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, Scout, Aftershock, 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 The Nice House On The Lake #1, Iron Man Annual #1, and Basilisk #1.

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

DC #1

BATMAN #109

Stylistically, Batman #109 is very good. With the exception of the fact that every female character Jimenez draws looks pretty much the same—including the Gardener to some extent—the issue is visually really nice. After that, though, things more or less just fall back into the same muddle, unfocused state of stagnation that has plagued the run for some time. Yet again we have a new character that seems pretty pointless and is poorly introduced—the Gardner turns out is little more than a messenger as she’s presented here. Perhaps most problematic, however, is that while the issue does finally expand on Ghost-Maker’s story, Tynion tries to approach the character’s mental health in a way that reveals a lack of understanding of the issues utilized for the sake of story. Everything else just continues the same boring and largely formulaic we’ve seen in this arc. — Nicole Drum

Rating: 2.5 out of 5

BATMAN/CATWOMAN #4

Batwoman/Catwoman hasn’t been living up to the hype that preceeded the series for a while now, but Batwoman/Catwoman #5 might be the weakest issue yet. What’s frustrating is that there are pieces of things that have promise but they never pan out. King’s triple storyline is actively damaging the overall book—whatever its story is supposed to be at this point since it feels like it’s all gone fully off the rails—and honestly feels like it needs someone to reign it in. On top of that, Mann’s usually pretty steady art while is absolutely great on several pages of the issue also falters hard when it comes to drawing older Selina. The only thing that really works here is how the issue digs in a bit with Selina. How future Selina sees herself versus how the “present day” storyline shows her clash with one another and it makes for an interesting bit of thinking about the character generally. Unfortunately, given King’s seeming inability to focus on the overall story and a reliance on wasting space to fill the pages (the opening is literally just panels of the lyrics to “Jingle Bells” while Selina sits in the house by a fire) like much of this series it doesn’t seem to be building to anything of substance. — Nicole Drum

Rating: 2 out of 5

BATMAN/FORTNITE: ZERO POINT #4

The Batman/Fortnite series may be housed nearly entirely in Fortnite‘s island setting, but the tone feels like its split between the two properties. We’ve shifted squarely to the Batman mood in this fourth issue with some noticeably darker moments and demeanors accompanying the transition. It’s becoming easier to rationalize Batman standing next to Fortnite characters thanks to the art styles unifying them no matter what loop or world they’re in even if Batman does seem a bit preachy at times towards his newfound companions. Building on what’s perhaps one of its strongest traits, this latest issue continues to bring something to the table for both those who are invested in Fortnite‘s lore and those who just want more Batman. — Tanner Dedmon

Rating: 4 out of 5

THE CONJURING: THE LOVER #1

Jessica is having a tough time in her second semester at college, not only with her studies but also with her relationships. Readers also witness glimpses of dark forces at play, with Jessica sure to face even more hardships in the coming future. From a narrative standpoint, we’re only given a bare minimum of details, with the foundation being laid being rather rudimentary, though even with the bare bones of a plot, it seems to fall in line with the spirit and tone of The Conjuring series itself, reminding us that otherworldly horrors can target anyone and for any reason. Visually, artist Garry Brown and colorist Mike Spicer really capture the vibe of the cinematic universe, blending grim and macabre tones with a hint of nostalgia, elevating the story to new heights. While there might not be much to sink your teeth into with this debut issue, it’s off to a promising start to both pave the way for the third The Conjuring while also merely being a standalone spooky tale. — Patrick Cavanaugh

Rating: 4 out of 5

CRIME SYNDICATE #4

Crime Syndicate #4 turns its focus to Power Ring a.k.a. John Stewart as the various metahuman factions on Earth-3 begin an arms race in the wake of Starro’s arrival and Power Ring is the most powerful person without much of a mind to make up. This shift creates some much needed space for the series to explore its characters and setting beyond the repetitious cycles of the first three issues. Something new happens with all of the core characters, but these events unfold in a scattershot approach; it’s possible to imagine rearranging almost every sequence in this issue to little effect. What’s more is that all of the characters involved continue to strike a single note: Luthor is “good,” Quick and Atomika are sociopaths, Power Ring is weak willed. As Crime Syndicate moves into its second half, it becomes apparent there’s very little here to be discovered. Perhaps that cliffhanger offers some glimmer of hope, but based upon what we’ve read so far, I wouldn’t bet on it. — Chase Magnett

Rating: 2 out of 5

CRUSH & LOBO #1

Cush comes bursting through the fourth wall of Crush & Lobo‘s opening splash page as if to say, “Get in losers, we’re going to kick some ass.” It’s a façade, the creators making their character-centric tale in the guise of a full-on action comic the same way Crush hides her insecurities beneath her too-cool-for-you, punk rock swagger. Allowing the protagonist to speak directly to the reader this way is often a crunch. Writer Mariko Tamaki’s use is thoughtful enough to ensure it’s more than a means of conveying time-saving exposition but a doorway allowing readers to inhabit Crush’s world fully. That world is one of simple, entertaining back alley throwdowns. Artist Amancay Nahuelpan employs exaggerated motion and speed lines to them the vigor of a shonen battle. At the same time, colorist Tamra Bonvillain uses a neon color palette leanings heavy on purple to invoke the spirit of John Wick, which seems a perfect summation of how Crush sees herself. That inspiring self-image starts to fall away when Crush’s world collides with her Katie’s, her girlfriend’s, during a birthday party turned disaster area. There’s a missed opportunity in this scene to drive home how different their worlds are as Bonvillain doesn’t shift the colors, but the message gets across, along with the sense that Crush is self-sabotaging due to an unexpected call from her father. Crush & Lobo #1 does an excellent job of entirely investing readers in Crush’s story and the internal conflict that will almost certainly manifest as external butt-kicking in the issues to come. — Jamie Lovett

Rating: 4 out of 5

DC #2

GREEN LANTERN #3

After the massive shock of last issue’s ending, I didn’t really know what to expect from Green Lantern #3, but despite going into it pretty open-minded, it still managed to evade and preconceived expectations. That’s actually what’s so captivating about Geoffrey Thorne’s Green Lantern thus far, and that continues here, as we follow an understandably confused John Stewart through the process of adapting to his new circumstances and perhaps even finding some joy in it all while still being the compassionate hero fans have rallied around for so long. Then in the second half of the issue, the macro-level issues come into focus, with Jo delightful and efficiently leading the charge. I can’t tell you how wonderful it is to have Jo in the core series, but it’s also impressive to see what Thorne has done with the dynamic between Keli and Simon Baz in such a short time. Tom Raney’s work suits the Stewart story perfectly, and the same can be said of Marco Santucci’s work on what’s happening on Oa, and colorist Michael Atiyeh’s colors help to bring the two closer together. The styles are different, but they work well within the same issue and the switch up isn’t so drastic as to take you out of the story, though I do hope Dexter Soy is in the mix next issue. Green Lantern is spinning a captivating mystery on a wide scale, but it’s the stories of the Corps finding a way through all the chaos that powers all of it, and that doesn’t appear to be changing anytime soon. — Matthew Aguilar

Rating: 4 out of 5

JUSTICE LEAGUE #62

Justice League #62 picks up the action on Naomi’s ruined world, as we discover the reasons behind the Justice League’s on-the-fritz powers as well as Aquaman’s whereabouts. It’s a smoother issue, one that feels short due to the number of spreads and action sequences but is still an enjoyable read. “Justice League Dark” continues to be a mixed bag—there’s a clever plot device involving the characters of the comic reading the actual author of the comic’s notes to figure out a lingering subplot, but otherwise the comic just struggles to be particularly interesting. — Christian Hoffer

Rating: 3.5 out of 5

MAN-BAT #5

For the first time in this mini-series, Man-Bat‘s Dr.-Jekyll-and-Mr.-Hyde-story gets thrust to the forefront. We finally see a solid exploration of the character’s own battle with himself and that’s where this particular story really succeeds. The ending does come at a rapid pace, but this issue’s return to the basics helps to stick the landing. — Adam Barnhardt

Rating: 4 out of 5

THE NICE HOUSE ON THE LAKE #1

[READ THE FULL REVIEW HERE]

This is a difficult review to write. That’s not because there’s nothing to say; there’s plenty to be said about The Nice House On The Lake and it has only published one issue. The problem here is the series’ debut benefits from not being discussed in advance. Opening the pages of this comic with very few expectations (i.e. horror-adjacent, plotted by Tynion) allows readers to be led toward a mysterious destination in the same fashion as the nice house’s many guests. It’s a rewarding exploratory experience that pays enormous dividends in the issue’s final few pages. My advice is simply this: Check it out. — Chase Magnett

Rating: 5 out of 5

SUICIDE SQUAD #4

While Suicide Squad‘s ever-changing roster is one of its strong points, this issue really brought the focus in on Red X, but thankfully the guest star didn’t just soak up all the attention for a cameo. Instead, their presence heightened the tension between Peacemaker and Amanda Waller and shook up the book and the group itself with some welcome chaos. Red X seemed to be a step ahead of Waller at every turn, and writer Robbie Thompson had some fun with it, as few characters can ever find themselves in that position against Waller. Not only did we get a revelation or two about the team and Waller, and X’s actions will continue to affect the team in new ways moving forward, so while I didn’t expect their impact to be this sizable, I think it is ultimately what the book needed to keep its edge. Artist Eduardo Pansika and Marcelo Maiolo bring their A games here, excelling at crafting one on one beatdowns as comfortably as they are chaos-ridden brawls, and both styles pop off the page with color. Suicide Squad continues to surpass any expectations I had coming in, and I’m truly enjoying the brutal and fascinating ride. — Matthew Aguilar

Rating: 4 out of 5

THE SWAMP THING #4

Levi and Jennifer finish their exploration of The Green in The Swamp Thing #4, establishing it as a land of metaphor existing since plant life on Earth first connected with mankind. It builds a bridge to the introductory issues in which the very notion of narrative was established to be a powerful force in the universe, but as a result plays as an additional prologue for the story to come. Woodrue’s presence remains untrustworthy and a couple of new characters also enter in a villainous space. Their additions are intriguing and even suggest a connection to the classic story “The Anatomy Lesson,” but by the final page of issue #4 there is a sense it’s time to move ahead with whatever is planned. While the plotting here is focused on definitions and introductions, Mike Perkins depictions of The Green and this growing cast of characters elevates the comic above its slowing pace. An explanation of The Green across four panels is stunning and each spread contained here meets that same high bar. His illustration of the Wodewos in The Swamp Thing #3 imparts a craving to see more than a few brief glimpses here, and that sets a high expectation for what’s still to come. — Chase Magnett

Rating: 4 out of 5

Marvel #1

THE AMAZING SPIDER-MAN #67

The Amazing Spider-Man launches forward with new storylines ready to complicated Peter’s life. A surprise pregnancy, a dead clone, and an experiment gone wrong come along in this issue to get in Spider-Man’s way. It will take some clever maneuvering to tie in all these story leads down the line, but their introduction draws out smoothly enough for fans of the hometown hero. — Megan Peters

Rating: 3 out of 5

BLACK CAT #7

Generally I hate story arcs that conclude with everything in a neat and tidy box, but Black Cat #7 pulls things together cleanly and neatly in a way that may be light on action, but is a really great story. Felicia manages to find a way to save the day, but it comes at great personal cost. Without taking up the pages to show her actually doing it, the issue instead just tells the story almost storybook fashion and it works really really well. You don’t get a ton of detail or mechanics, but you get the emotional thrust of things in a way that feels authentic to the character, and still pays off on the reader’s investment. Does it feel a little abrupt? Yes. But it’s well-done and a lot of fun to read. It’s a solid end to the arc. — Nicole Drum

Rating: 4 out of 5

HELLIONS #12

This is the funniest issue of superhero comics I’ve read all year. Barely a page goes by without a genuine laugh-out-loud moment occurring as the Hellions crash the Hellfire Gala. It’s absolutely as chaotic and violent as readers of the series would expect, and it plays out in a fashion that provides depths for these characters and moves many plot points forward. The Hellfire Gala event could have been written as a brief distraction, but instead Hellions #12 makes clear that this summit has the potential to simultaneously enhance ongoing stories and provide a colorful respite from the expected stories. Everything from splash panels of the invited Hellions’ outfits to Nanny drunkenly threatening Sinister fits neatly within the norms of the series and delivers something truly outlandish. What’s more is that this issue makes for a fine introduction to the entire Gala with cameos galore and plenty of small moments that will be appreciated by readers of other current X-series. It’s a glorious (and cringe-inducing) celebration of this bizarre new society of Krakoa, and one that puts the dark humor contained in Hellions to wonderful use. Bravo. — Chase Magnett

Rating: 4.5 out of 5

HEROES REBORN #5

Heroes Reborn #5 is kind of a mess. At this point, each issue feels like a fancy one shot for each of the Squadron Supreme characters—this week is Nighthawk’s turn in an issue that feels like “what if Marvel did a Batman story but wove in Spider-Man elements in place of the Joker?”—with just a few scraps of storytelling in a backup story that seems to be building towards something? That’s a question because as a reader, I’m just not sure. There’s nothing here that, independent of the idea of this being part of an event, is bad. The Nighthawk story is an interesting read. But as part of a larger event series, there’s just not enough here to make things compelling. Chalk it up to structure, but this series and this issue just isn’t adding up. — Nicole Drum

Rating: 2.5 out of 5

HEROES REBORN: AMERICAN KNIGHTS #1

Heroes Reborn has given Marvel readers one of its best alternate realities in some time, and this latest issue is another good example of how truly bizarre a universe led by the Squadron Supreme could be. There’s a lot to enjoy here with this tale that takes a page from the Dark Knight but puts Nighthawk front and center. While Grist is able to weave an interesting tale here, Chris Allen’s art could have used another fresh take on the detail here. The issue is packed with some memorable alternate takes on Marvel favorites, but it is still a little rough around the edges. — Evan Valentine

Rating: 3 out of 5

HEROES REBORN: MARVEL DOUBLE ACTION #1

Be aware that the “double action” in Heroes Reborn: Marvel Double Action refers to the length of the story inside; this is a single story homaging several classic golden age issues of Amazing Spider-Man while focused on “The Night Gwen Stacy Died.” The issue goes all in on the homage with multiple iconic panels only replacing characters and small advertisements running along the bleed. It’s a fun concept initially with a scavenger hunt quality applied to this retread of 70s storytelling. The premise quickly grows thin as it becomes apparent the events being retread here will have little impact beyond these pages. This era exemplifies the interconnectedness of Marvel superhero comics with constant call outs to non-existent back issues and similarly spectral concurrent series. Yet without anything there to connect with this recalled story, there’s no weight to the events on the page and so they simply lay there as a retelling of a story every Marvel fan is familiar with. You can only execute a thing like this so well, and the creative team tries their damndest, I suppose. — Chase Magnett

Rating: 3 out of 5

THE IMMORTAL HULK #47

And just like that the final pieces fall into place and it’s time to enter the final act of The Immortal Hulk. This battle against the Avengers proves to be even more vicious than their first appearance at the series’ start with Hulk pulling some particularly nasty new tricks out of his sleeve. The brawl is well depicted and enjoyable for its pacing and creativity, but still reads as part of a stall extending from the past several issues. It’s the addition of a largely absent cast member, Jennifer Walters, who makes the issue feel more necessary than a multi-issue battle with the U-Foes. Her current status as an Avenger places her at the center of this fight and refocuses the conflict on connections to the Green Door. When the final few pages land, it’s clear who will be present for a final battle with the hellish new form of Samuel Sterns and that there’s still more strange to be discovered in these pages. It’s a welcome invitation and one that promises the wait for this finale will have been worth it. — Chase Magnett

Rating: 4 out of 5

Marvel #2

IRON FIST: HEART OF THE DRAGON #6

For as messy as this mini’s plot got at times, Heart of the Dragon #6 does an excellent job at slowing down the pace, allowing readers to catch their breath and sort things out. In fact, the events of this series could change the future of Danny Rand forever, should the story stick. Naturally, nothing is forever in the world of comics but at least here, Danny Rand’s journey comes to a poignant end that’s perfectly in character with Immortal Iron Fist. Heart of the Dragon gets awfully busy and its exploration of the books massive ensemble can be wildly uneven throughout. That said, the story ties up many loose ends that have been left dangling in the character’s mythos over the past few years, providing an exceptional end to the character for the forseeable future. — Adam Barnhardt

Rating: 4 out of 5

IRON MAN ANNUAL #1

[READ THE FULL REVIEW HERE]

While an argument could be made for telling “Infinite Destinies” in its own miniseries instead of a string of annuals, Iron Man Annual #1 kicks off the event with some intriguing style. The narrative balances the snappy dialogue fans have come to associate with the Marvel Cinematic Universe version of Iron Man, as well as the more profound potential that Tony Stark’s solo stories have shown recently. With art that’s inspired, albeit a little predictable, and a number of unanswered questions regarding the larger event, Iron Man Annual #1 is far from a perfect interlude from Marvel Comics’ Iron Man, but it proves to be a reasonably well-executed, sorta-standalone story. — Jenna Anderson

Rating: 3 out of 5

MARAUDERS #21

The Hellfire Gala is in full swing, and I was curious to see how some of the tie-ins would handle the event since they couldn’t spill the beans on some of the big reveals of the main event. Turns out there was nothing to worry about, at least in Marauders‘ case, as the issue displayed its usual mix of humor, style, and intrigue all the while building the hype for the main event even more. Writer Gerry Duggan’s Emma Frost is an absolute joy, and it’s wonderful to see her at work in her element. The characters from outside of Krakoa also bring welcome contrasts and conflicts into the X-Men’s world, and artist Matteo Lolli and colorist Edgar Delgado know how to craft an eye-catching event and imbue every costume and location with style. Those last few pages top it all off with an amazing hook, and it all showcases why Marauders is the best X-Book around. — Matthew Aguilar

Rating: 4.5 out of 5

NON-STOP SPIDER-MAN #3

Joe Kelly’s script for Non-Stop Spider-Man almost seems to have lost the adrenaline charge that it started with, which is only bad when considering the title of the series. With things brought to a bit of a halt this feels more like a traditional Spider-Man comic than anything, which is fine. Chris Bachalo remains one of the most underappreciated artists at Marvel, bringing a raw energy and unique look to characters and environments that are so seldom dwelled on by others. Once again I must highlight how unique this series’ approach to the Spidey-Sense is and should become the gold-standard for the power. — Spencer Perry

Rating: 3.5 out of 5

SAVAGE AVENGERS #21

It took Duggan and crew a moment, but finally ol’ Johnny Blaze arrives in a way perfectly suitable for Savage Avengers. With his throne in Hell surrendered back to Mephisto, the Spirit of Vengeance is on the hunt for Kulan Gath—only it’s Ghost Rider’s assumption Conan is an agent of the wicked sorcerer. Though it’s a trope a bit too tired by now, the miscommunication between characters helps progress the plot forward at a brisk pace. At the very least, seeing Ghost Rider and Conan come to blows with Patch Zircher’s grim linework is a sight to behold. — Adam Barnhardt

Rating: 4 out of 5

STAR WARS: WAR OF THE BOUNTY HUNTERS #1

Boba Fett’s journey to get Han Solo to Boba Fett hasn’t been easy, with the carbonite-frozen pilot falling into the wrong hands and the entire galaxy turning on Fett. As we find out, however, Fett is only one small piece in a much bigger puzzle, with Han Solo proving to be a prize of interest to figures throughout the entire galaxy. While the various “War of the Bounty Hunters” prelude issues have been promising, the proper Star Wars: Bounty Hunters series has largely been underwhelming, due to its reliance on action over a compelling narrative, but if the whole series was merely setting the stage for this event, it seems to all be worth it. This shouldn’t come as much of a surprise, given writer Charles Soule’s previous forays into the galaxy far, far away, as he once again captures the melodrama of the franchise while also making sure there is an underlying sense of humor and whimsy that’s just as important to Star Wars as futuristic adventures. Artist Luke Ross and colorist Neeraj Menon are also firing on all cylinders, capturing the seedy underbelly of the franchise without feeling too dour. Whether it be 4-LOM, Zuckuss, Aphra, or the Hutts, the story also manages to blend together various corners of comic book canon to delight audiences. As if the book wasn’t strong enough on its own, it brings with it a genuinely shocking and delightful final reveal, that just elevates not just the issue but the potential of this event to an all-new level, making War of the Bounty Hunters #1 a must-read for fans and the best Star Wars comic of the year. — Patrick Cavanaugh

Rating: 5 out of 5

X-FORCE #20

The Hellfire Gala is an opportunity to return to some of X-Force’s greatest mistakes, from both the current series and distant past. Despite the colorful distractions of the Gala—wonderfully depicted with rich backgrounds and a fitting mix of cameo appearances and interactions—this remains as relevant an issue of X-Force as any other as it uses the wider event to tell its own story. It’s an issue about consequences and ego, which means Beast sits at its center. One info page in particular transforms his role as the series’ primary villain from subtext to text, and it’s clear that relatively brief adventures are set to have a tremendous impact on both the team and, likely, Krakoa’s future. That attention to detail combined with all of the frivolity and character moments contained herein speaks to what makes X-Force one of the most consistently engaging X-series, as well as the astounding construction of this one month, linewide event. — Chase Magnett

Rating: 4 out of 5

Other Publishers #1

APEX LEGENDS: OVERTIME #1

Apex Legends is no stranger to comics having already got its start in the medium through in-game activities, but the debut of Apex Legends: Overtime shows that the property can not only survive but thrive in the medium. The stoic, cynical nature of Crypto and Revenant’s expressionless and irreverent demeanor translate well to the style of Overtime with both characters looking and acting exactly as you’d expect. Mirage’s goofiness has a tougher time making the transition visually, but his dialogue is so spot-on it’ll have you reading it in his voice. The first issue casts a wide net to catch all kinds of Apex lore which could be promising, but hopefully it’ll manage to rope everything into the four-issue series instead of overwhelming newcomers with more required readings and homework to make sense of the story. — Tanner Dedmon

Rating: 4 out of 5

BASILISK #1

[READ THE FULL REVIEW HERE]

Cullen Bunn might have sharpened his teeth with the likes of Marvel and DC Comics, but it’s clear that Boom Studios is letting him stretch his legs when it comes to his take on horror; Basilisk #1 has the makings of another classic horror comic. Having previously created The Empty Man at Boom, a horror story which became an egregiously overlooked horror movie, Basilisk is an entirely different animal. Though the bones established here in the introductory issue work well enough, there are definitely moments in Basilisk #1 that brighter than others. — Evan Valentine

Rating: 3.5 out of 5

BEASTS OF BURDEN: OCCUPIED TERRITORY #3

If you thought Occupied Territory had already explored Japanese folklore, prepare for a surprising number of introductions. As Emrys and Mullins are introduced to the surprise Shibas they gain a clear vantage point on how magic functions in Japan, including a thorough overview of yokai. It’s a joy to see Benjamin Dewey depict such a diverse pantheon of mythical creatures, enough that it’s easy to overlook the extensive exposition and dialogue sequences in this issue. Fans of Beasts of Burden will know that danger is never too distant and there’s another harrowing sequence that plays with shadows and light to increase tension before this issue concludes. Occupied Territory proves itself to be a consistently engaging new story in Beasts of Burden lore, even resting nearly 80 years before the current narrative. — Chase Magnett

Rating: 4 out of 5

BETTIE PAGE AND THE CURSE OF THE BANSHEE #1

The latest Bettie Page series sees the iconic pinup model heading over to Ireland to try and solve a mystery about a murder and the supposed appearance of a mythical Banshee. The first issue is your usual Page fodder—a Scooby-Doo-style mystery with the rating moved up a notch or two for an audience that’s slightly older. Unfortunately neither the mystery nor the monster is all that interesting meaning there’s not much to latch onto. — Connor Casey

Rating: 2 out of 5

BLISS #8

Bliss has officially drawn to a close, and it does so with a bittersweet, but mostly satisfying conclusion. As Benton and Perry’s journey reaches an unexpected culmination, a number of the series’ topics—about grief, legacy, trauma, and regret—are broached once again. By and large, the finale decides to focus less on the fantastical hooks of the series and more on the deeply human elements, and once the source of conflict in the issue is properly dimensionalized and humanized, it is largely effective, as is the coda that carries everything home. Bliss hasn’t been perfect, but like the topics it deals with, it’s an emotional and cathartic journey. — Jenna Anderson


Rating: 4 out of 5

BUFFY THE VAMPIRE SLAYER #26

Buffy the Vampire Slayer returns from its multiversal jaunt, seemingly intent on establishing a new status quo in Sunnydale. Jeremy Lambert devotes most of the story’s attention towards setting a new pecking order for the trio of watchers and getting the mayor involved, as previously foreshadowed. Marianna Ignazzi reigns in the series’ visuals with more realistic characters and subtle expressions, and the understated presence of the lurker is a nice touch. But ultimately, it’s an issue that’s primarily scene-setting for things to come with a hook at the end clumsily handled and lacking proper setup. The story also highlights the problematic cycle this version of Buffy the Vampire Slayer seems stuck in. The series is constantly layering one big bad on top of another, one threat after the other, without giving any of it much emotional resonance. It spent issues building up Xander as an antagonist, without a satisfying payoff, then Anya and her secret slayer, but now that Morgan no longer feels the need to save the slayers from their watchers, why is Anya still playing everything this close to the vest? It turns out another super-secret villain is waiting in the wings that she hasn’t mentioned, presumably for reasons. Buffy’s narrative may lose its power without a seasonal structure to mark a meaningful passage of time, force it into periodic climaxes, and organically mark the start of a new chapter in its characters’ lives. Instead, it’s devolving into the worst type of superhero story, an endless string of things happening simply to keep things happening, which is disappointing given how much potential there is in the building blocks of this relaunched timeline. — Jamie Lovett

Rating: 2 out of 5

BY THE HORNS #2

By the Horns #2 continues an intriguing fantasy tale about one woman’s revenge quest against unicorns. I’m a bit disappointed by the almost immediate walkback that unicorns are evil creatures, as we see a pair of them do definitively un-evil deeds. This is a fun fantasy comic, but nothing too complex or groundbreaking. Hopefully, it continues to grow beyond standard fantasy tropes and into a unique storyline. — Christian Hoffer

Rating: 3 out of 5

Other Publishers #2

COMMANDERS IN CRISIS #9

As we near the last few issues of Commanders in Crisis, the issue’s eclectic and sporadic array of superhero elements are beginning to collide in a way that is both intriguing and a little cluttered. Without getting too far into spoilers (which, honestly, are impossible to extrapolate without context), the issue shifts the Crisis Command’s mission into new territory, all while teeing up a battle for the fate of the world. I still can’t decide exactly how I feel about Commanders in Crisis—for every sequence where Steve Orlando’s dialogue sings or Davide Tinto’s art is effective, there are sequences that are utterly bizarre or feel trapped in a video game from the mid-2000s. Still, there’s just enough with its narrative and the execution of its ideas to make me want to see the story through to its end. — Jenna Anderson


Rating: 3 out of 5

DEAD DOG’S BITE #4

There is a lot of story left to be told in the final issue of Dead Dog’s Bite and much of it is tangentially related to the mystery established in the series’ first three issues. The explanation, when it arrives, rises to meet the ever-present oddities of this small town. That explanation also raises many questions that the preceding story never even gestured towards, which makes the resolution a primarily baffling affair. There are broad strokes of social criticism laid out here, but their inexact positioning and failure to build upon what was previously established ensures that nothing really connects. Instead, it’s a dazzling pinwheel, playing upon the absurdist tone, which can only dazzle, never reveal. This is another striking installment and the final twists and revelations make for an enjoyable read in the moment. Yet Dead Dog’s Bite was something I anticipated before as it held my attention; I don’t suspect I’ll think of it again after this ending. — Chase Magnett

Rating: 3 out of 5

DEADLY CLASS #46

Deadly Class #46 launches a new status quo quietly, but with vigor, as audiences are treated to some of what has happened in the years between when we last saw Marcus at Kings Dominion, and 1997, when this story is set. There’s some pretty serious crazy going down, and it seems more or less inevitable that after a fun, character-driven issue that felt like a cool drink the desert, a fire is just around the corner. As usual, Wes Craig’s stylish pencils make this book feel like one of the freshest on the market, although in certain sequences, the fact that it’s hard to follow the action, while intentional, is a bit maddening. — Russ Burlingame

Rating: 4 out of 5

DEEP BEYOND #5

While it’s nice to see a story that doesn’t paint the “alien” creatures as being the enemy right off the bat (who knows what will happen in future installments of the story), Deep Beyond #5 still doesn’t feel too much like the story is really moving that much forward. We get a few answers this time around, but how things interconnect doesn’t really come together. Things are still somewhat bloated in terms of story and this feels like we’ve just gotten a lot of technobabble for exposition without really offering anything that gets us closer to understanding what’s going on. There are a couple of reveals in the issue that offers up a surprise fate for two characters which was pleasant, but it feels unearned and honestly a bit ham-fisted. As a reader, I’m still not really sure what’s going on and this far in, that’s concerning. — Nicole Drum

Rating: 2.5 out of 5

FAMILY TREE #12

Family Tree #12 sprints through the finish line and that intense pacing, combined with total clarity in the telling, makes for a gripping finale where the sacrifices and brief denouement feel all the more personal. This is a series that always sought to grapple with change, specifically the astonishing, accelerating, and horrifying changes brought about by climate change. They impact the just and the unjust alike and even when delivering blockbuster-style action, Family Tree does not shy away from the costs of violence. What’s most striking is seeing how far this family has grown from its introduction only 11 issues prior. It recalls Ian Malcolm, “Life will find a way.” That sentiment is offered with a realist’s tone with both wonder and fear found in the concept. Family Tree sought to reflect a great coming change and it has delivered a potent and personal story that grapples with the personal complexity of our moment. — Chase Magnett

Rating: 4.5 out of 5

INKBLOT #9

Inkblot moves forward with a new issue this week that comes complete with all-new leads. As our troublesome cat continues to wreak havoc wherever he goes, two thieves find themselves jostled along the way. A brutal war breaks out stemming from one of the cat’s previous adventurers, and it seems the feline’s domino effects are not easing up any. — Megan Peters

Rating: 3 out of 5

THE INVINCIBLE RED SONJA #2

Invincible Red Sonja #2 is pretty much like the first issue in that it’s generally okay. The art continues to be a bit weak—again with characters designed entirely for the male gaze, which is just the nature of Red Sonja overall, but add to that other characters that just don’t feel fully fleshed out, art-wise. On top of that, though, the fun and adventure that was the pirate romp that opened the story has given away to a bit of politics and a sort of slow, royal court drama that tries to weave in some intrigue but doesn’t really succeed. It’s not bad, it’s just on the low end of average without much in the way of strong action to give it a jolt. — Nicole Drum

Rating: 3 out of 5

Other Publishers #3

JENNY ZERO #2

After an excellent debut issue, Jenny Zero is back, and it’s just as much of a pastel-colored, action-packed thrill ride as ever. The issue deals with the immediate ramifications of Jenny’s kaiju battle, balancing surprising revelations, heartfelt backstory, and worldbuilding with ease. Dave Dwonch and Brockton McKinney’s narrative is a genuine party while being intriguing enough to leave readers desperately wanting more. Magenta King’s art expertly captures the frenetic but stylish messiness of the protagonist (and artfully deals with sequences that could easily be more sexualized in the hands of another artist), and Dam’s color work makes this book feel unlike any other giant monster book on stands right now. If Jenny Zero can keep up this momentum, I have a feeling I’m going to genuinely love it. — Jenna Anderson


Rating: 4.5 out of 5

MOTHS #1

The world doesn’t need to dwell on the events of 2020, despite the fact that studios, networks, and publishers seem to be almost demanding that creatives find “new” ways to talk about a pandemic. Moths, however, feels like the exception to the rule. It’s not exactly about Covid-19 or the specific circumstances we just went through, but it’s pretty damn close. What makes this special is its ability to balance that fear and crushing weight of reality we all know too well by now with a fresh story that presents a genuinely interesting idea. Combining that direction with a uniquely head-turning art style, Moths is very much a book worth paying attention, one that feels like it has the potential to capture the moment we’re living in better than just about everything else that has tried. — Charlie Ridgely

Rating: 4 out of 5

NOCTERRA #4

Nocterra #4 slows down a little bit, and largely stops worldbuilding to focus on a few, intimate character beats. The book is better for it, with an emotional core that makes this the best issue since the first, and a driving pace that keeps your eyes locked on the page. Tony Daniel continues to kill it with the monster designs, and Tomeu Morey’s colors are integral to making the book work, given the fixation on darkness and light that lies at its heart. If there’s one (fairly mild) critique of this issue that’s worth raising, it’s the fact that Daniel’s presentation of Val as a dispassionate, efficient character works perfectly for her, but her young charge is written much less so, and there are moments in the script when the art doesn’t match the lettering, with panicked or surprised exclamations matched up with static images of two characters standing together. — Russ Burlingame

Rating: 4.5 out of 5

THE ORVILLE: DIGRESSIONS #2

The Orville: Digressions proves to be an entirely superfluous exercise in its second and final issue. In one sense, it performs as advertised, filling in the seven years that pass in the alternate universe between “Tomorrow, and Tomorrow, and Tomorrow” and “The Road Not Taken.” However, throughout both issues, it fails to add anything meaningful to the tale, instead simply showing us all of the things we already know happened when we catch up with these characters in the second season finale. Perhaps if the showering were worthwhile, this would feel less redundant, but that’s not the case. David Cabeza’s artwork is accurate to the actors, but stiff, often leaving them looking vacant during emotional moments, such as the cheap death used to underscore the Kaylon threat. Since David A. Goodman writes the issue like an episode of the show, meaning it’s mostly talking head, the lack of precise acting from the characters is a tough loss. There is one effective splash page of the Kaylon invasion, but on the whole, these are hardly exciting visuals. At best, this is a story for Orville completists desperate for something new during the long wait between seasons, but even they will likely find this story unexciting. — Jamie Lovett

Rating: 2 out of 5

OUT OF BODY #1

Out of Body is interesting, but I’m having a hard time grappling with my feelings on it so far. The main thrust of the narrative follows a man who is unresponsive in a hospital bed after being attacked. While he can’t communicate with those around him, his mind is still working and he tries to piece together who might have wanted him to be hurt or dead. Where the book gets strange is that there are elements of mysticism that I don’t really understand whatsoever at this point. The characters associated with these magical properties also aren’t really defined at this point, either. Overall, I’m looking forward to seeing where Out of Body goes but I’m unsure what to make of it as a whole right now. — Logan Moore

Rating: 3 out of 5

RICK AND MORTY: RICK’S NEW HAT #1

Rick and Morty is finally coming back with its fifth season later this month but ahead of that time, the duo has made its way to the comic book medium with Rick’s New Hat. Much like the show, this new series has a plat that’s just as insane as most episodes of Rick and Morty that you’ve likely watched in the past. The most impressive part of the book is that writer Alex Firer has been able to greatly find the same tone and voice that Rick and Morty exudes from the TV series and has adapted it well for the written medium. If you’re a fan of the show and are looking for something to tide you over until the start of season five, this first issue should at the very least be able to elicit a chuckle or two from you. — Logan Moore

Rating: 3.5 out of 5

Other Publishers #4

SAM AND HIS TALKING GUN #3

Just on a conceptual level, I wish I was enjoying Sam and His Talking Gun more than I have been. While the series has some admirable attributes, this issue proves to me that the story is more concerned with style than substance. The issue’s scenes feel so sporadic that it takes a stretch of time to make heads or tails of what’s happening. By the time the issue reaches its fiery final act, it’s definitely aesthetically interesting, but feels like it’s only scratching the surface of the story it wants to tell. The art from Lee Ferguson does some fascinating things with color and negative space, but I just wish the narrative of the story was as fascinating to match. — Jenna Anderson


Rating: 2.5 out of 5

SAVAGE DRAGON #259

Savage Dragon #259, which pulls double-duty as Image’s Free Comic Book Day issue North Force #0, is an effective primer for fans who haven’t been following Savage Dragon for the more than 30 issues since he moved to Canada. Crammed with Erik Larsen’s cool character designs and rock-solid characterization, its weakness is the same as the “Savage Dragon Legacy” one-shot that Larsen had as a FCBD issue a few years back: he’s trying to do a lot of heavy lifting in a single issue. This one certainly works better than that one did, since it introduces a team of new characters, rather than trying ot update the readers on 200+ issues of the book… and there’s a great misdirect in the issue that will give fans of Dragon a chuckle, but it’s mostly just a big fight scene with a lot of exposition. — Russ Burlingame

Rating: 3.5 out of 5

THE TRANSFORMERS #30

As the “War World” arc comes to a close, The Transformers series shows signs of emerging from its rut. Pyra Magna’s introduction gives Brian Ruckley a fascinating character with whom he can pose complex questions of Optimus Prime. She’s been through the kind of war Prime is about to fight against the Decepticons. It turned her into a monster, and she suspects it’ll do the same to him. Her weathered pragmatism plays well against Prime’s determined, likely naive optimism, even if the discussion of war breeds monsters to stop other monsters remains at the broadest, kids-cartoon friendly terms. Anna Malkova does an impressive job of framing these conversations dramatically, with vital assistance from David Garcia Cruz’s colors, to maximize mood in tone while working with robotic characters. At the same time, the action is still busy and hard to follow. Now that the conflict is in full swing, 30 issues of running in circles while pursuing a Game of Thrones level of intrigue done, there’s reason to believe Transformers is about to heat up. — Jamie Lovett

Rating: 3 out of 5

TRANSFORMERS: BEAST WARS #4

Transformers: Beast Wars continues to be the simplistic, distant cousin to the main Transformers series. The story, which takes place in another timeline and is akin to its animated predecessor, remains straightforward good guys and bad guys tale without much substance. Erik Burnham’s dialogue makes the scenes with Nyx and Dinobot fun, though the speech Dinobot gives in his appeal to join the Maximals is cheesy and cliched “honorable warrior” stock stuff. There’s some amount of self-awareness as the Predacons humorously grumble and undercut Megatron’s over-the-top monologue, and Josh Burcham provides an appropriately simple but lively art style. Still, there’s not much here to keep readers excited. — Jamie Lovett

Rating: 2.5 out of 5

THE VISITOR #5

Paul Levitz’ revival of the Valiant property reaches a fever pitch in an issue that highlights the highs and lows of the series as a whole. While the titular Visitor is a unique and interesting character to follow, the larger present day version of the conspiracy they’re chasing is unable to maintain an interest level at the same pace as its hero. In fact, the larger expository elements are downright boring. Artist Soo Lee is the saving grace in these moments however, delivering a series of tremendous pages that showcase simultaneous action in a unique and clever way for the medium. — Spencer Perry

Rating: 2.5 out of 5

THE WORST DUDES #1

You know exactly what you’re getting with The Worst Dudes based just on the title and cover. Here we see three incredibly unlikeable characters—dirty space cop, a teenage god and a drug-abusing alien jungle cat bicker and fight with each other as they try to solve the mystery of a missing pop star. The book has only two hooks—an impressive art style with some great alien designs and an open willingness to make you hate everyone who appears on the page. The three protagonists are pretty insufferable, so if you like the It’s Always Sunny in Philadelphia approach then you might get a kick out of this. — Connor Casey

Rating: 3 out of 5

YOUNG HELLBOY: THE HIDDEN LAND #4

The final issue of Mike Mignola and Thomas Sniegoski’s new spin-off from the B.P.R.D.’s world ends about as you might expect but that doesn’t mean it doesn’t land on both feet while doing it. Artist Craig Rousseau elevates what feels like a pretty par for the course Hellboy tale into something with a unique sensibility as a “clash of the titans” comes to define the finale. Young Hellboy‘s beginnings made it seem like perhaps this series could quickly become a well developed chapter in his life through other mini-series, hopefully they don’t all paint by numbers like this one did at the end. — Spencer Perry

Rating: 3.5 out of 5