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 Amazing Spider-Man: Sins Rising Prelude #1, Batgirl #47, Yasmeen #1, and The Loneliness of the Long-Distance Cartoonist.

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 #1023

You know that a story has gotten overly convoluted when you have to rely on a fairly extensive, full-page (and then some) recap in order to make sense of the issue in hand and that’s where we are in Action Comics #1023. The issue sees Superman along with both Jon and Conner having to come to the aid of Lois and Jimmy when the Red Cloud decides to make a play against Superman. The goal? Make Superman and his whole family leave Earth. One can presume that there’s also some criminal profit element of it for Ms. Leone but it all just feels kind of hollow. We’re pretty deep into this story at this point—not counting all the side stories hence the need for the recap—but none of it is really that interesting or feels like it’s going anywhere. The only real point of interest in the issue is that now Red Cloud and Ms. Leone are real mad which of course means they want to “break” Superman, but even that just feels thin. The art in the book is also disappointing making for an issue that may be the most narratively cohesive in some time but simultaneously extremely lackluster. — Nicole Drum

Rating: 2 out of 5

AMETHYST #4

Amy Reeder’s Amethyst has been a delightful series thus far and Amethyst #4 continues that streak. This week Amy and her allies find themselves literally on Opal’s doorstep, but it isn’t the ah-ha moment anyone expected. Instead, Amy’s journey has really just begun and the concept of who the real villain is gets flipped a bit. It’s a great story and it’s a lot of fun. The art continues to be outstanding as well as does Reeder’s exploration of Amy as a person with flaws and personality traits that are at times just grating. The only “negative” this issue is honestly that it moves almost too quickly. Readers could easily find themselves wanting a bit more but, honestly? That’s a good problem to have. — Nicole Drum

Rating: 4 out of 5

BATGIRL #47

[READ THE FULL REVIEW HERE]

Batgirl #47 manages to not only be the best “Joker War” installment thus far, but it is one of the best standalone Batgirl issues in recent memory. The issue takes the decades-long twisted dynamic between Barbara Gordon and The Joker and provides it a modern-day rematch, which feels fitting for the character that Barbara has become. The narrative twists and turns in an emotional and incredibly personal fashion, and the art gives it all a frantic, neon-hued flair. Even if you haven’t been regularly reading Batgirl as of late, this issue absolutely, positively deserves your time and attention. — Jenna Anderson

Rating: 5 out of 5

BATMAN #95

There are going to be a lot of people who declare Batman #95 to be great. It’ll get lots of perfect critical scores and continue the hype that has been sucking up all the air regarding “Joker War.” This is not one of those reviews. Is the writing functionally bad? No, Tynion doesn’t deliver something that is unreadable. Is the art terrible? No, Jimenez delivers a visually pleasing issue here. But fundamentally, there is nothing to the issue that lives up to the endless marketing and hype. We get it at this point: Tynion has big ideas about Batman. What we also get at this point is that he can’t seem to move away from endless buildup. Once again, we get a lot of exposition, a lot of tedious summarizing as if we hadn’t already gotten the point that Joker has gotten one over on Batman. Worse, the plan leans too much on the threadbare traumas of Bruce’s pre-Batman life—yes, once again, the murder of Thomas and Martha Wayne plays a major role in well, everything. Ultimately, the issue feels like a half-hearted mashup of the weaker parts of Nolan’s The Dark Knight and The Dark Knight Rises with a bit more Joker and yet another random shiny thing—this time literally with that new Batsuit—to distract from what is becoming painfully apparent: fun ideas don’t always make for a good story. Can we please move the story forward now? Please? — Nicole Drum

Rating: 2 out of 5

BATMAN BEYOND #45

While I may have panned recent arcs in Batman Beyond, seeing the futuristic version of the Bat-Family (Terry, Batwoman, a grown-up Damian, Goliath, an older Grayson, Bruce in the chair) in action was undeniably awesome. It also looks like the League’s big scheme is finally underway and it has a lot of promise. — Connor Casey

Rating: 4 out of 5

THE BOOKS OF MAGIC #21

Now returned from the side trek to Festival, Books of Magic #21 sees writer David Barnett and artist Tom Fowler sending Tim Hunter back to school. Since Barnett took over as a writer, Books of Magic moves at a brisker pace, with fast-paced, often referential dialogue. In this issue, he dives deep into Sandman Universe lore with a trip to the Dreaming, an encounter with one of the Endless, and the return of a pair of lesser-known leads. A lot is going on, including a somewhat random cameo by a dead poet, but Fowler is up to the task, depicting it all with his usual expressiveness and inventiveness. Altogether, the issue is well-crafted, despite being a bit frantic. –Jamie Lovett

Rating: 3 out of 5

DC #2

DETECTIVE COMICS #1024

If Detective Comics #1023 was the enticing set-up for a larger narrative, Detective #1024 is where they realized they’d used up most of their story already. Writer/artist pair Peter J. Tomasi and Brad Walker put all their eggs in the previous basket, delivering an explosive confrontation here that gets stretch out for a few too many pages than it can support on its. The splash pages look good enough in the end but the repetition in action makes them feel stale by the fifth dynamic pose. It wraps up nicely enough though with a moment that will make Bat-fans smile. — Spencer Perry

Rating: 3 out of 5

THE FLASH #758

Williamson’s epic run on The Flash is rounding the corner toward its finale, and the Legion of Zoom arc is definitely evoking the spirit of Geoff Johns’ run on the series. Elevating the threat level with each passing issue, giving us a cliffhanger that surpasses the last, Barry Allen’s story is some good old fashioned super hero fun. A definite must for Flash fans and old school super hero fans alike. –Evan Valentine

Rating: 4 out of 5

JOKER / HARLEY: CRIMINAL SANITY SECRET FILES #1

As is the case with nearly all Secret Files one-shots, there isn’t so much of a coherent plot here, but that’s totally okay. The issue features various documents, charts, and artistic renderings from the world of Criminal Sanity, all of which are beautifully brought to life by the issue’s creative team. There are enough Easter eggs and fascinating pieces of worldbuilding to make this a worthwhile ride, but it’s one that only diehard fans of Criminal Sanity might want to take. — Jenna Anderson

Rating: 3 out of 5

JUSTICE LEAGUE DARK #24

The arc most of us have waited for this entire run is finally here and it’s already shaping up in a big way. It’s been clear from the beginning that this version of Justice League Dark is the most fractured team that’s even been put together in the same vein; after all, Wonder Woman, John Constantine, Detective Chimp, Dr. Fate, Zatanna, and others all living under the same roof is the perfect recipe for disastrous results. But that’s the thing—that’s exactly the reason this book works so well. These characters are so far apart, the conflict between each member provides a grounded and incredibly realistic approach to a book involved in magic and the occult. Like Tynion before, Ram V has done an excellent job building the intra-team conflict and reducing them to the smallest of their own selves, providing a chance for reflection that, in turn, makes for a killer team-up tale. — Adam Barnhardt

Rating: 4 out of 5

THE LAST GOD #7

The first arc of The Last God placed the heroes of this dark fantasy firmly in the shadows of the “heroic” fellowship that saved the world, before quickly revealing that these heroes were liars of questionable morality. This week’s issue makes that clear—with the future King Tyr shown as the mysognist bully that you see far too often in fantasy. To be clear—The Last God is a dark fantasy along the lines of Game of Thrones or The First Law, but with only 24 pages an issue, it seems… gratuitous to focus so much time on sexual assault, especially when we already knew that Tyr was amoral. This is the first issue of The Last God that really falls into the traditional tropes of fantasy, and the book is much poorer for it. — Christian Hoffer

Rating: 2 out of 5

SHAZAM #13

It really is a shame that this series doesn’t get the same level of praise as Johns’ work on the likes of Green Lantern and The Flash, as it does a good job of focusing on all the strengths of the world of Shazam. Ramping up to the conclusion of Geoff Johns and Dale Eaglesham, the issue incorporates nearly all the characters and mythology of the boy hero into one installment. An amazing penultimate issue that should be considered one of the high points for the property. — Evan Valentine

Rating: 5 out of 5

Marvel #1

AMAZING SPIDER-MAN: SINS RISING PRELUDE #1

[READ THE FULL REVIEW HERE]

For all the tortured religious upbringing and haunting imagery, Spencer doesn’t quite stick the landing on bringing this Sin-Eater story back around to Spider-Man. We see a direct callback to panels from when Carter initially killed himself while Peter was still in the Black Suit, but if you asked me right now why Carter is about to turn his shotgun on Spidey, I couldn’t give you an answer. No amount of beefed-up origin stories can get around the fact that Sin-Eater would make a better villain for Daredevil, Punisher or another of Marvel’s grittier heroes. Thankfully, one of Spider-Man’s most colorful villains is set to return, as well. — Connor Casey

Rating: 3 out of 5

DAREDEVIL #21

An explosive climax can easily lead to a messy denouement, which makes Daredevil #21 an essential turning point for one of Marvel’s most impressive series given the choices it must address. What this issue makes clear is that each of the decisions made in this title are being made with a clear understanding of the weight they carry and how to follow through beyond the initial shock of any “twist.” Daredevil’s submission to the legal system is handled in a way that builds upon both the earliest issues of this series and Marvel Comics’ canon—developing solutions rather than inventing easy outs, and there are already notable consequences for that decision as this issue begins. Even in the midst of so many complicated results, Daredevil remains devoted to exploring the concept of justice in the context of the American legal system and does an admirable job of doing so in each interaction. Admittedly, a brief sequence featuring “paid protestors” who are protesting a violent agent of law enforcement seems tone deaf, but still leaves the series with a very strong hit-to-miss ratio as it tackles topics most superhero series steer far and away from. — Chase Magnett

Rating: 4 out of 5

EMPYRE #2

The second installment attempts to hold on to the momentum established and manages to do so in a number of ways, specifically when it comes to characterizations and the high soaring action. However, the weaknesses are amplified here in that your mileage is going to vary with regards to your connection to the actual threat of Empyre. This series is neck deep in continuity and this acts as both a strength and a weight around its neck. –Evan Valentine

Rating: 3 out of 5

EMPYRE: AVENGERS #1

Empyre: Avengers has a robust cast of characters to work with so long as it doesn’t spread itself too thin in doing so. But whether you knew all the supporting characters’ names and abilities by heart, are now being reintroduced to them, or are meeting them for the first time, it’s refreshing to see some of the lesser-known characters have their time to shine before we hop right to calling in the core Avengers team. Joining this less formulaic approach is the Cotati alien race to contest with, an enemy force with tons of potential for creative and colorful character designs. We see just the start of this with the Cotati already using unfamiliar attacks and tactics depicted in a way that’ll have you scrutinizing the pages to see what they’re up to. It’s a promising beginning so long as the trends established so far hold up. — Tanner Dedmon

Rating: 4 out of 5

EMPYRE: X-MEN #1

I want to write a sentence that has likely never been constructed in the English language before: This superhero event tie-in comic is elegant. Empyre: X-Men #1 opens the four-issue miniseries with a clever hook that simultaneously enhances the story of “Empyre” and the “Dawn of X,” allowing fans of either story to dip into this story with ease and providing them with ample rewards. It reads more like a member of the X-Men family of titles as Hickman and Howard explore the philosophy of Krakoan culture throughout, and specifically address the events of M-Day in a satisfying fashion. There’s still plenty of mayhem and bickering to be enjoyed in a well-selected cast of characters set into a truly terrifying scenario, though. This tie-in already feels essential to the story of the X-Men and utilizes “Empyre” to develop key ideas, preventing any single element from ever feeling forced. While this may not be essential, it is already one of the most engaging event tie-ins to be published in living memory—and it could set a new standard if the next three issues retain the momentum and approach found here. — Chase Magnett

Rating: 4 out of 5

FCBD 2020: SPIDER-MAN / VENOM #1

Two stories of relationships fill Spider-Man/Venom #1, but the way they’re presented couldn’t be more different. From Spider-Man and Black Cat, we see a story of brightness despite being set at night and witty banter despite how at-odds the two characters’ personalities and tactics can be at times. You can practically hear the fight music and quips when Spider-Man introduces his foot to Vulture’s helmet, and the vibrant, late-night conversation between the two stars of the story will leave you feeling just warm enough for the Venom story to bring you down to a much darker place. Brock and Venom’s relationship bond is a well-established one of survival and feels that much more vital when even the Avengers are in such a dire situation. We’re left with a portrayal of Brock, Venom, and other characters like Captain America that highlights their vulnerabilities at a bleak point just shy of hopelessness. Through some excellent framings of the fight between Venom and their new opponent, Virus, we’re treated to some unique perspectives and a compact scrap that highlights Venom’s longevity and resolve as one of the character’s most appreciable qualities. — Tanner Dedmon

Rating: 5 out of 5

Marvel #2

HELLIONS #2

Hellions remains the surprise breakout series from “Dawn of X,” a comic book that fills largely forgotten (or ignored) characters with new life and embraces the total messiness of its premise. This debut follows the team on their first mission and every interaction is guided by character, meaning that nothing is easy. It reads like an early issue of Ostrander’s Suicide Squad as unanticipated complications stack and a straightforward plan shatters upon contact with the enemy. The result is a comic read that maintains its sense of humor and thoughtful consideration of trauma, even as it delivers action sequences tense enough to force this reader to peer through his upheld hands. Segovia delivers several excellent sequences that break up a complex composition of action into digestible and uniquely enjoyable segments that track a long list of characters before delivering a multi-faceted cliffhanger. All of the ingredients for an excellent run are still present after a very impressive debut in the spring, and they mark Hellions as a potential breakout series that any skeptical Marvel fan should consider adding to their roster post haste. — Chase Magnett

Rating: 4 out of 5

LORDS OF EMPYRE: EMPEROR HULKLING #1

Empyre is reshaping several aspects of the Marvel Universe, and for those who want to get the most out of it, Lords of Empyre: Emperor Hulking is pretty much a must-read. Writers Chip Zdarsky & Anthony Oliveira have crafted a one-stop-shop for those needing an introduction or just a refresher on who Teddy Altman is, and that context is greatly needed for an event that is built so specifically around him and his familial history. Zdarsky and Oliveira also find time to showcase the delightful relationship between Hulkling and Wiccan, which forms the genuine core of this story despite this being a cosmic epic that pulls together a massive part of the universe. Artist Manuel Garcia, colorist Triona Farrell, and inker Cam Smith absolutely shine in these more personal moments between Hulking and Wiccan as well, though we’re all for more Hulking Star-Sword moments too. Few tie-ins these days are as satisfying as Emperor Hulking, and if you pick one tie-in to buy, this one is definitely the one to grab. — Matthew Aguilar

Rating: 4 out of 5

NEW MUTANTS #11

New Mutants #11 wraps up the current arc from Ed Brisson and artist Flaviano. The issue puts Flaviano’s penchant for drawing cartoonish exaggerations and surrealness to good use as the New Mutants get pulled deeper into the Carnelian mutant’s nightmare dreamscape. The two-page spread that comes from Wildside giving the young mutant pleasant dreams is easily the highlight of this otherwise solid but forgettable issue. The Carnelian government problem is put on the back burner when Magik shows up to Deus ex mutant the team away from the immediate conflict. The issue then shifts to furthering two interesting subplots. The first is Maxime’s desire to use her powers to remove painful memories, touching on themes of identity and memory present throughout the “Dawn of X” line. The other is Brisson applying the act of doxing to mutants, an intriguing hook that looks to be explored further as a central part of the next story arc. — Jamie Lovett

Rating: 3 out of 5

STAR WARS: DOCTOR APHRA #2

Aphra and her team’s quest for the Rings of Vaale leads them to a chamber full of mysteries, as their surroundings seem to either morph around them or inspire hallucinations in everyone nearby. Of course, Aphra isn’t one to be deterred by such events, only piquing her curiosity about what lay behind locked doors. The first half of the book is a dense read, with exposition shedding light on Aphra’s history and her new alliances establishing their rapport with our protagonist, which slows down the pace of the story. The back half of the book gains momentum, especially as we’re given mystical events and borderline horror stories, which ultimately proves promising for where the narrative will go in the next issue, though leaves this issue to largely serve as an exposition dump for a number of new characters. — Patrick Cavanaugh

Rating: 3 out of 5

WOLVERINE #3

This issue of Wolverine wraps up the immediate storyline of the knockoff Krakoan drugs flooding the market, with Wolverine “going rogue” (albeit with a full team of X-Men) to save his human ally and shut down the operation once and for all. It’s pretty uninteresting stuff, save for the beginning and end scenes, both of which continue the comic’s more interesting storyline of Wolverine struggling to adapt to the new status quo. A scene where Wolverine drinks Magneto under the table doesn’t make this comic worth buying, but I think this series (much like Wolverine himself) is still trying to find itself. — Christian Hoffer

Rating: 2 out of 5

X-MEN + FANTASTIC FOUR #4

The showdown between Doom and the eponymous teams brings some fireworks, but is ultimately resolved in an efficiently pat fashion. The Dodsons ensure that these expected explosions are entertaining, if entirely predictable. However, X-Men + Fantastic Four also recognizes that a typical team-up does not remove a series’ ability to wield gravitas, which is delivered after the big showdown is resolved. Zdarsky’s approach to superhero comics remains one of the most fully considered in the genre today as he grapples with the ethics of actions typically hand-waved by creators. His consideration of rights and responsibilities here, along with the nature of coalition building provides plenty for readers to consider and avoids easy, didactic prescriptions. While the form of the superhero team-up remains largely unchanged, this miniseries makes clear at its end that familiarity does not preclude artists from exploring fascinating topics. — Chase Magnett

Rating: 4 out of 5

Other Publishers #1

ANGEL AND SPIKE #12

Things are looking pretty rough for Angel Investigations these days, and while their back is against the wall in more ways than one, that kind of scenario is often when the series is at its best. Writer Bryan Edward Hill utilizes Spike’s snarky humor in key moments to keep things just light enough, and Lilith continues to be the MVP of this series, stealing the show in just about every exchange. The slow build regarding Fred has finally turned the corner, opening up some intriguing avenues for things moving forward. Artist Gleb Melnikov and colorist Roman Titov deliver a superb issue as well, especially since the second half of the book drifts a bit from the shadow-filled landscapes that they do so well, and they are more than up to the challenge. Angel continues to deliver a series longtime fans will enjoy while also opening up this crazy world for fans new to the franchise, and if you’re missing out you might just want to fix that ASAP. — Matthew Aguilar

Rating: 4 out of 5

BILLIONAIRE ISLAND #3

Billionaire Island is a series that is far better than you’d expect it to be and the biting satire of things is sharper than ever in Billionaire Island #3. The stakes are higher than ever this issue as Trent is interrogated and Shelly tries to figure out what’s next now that she and another has escaped, but the story takes a wild turn and does what the series had done best from the start: it forces the reader to confront hard truths about human nature as well as the absolute absurdity of the utterly disconnected from reality super rich. It’s the most pointed and most provacative issue yet that is hard to read without both laughing and flinching at the same time. Everything just hits here. It’s another knockout issue. — Nicole Drum

Rating: 5 out of 5

BIRTHRIGHT #45

It wouldn’t be an issue of Birthright if every page didn’t tug at your heartstrings. Williamson and company have nailed every issue of late and Birthright #45 is no exception. Though this comic features the wildest ideas in fantasy and magic, it’s a grounded family tale through and through, and that’s all on full display here. Anxiety-inducing in its fullest, this title is setting up an epic conclusion—here’s to actually sticking the landing when it so arrives. — Adam Barnhardt

Rating: 4 out of 5

BLISS #1

Bliss has a way of genuinely sneaking up on you, crafting a multi-generational narrative that is so much more than meets the eye. Sean Lewis’ narrative manages to be surprising, even with dialogue that is occasionally on-the-nose and tells a story that you’ll most likely want to see more of. Caitlin Yarsky’s art is a perfectly moody and intriguing compliment, especially as the story goes into a bit more fantastical direction. At times, this issue feels like the comic equivalent of a slow folk song—you don’t know exactly where or how it’s going to culminate, but you’ll easily get swept up in the journey it takes you on. — Jenna Anderson

Rating: 4 out of 5

CHU #1

Without a moment’s notice, Chu goes from Saturday morning cartoon vibes to the animated shows best aired after the kids have gone to bed. The depictions of characters and violence get graphic quickly in a jarring transition that sharpens edges and makes characters’ sometimes goofy expressions take on new meanings. Both styles have their merits where the former was more charming while the latter opens the door for many more possibilities in future issues as the archetypal characters are unrestrained to act how they want. — Tanner Dedmon

Rating: 3 out of 5

DEATH OR GLORY #11

It’s here, the final issue of Death or Glory. This Remender and Bengal hit has been nothing but blood-pumping action for nearly a dozen issues and the finale lives up to expectations in every single way. A story of family—both biological and found—mixed with one-hundred-miles-an-hour action has paved the way for a fitting ending to this incredible tale. Not all stories have a happy ending, but that’s okay because what happens here makes sense. In fact, it’s almost too predictable with how everything ends. — Adam Barnhardt

Rating: 4 out of 5

DECORUM #3

Decorum #3 offers a necessary chapter. After establishing its central duo and promising the journey to come, this issue lays out the setting and characters who will surround Neha Nori Sood’s path to becoming an assassin. There are no interludes in this exposition and while the first pair of chapters are more subtle in establishing relationships and concepts, the final entry functions like a cattle call to introduce four very large personalities. Even this last chapter brings plenty of Hickman’s characteristically dry humor, but the overall package lacks the many oddities and tangents that made the start of Decorum endlessly fascinating. There are still plenty of excellent design elements permeating the background of these conversations and Decorum at its most basic is still a far more exciting reading experience than almost any of its competition. Mapping elements and brilliant depictions of a star system both remind readers why this series remains a must-read. The “slowest” issue of Decorum so far still offers an enthralling comic book. — Chase Magnett

Rating: 4 out of 5

Other Publishers #2

DIE #12

The war between former party members continues, as it seems like Sol is barely holding on to her grasp on the power she grabbed at the end of the last arc. While fictional nations go to war, Sol attempts to learn the true nature about the world of DIE, while her former party mates try to discover how humans from their “real lives” are now in DIE as a part of the zombie-like Fallen. A ton happens in this issue, including more digging into the literature that forms the foundation of DIE, and this continues to be the best comic available today. — Christian Hoffer

Rating: 5 out of 5

GUTT GHOST: TROUBLE WITH THE SAWBUCK SKELETON SOCIETY #1

The Gutt Ghost and his closest pals merely want to enjoy some delicious hamburgers, but when the Sawbuck Skeleton Society emerges, they put a wrinkle on their delightful afternoon as well as putting Gutt’s unexpected son in jeopardy. Writer and artist Enzo Garza has delivered one of the most bizarre and endearing issues of the year, based solely on a scene in which Gutt stretches his “Gutt Gams” and accidentally realizes he can reproduce asexually. We would have been completely fulfilled by watching Gutt talk about Captain Howdy’s defunct VHS store with Sprum Bat, thanks to Garza’s perfect balance of humor and horror, before the narrative starts to become an actual narrative with the Skeleton Society. The madness of the book goes off the charts to a dizzying degree, ultimately detracting from the simple joys of Gutt Ghost gabbing with ghouls, but the book still cements itself as one of the weirdest and wildest stories you’ll read this year. — Patrick Cavanaugh

Rating: 4 out of 5

LOW #23

If you’ve been around these parts long, you’ll know I’ve praised Rick Remender’s ability to craft these expansive worlds with high-brow ideas and there’s no title of his that exhibits the fact more than Low—almost to a fault. Now 23 issues in, this world continues to be fleshed out at an alarmingly slow pace; though Low is a high-concept science-fiction title, it plays like a political thriller at this point. One thing more noticeable in this issue than any other recent ones is Remender’s ability to push Greg Tocchini to fit as much sequential storytelling on one page as possible with seven or eight-panel pages throughout the duration of the entire comic. Tocchini’s work is top-notch, don’t get me wrong—it just needs some room to breathe, especially when dealing with this sci-fi epic. — Adam Barnhardt

Rating: 3 out of 5

MIDDLEWEST #18

Middlewest comes to a powerful close with issue 18 this week, and it brings the emotional epic to a satisfying close. After Abel and Dale are reunited under the worst circumstances, this issue breaks down the wall that has grated the two for years. What follows is a deeply personal conversation that gets the heart of generational trauma, misplaced abuse, and self worth. It is not an ending to be missed, and Middlewest opens the door to a new start for Abel, his father, and all the readers who have journeyed alongside him. — Megan Peters

Rating: 4 out of 5

MIGHTY MORPHIN POWER RANGERS: RANGER SLAYER #1

Ranger Slayer is finally getting her time to shine in the solo spotlight, and thankfully we can say that it delivers in absolutely every way. Writer Ryan Parrott and artist Dan Mora join forces once more to take fans back to the world of the Coinless, and Parrott finds several new ways to shake up this not so lovely dimension, while Mora and colorist Raul Angulo bring every surprise twist and chaotic battle spring off the page. The issue is filled with small but amazing payoffs for longtime fans, and the status quo is turned on its head by issue’s end, setting the foundations for a whole new era that holds immense promise. This is everything a Ranger Slayer fan could want in a solo adventure, and the only disappointing part about it is that it had to end. — Matthew Aguilar

Rating: 5 out of 5

MONSTRESS #29

Monstress #29 is, largely, a battle issue as the Battle of Ravenna begins and from an artistic standpoint, it’s incredible. Sana Takeda’s work is at its most detailed here and it is of such a caliber that large portions of the issue don’t even need words. That said, Marjorie Liu delivers on not only advancing the story just a bit more, but also offers one of the most emotional and heartwrenching of the series this far. It sometimes feels like heaping praise on Monstress is a bit of broken-record behavior. but Monstress #29 is a reminder of just how great this series is and this issue specifically, will leave you a little haunted at least until the next one. — Nicole Drum

Rating: 4 out of 5

SONIC THE HEDGEHOG #29

I’ve spent several months bemoaning the extended length of the Metal Virus story in Sonic the Hedgehog, but this conclusion manages to fulfill the many promises made to readers across that grind of building tension. The finale isn’t focused on an epic battle—though it does deliver a spectacular showdown—emphasizing the stakes and consequences of this moment above all else. It plays to the series strengths as Sonic the Hedgehog has an endearing love for all of its characters: heroes, villains, and those who fall in between. Each individual spotlighted in this issue adds to the importance of achieving victory and ratchet the tension surrounding Sonic’s last stand as high as imaginable in children’s comics. What follows that fight is every bit as exciting. Even as this climax plays off of the recent annual and lays the groundwork for #30, it understands what’s most important for this moment and delivers a conclusion capable of earning the many months of rising action that led to it. It has never been more apparent that the heroic stories of Sonic are in excellent hands at IDW. — Chase Magnett

Rating: 4 out of 5

Other Publishers #3

TARTARUS #4

Tartarus continues to check all the boxes for hard sci-fi and fantasy storytelling, delivering another issues that feels like a future staple of the genres in this medium. That said, writer Johnnie Christmas pushes the narrative into the weeds a bit here, throwing in a dense amount of concepts and moments that throw off the flow of the storytelling and give it some bloat. Jack T. Cole’s artwork continues to impress as the larger elements of this world remain fascinating and unexpected. A choice action scene highlights his mastery of movement between panels while also showing off complex and intricate details of his pencils. — Spencer Perry

Rating: 4 out of 5

THE TRANSFORMERS #21

Transformers continue to tell the tales of the “Rise of The Decepticons” in issue #21, from writer Brian Ruckley and artists Billie Montfort and Blacky Shepherd. What began as a tense, taught political drama full of intrigue has started to crack at the seams. The dialogue in this issue is tedious and hard to follow, weighed down by history it seems determined to tell us apart no matter how irrelevant it is the narrative action at hand. Early in the series, Cybertron felt like a densely populated mega-metropolis, but sparse backgrounds in this issue and flat colors from Joana Lafuente and John-Paul Bove make it feel empty and thin instead. There’s still something interesting at the core here as Orion Pax finally begins to see that Megatron is at the center of the upheaval that’s struck Cybertronian society. We get a single page dedicated to that core as the issue buries it under harder to follow, less engrossing asides. — Jamie Lovett

Rating: 2 out of 5

USAGI YOJIMBO #10

Every issue of Usagi Yojimbo reads like a gift, which makes the truly exceptional installments—like “Mon” in Usagi Yojimbo #10—the brightest stars in the metaphorical sky of weekly comics. This week’s issue emphasizes a chance encounter, setting up and paying out a violent confrontation in quick order for a self-contained issue any reader might pick up. Yet embedded in this thrilling adventure is the introduction of several compelling characters who each possess a clear arc over the course of only 24 pages and a serious contemplation of themes of identity, grief, and desperation. While the story focuses on Usagi, it’s the tragedy of a local innkeeper that takes this story set in feudal Japan and transforms it into a timeless tale with ideas that are relevant to our modern moment. There’s more to be written about “Mon” and how it considers societal conflicts without diminishing them using a didactic lens, but readers would be well served to seek out this extraordinary issue first to discover a modern master storyteller at work. — Chase Magnett

Rating: 5 out of 5

VLAD DRACUL #1

Vlad Dracul is not the tale of Dracula, even though it revels in finding moments that would inspire the myth. This is a story about the historical figure known as Vlad the Impaler, and the first issue offers an assemblage of moments that develop a clear landscape of terror and violence at the end of the Middle Ages in Eastern Europe. Vlad himself remains an enigmatic character—a fearsome and bold leader in one moment, unbelievably cruel in the next. That makes it difficult to define this story, even in an over-sized debut. The distinct moments leave a clearer impression than any character, though, often inducing cringes with thin linework capturing the fragility of life in this era and horrifically realized moments of violence that don’t rely on gore to induce shivers. Vlad Dracul is bound to be an engaging read for anyone with an interest in the myth of Dracula or the historical framework that would inspire that character, even if the perspective and intent of the story itself remains undefined. — Chase Magnett

Rating: 3 out of 5

WICKED THINGS #3

Individual gags, character design and expression, pacing: All of these elements are nothing short of superb in John Allison and Max Sarin’s collaborative endeavors. However, Wicked Things continues to lack characters and a story which invest these elements with meaning. Charlotte Grote’s situation is obviously unjust, but she remains a much thinner character than the core trio of Giant Days and the heightened stakes of her story provide little reason for readers to invest. Her surrounding cast of police officers offer few opportunities for sympathy—a flaw that is considerably heightened by our current reevaluation of police—and her fellow captives offer only a hint at a cast worth following in these pages. While the mystery presented in these pages is well-constructed, it never offers readers a chance to engage in assessing the problem itself (instead, keeping the clues and solutions locked in Charlotte’s cranium until she can announce a solution) and the problem itself reads as being unimportant. Craft can only bring a story so far and if Wicked Things does not move beyond an assumption that cop-genre trappings will compel readers, then even these excellent elements will be insufficient to maintain any interest. — Chase Magnett

Rating: 3 out of 5

WYND #2

I distinctly remember writing 500+ words about how Wynd showed a ton of promise with its world-building and character interactions but was bogged down by a glacial pace for its first issue. The exact same thing can be said of issue #2. — Connor Casey

Rating: 3 out of 5

YASMEEN #1

[READ THE FULL REVIEW HERE]

The writing paired with the art alone makes for a powerful and expertly-crafted debut, but what takes Yasmeen #1 that much further to being something nearly perfect is that this is a story that challenges the reader—especially Western non-Muslim readers—to see this Iraqi family as they would their own. It is very easy to paint the conflict in the Middle East with a broad (and often racist or biased) brush. Yasmeen rejects that and instead gives the reader characters who may not look like them but who possess the same hopes, dreams, and familial love they share. Ahmed’s story challenges the reader to see Yasmeen—and by extension every other young woman like her—as complete people. It’s neither political nor preachy—it’s simply human. Stories help us order the world and the best ones challenge our perspectives on everything we think we know. Yasmeen #1 does both of those things, inviting us to see a world we only know from half-accurate, sound bite-ready news, a world we can easily wave a way as “not ours,” and it forces us to see that there is more to every story and every event than we allow ourselves to see and hear. It’s a comic that serves as both a window and a mirror, and we cannot look away. — Nicole Drum

Rating: 5 out of 5