each of the villains with a fitting denouement that leaves them in a position for future interactions in the franchise and clear reasons for their failures here. It’s an exciting finale that also makes some space for each of these charming ne’er-do-wells to express their best (or worst) characteristics before heading out. It’s a solid conclusion to a solid miniseries and a reminder of how much potential rests within the relaunched world of Sonic comics. — Chase Magnett

Rating: 4 out of 5

SPAWN #313

Todd McFarlane remains beyond parody in his own books as Spawn #313 sees the return of classic characters and truly goofball moments like Gunslinger Spawn calling a motorcycle a metal horse and the full reveal of the “big red” Hellspawn character he’s been teasing for weeks now. Artist Carlo Barberi is the real selling point of this issue which has all the trademarks of Todd spinning his wheels before he can get to the big action issue. Barberi does impressive work with all of the various Hellspawns and monstrosities from Todd’s brain, managing to make the always over the top Overtkill actually visually interesting. — Spencer Perry

Rating: 3 out of 5

STAR WARS ADVENTURES: SMUGGLER’S RUN #1

The Star Wars Adventures series from IDW is known for how accessible they are for younger readers, both in their narratives and in their art style, which makes this debut issue of the adaptation of Smuggler’s Run a great way to pique the interests of slightly older readers, thanks not only to its subject matter, but also in its art style. The story hits all the major beats of the novel that one would expect, chronicling Han Solo and Chewbacca’s journey after the events of Star Wars: A New Hope, young readers still get to see the beloved characters acting as heroes, though the lines between heroes and villains get slightly murky, with the art style being slightly grimmer and less whimsical. With Smuggler’s Run already being an adventure geared towards slightly younger audiences, this adaptation might ultimately be a more efficient way for adult readers to learn the events of the book without actually reading the junior novel, while also being more sophisticated than other Star Wars Adventures titles to offer a welcome challenge to long-time readers of that title. — Patrick Cavanaugh

Rating: 4 out of 5

Other Publishers #4

TARTARUS #8

What is astonishing about Tartarus #8 is that the storytelling is so tight, the premise so fully realized by its creators, that even though it has a complicated place in the web of the entire series it could be read by a newcomer and fully understood. Co-creator Johnnie Christmas once again pens the tale which is as dense and thorough as any other issue but is nevertheless always entertaining in execution and pacing. Fill-in artist Andrew Khranke continues to do remarkable work and has the chance to stretch his legs into all-new arenas of this intergalactic war opera. Perhaps it’s early to say but this is probably the best issue of the series. — Spencer Perry

Rating: 5 out of 5

TRANSFORMERS/BACK TO THE FUTURE #2

The first issue of the Transformers/Back to the Future crossover did an excellent job of seeing up the “what,” that “what” being a high-speed collision between two iconic pieces of pop culture. Consequently, the “why” that follows in the second issue had to slow things down quite a bit for exposition, so the pace isn’t nearly what the debut offered. It’s painted a reasonably clear picture of our cast’s predicament without getting too convoluted where time travel is concerned though which is as much as anyone can ask for when dealing with such potentially confusing topics. I don’t feel as though the Transformers and Back to the Future characters are meshing as well as they could and are rather existing alongside one another, but Doc Brown’s eccentric personality and the way he’s portrayed visually and narratively in a bolder and more expressive way compared to others is enough to carry things until the chemistry picks up. – Tanner Dedmon

Rating: 3 out of 5

UNDISCOVERED COUNTRY #11

Part B-movie, part David Cronenberg worship, Undiscovered Country proves that there is no unity without sacrifice, there is no progress without devastating losses, forcing our explorers to make a decision about such a bargain being the best hope for the rest of the world. With virtually every flip of the page, readers are given either an existential reflection on the true nature of America or an onslaught of sci-fi jargon. You flip from reading about the reasons why the telephone or air travel originated in America to a page with phrases like “Destiny Man,” all of which come with the same air of importance. It’s this distinct tonal shift from one page to another, with both compelling and hokey narrative reveals, that makes reading the book so jarring. This isn’t to say that either tone is necessarily bad, it’s just that they don’t entirely work in harmony and make us wish for a more balanced blend of sci-fi and commentary on our own cultures. — Patrick Cavanaugh

Rating: 3 out of 5

AN UNKINDNESS OF RAVENS #4

An Unkindness of Ravens has been slow to reveal its hand, but between the second half of last issue and issue #4, we’re finally getting a much stronger picture of what’s really at stake in the series, and it’s easily the most exciting part of the series. Writer Dan Panosian reveals several key answers that shed light on Wilma’s role, the Ravens, and the Survivors, and all the various aspects of the book are thankfully starting to converge. On the visual side of things, artist Marianna Ignazzi and colorist Fabiana Mascolo show off their skills with gorgeous environments and a palette of vivid colors. At times Wilma’s expressions lean towards a more cartoony style, and thus her interactions with other characters can feel odd at times like they’re from different books. Not anything that takes away from the book’s strengths mind you and this mystery continues to be headed in the right direction. — Matthew Aguilar

Rating: 3.5 out of 5

X-O MANOWAR #3

It won’t take you long before you feel X-O Manowar #3 is a filler issue, providing content just to provide content as the overarching plot starts to falter. Don’t get me wrong, the brooding Eastern European baddie still has a spot as an antagonist to Aric, it just takes second fiddle to a random PR campaign in hopes of getting X-O back in the good graces of the public. After the rough-and-tumble rowdiness of the first two issues, this third book is a jarring change of pace. — Adam Barnhardt

Rating: 3 out of 5

YASMEEN #5

[READ THE FULL REVIEW HERE]

Overall, Yasmeen #5 is the best issue yet in a series that is one of the best comics of the decade. Building upon existing narrative strengths, Ahmed continues telling a deeply important story. It’s rare that a comic book hits every possible note in being both entertaining and culturally (and intellectually) significant, but Yasmeen #5 and the series writ large does exactly that. Beautiful, uncomfortable, haunting, and humane, this issue isn’t just practically perfect; it’s actual perfection. — Nicole Drum

Rating: 5 out of 5

YOU LOOK LIKE DEATH: TALES FROM THE UMBRELLA ACADEMY #4

You Look Like Death tells another tale from from the Umbrella Academy files and Klaus’ adventure in California. The ousted Hargreeve learns the dangers of repeating history, and an assassin comes in clutch before the update closes. So if you thought you couldn’t feel worse for Klaus, well—things are about to get even crazier. — Megan Peters

Rating: 3 out of 5