Welcome to this week in comic book reviews! The staff have come together to read and review nearly everything that released today. It isn’t totally comprehensive, but it includes just about everything from DC and Marvel with the important books from the likes of Image, Boom, IDW, Dark Horse, Dynamite, and more.
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The review blurbs you’ll find contained herein are typically supplemented in part by longform individual reviews for significant issues. This week that includes The Boy Wonder #1, Blood Hunters #1, and Energon Universe 2024 Special #1.
Also, in case you were curious, our ratings are simple: we give a whole or half number out of five; that’s it! If you’d like to check out our previous reviews, they are all available here.
DC #1
BATMAN #147
While it certainly feels like the Zur-En-Arrh storyline is dragging out a little bit too long at this point, Batman #147 feels pretty stable as turning points go. Bruce heads out of Gotham to come up with a plan to deal with Zur and take back his life, but comes to some realizations in the process. It’s nothing terribly earth shattering – Bruce realizing he can’t do this alone isn’t exactly a new revelation and it’s been sort of dragged out over a few issues, but it’s neatly juxtaposed with Zur-En-Arrh having something of his own “teamwork” moment. It makes for an interesting comparison in an issue that is, otherwise, fairly basic and certainly feels like it’s just taking space to the next major event. There’s also some strong emotional notes here that resonate well, giving the issue a bit more heart. — Nicole Drum
Rating: 3 out of 5
BIRDS OF PREY #9
Even as the central mystery of this Birds of Prey arc still remains unclear, the journey continues to be nothing short of extraordinary. From beginning to end, Kelly Thompson’s script delivers clever rapport and shocking revelations that leave me very eager for the future. Jordie Bellaire’s greyscale color work is unlike anything the book has had thus far, but absolutely outstanding, turning every well-executed panel from guest artists Jonathan Case and Gavin Guidry into a bonafide work of art. I’ve said it once, I’ll say it again, Birds of Prey is one of DC’s best books right now. — Jenna Anderson
Rating: 5 out of 5
THE BOY WONDER #1
[READ THE FULL REVIEW HERE]
Batman is an icon of modern culture and as a result his stories have taken on a sort-of mythic quality; there are seemingly endless permutations of the same set of characters and tropes so that while there is no one “true” version, certain elements become fundamental. Cartoonist Juni Ba’s The Boy Wonder leans into that meta-knowledge of these characters and their frameworks to present a genuinely iconic take on one of the relatively recent additions to Batman canon: Damian Wayne. — Chase Magnett
Rating: 5 out of 5
KNEEL BEFORE ZOD #5
Well, you can no longer argue that this miniseries will leave Zod unchanged, as the events of this issue transform him into something practically unrecognizable. Some elements of that metamorphosis are more successful than others, as Joe Casey’s narrative offers new twists and overplayed cliches in equal measure. Dan McDaid’s art is just as varied, as these pages simultaneously contain inspired creature designs and all-too-familiar visual tropes from throughout the science fiction world. Regardless, the footing that Kneel Before Zod is currently on definitely has my interest piqued. — Jenna Anderson
Rating: 3.5 out of 5
POISON IVY #22
Poison Ivy #22 is a little light on overall story in the sense that it’s mostly just Pamela and Woodrue going back and forth with their own monologuing—his directed at her, hers more internal—but what it lacks in direct story it more than makes up for in action and revelation. For Pamela, the showdown is a final exam of sorts, one on in which she makes a major realization about not only herself, but the only way to end things once and for all – a personal sacrifice that may not only be the tipping point for Pamela as a person and a heroic figure of sorts, but also for the battle itself. The art in the issue is also fantastic, beautifully distorted to reflect the nightmare of the situation as well as its clarity. It’s a lovely issue, even if it could stand just a pinch more forward motion. — Nicole Drum
Rating: 3.5 out of 5
SHAZAM! #11
Shazam! #11 engages in familiar sitcom-style hijinks as an important CPS inspection occurs just as magical shenanigans kick off at home with Billy’s family trying to cover up the chaos. The creative team manage to wring a few solid laughs from the hackneyed arrangement, but there’s little tension surrounding either the mundane or supernatural threats. Instead, the issue’s substance plays out largely in the background as Darla puzzles over a mystery that’s slowly revealed in a build to the cliffhanger. Neither Man-Bat-like monsters nor quickly pulled curtains offer much excitement in artwork that struggles to deliver action, although Talky Tawny’s appearance is perfectly executed. Overall, Shazam! #11 is a middling middle chapter that utilizes the series’ humor to stall for time as the real conflict arrives just in time for issue #12. — Chase Magnett
Rating: 3 out of 5
SUICIDE SQUAD: KILL ARKHAM ASYLUM #4
Captain Boomerang manages to survive the riot at Arkham Asylum through a mix of dumb luck, violence, and a strange sense of self-awareness in an issue that’s true to one of DC Comics’ most idiosyncratic, long-standing anti-heroes. The issue frames his story from a new perspective and provides the quirkiest collection of supervillains in Kill Arkham Asylum so far for his supporting cast. It provides plenty of opportunities for what this miniseries is striving to do best: gritty violence, visually spectacular powers, and blue humor. It’s well-suited to Captain Boomerang’s character and provides a number of effective action sequences, including a well-designed hypnotic splash, along with the first genuinely satisfying twist ending of the miniseries so far. Even if much of Kill Arkham Asylum has lacked charm, issue #4 makes the most of a tie-in premise to make for a fun bit of anti-hero action that fans of Boomerang will definitely want to seek out. — Chase Magnett
Rating: 3.5 out of 5
Marvel #1
THE AMAZING SPIDER-MAN #49
Readers of superhero comics are typically wary of event tie-ins interrupting their favorite series, and that poor reputation is merited. However, Amazing Spider-Man #49 proves to be an exception to those expectations featuring John Romita Jr. ‘s outstanding depiction of New York City in the midst of a vampire takeover in a story that builds upon some of the series best supporting characters and key conflicts. The issue focuses on a singular incident within Spider-Man’s experience of “Blood Hunt,” allowing it to largely stand alone. Even if the vampire takeover hasn’t been resolved by issue’s end, readers have already finished a satisfactory Spidey adventure (minus the final page setup for the Amazing Spider-Man: Blood Hunt miniseries). Rather than worrying about the event, Amazing Spider-Man #49 emphasizes Spider-Man’s distinct response to mass tragedy. It showcases Peter at his best, especially when the issue is at its darkest. There’s a sense of empathy present that will (hopefully) infect the best of what’s to come in “Blood Hunt” this summer, and it makes for a poignant moment that reads like the very best of Amazing Spider-Man. This issue delivers a top-notch example of how to utilize an event tie-in to support the best elements of an ongoing series, and regular readers ought to be glad that vampires paid Amazing Spider-Man a visit this month. — Chase Magnett
Rating: 4 out of 5
THE AVENGERS #14
I have to say I’m liking this ad hoc team of Avengers Captain America has assembled. It’s a cool way to give some under-utilized characters a spotlight, and remind readers of their existence. Plus it’s good to have C.F. Villa back on art duties. I’m hoping some of these heroes stick around for future Avengers stories, either in the main series or in some kind of spinoff. — Tim Adams
Rating: 4 out of 5
BLOOD HUNTERS #1
[READ THE FULL REVIEW HERE]
Blood Hunters #1 works to further examine the ramifications of a vampire outbreak in Marvel Comics, giving readers the chance to catch up on the lives of heroes they otherwise might not have seen in this event. While not every story is a home run, there’s enough here to give Marvel fans something to sink their teeth into whether they’re fans of the undead, Wolf Gods, light-baring superheroines, or moustache-sporting marksmen. — Evan Valentine
Rating: 3.5 out of 5
CAPTAIN AMERICA #9
It this comic book almost over? No disrespect to the artists involved here but Captain America feels like just the wrong combination for everyone attached to it, resulting in some truly puzzling work from names who are known for so much more. It’s time for a fresh start, for both the character and the creative team. — Charlie Ridgely
Rating: 1 out of 5
CAPTAIN MARVEL #8
The battle against The Undone has reached epic proportions, and it’s also managed to put the powerhouse Marvel family on their heels. The nature of Undone’s power automatically puts Carol and her allies at a disadvantage, though writer Alyssa Wong uses this as a perfect opportunity to showcase Captain Marvel’s resourcefulness and ability to adapt on the fly. Artist Ruairi Coleman, colorist Bryan Valenza, and inker Roberto Poggi deliver a thrilling and bombastic battle that makes conveys just how much of a threat The Undone can be, and that last scene certainly makes a big impression as well. While the battle unfolds on one side, Wong is also building up a delightful new duo in the Negative Zone, though the stakes are no less grand. Captain Marvel is firing on all cylinders at the perfect time. — Matthew Aguilar
Rating: 4 out of 5
DAREDEVIL #9
In many ways, Daredevil still feels trapped in its old status quo nine issues into this new run. Matt & Elektra continue their on-again-off-again saga, Bullseye is still a loudmouthed prick, Matt’s guilt-ridden actions have only alienated him from Foggy and the Kingpin is back to trying to run Hell’s Kitchen. The comic book is all too aware that last bit is outdated, almost deliberately so. But unless it ties back into the “Seven Deadly Sins” arc, it feels more like the series is wheel-spinning. — Connor Casey
Rating: 3 out of 5
Marvel #2
DEADPOOL #2
Deadpool #2 has a character development long-time Deadpool fans have been waiting for. And while it’s great to finally see Ellie again, it looks like the new run is playing to long game with the reunion between her and her father. As for Wade, he gets to play off of Taskmaster this issue and it’s a fun dynamic. — Connor Casey
Rating: 4 out of 5
DOCTOR STRANGE #15
Cynically we have been trained by comic book crossover events to seek out every tie-in no matter the direct connection, luckily for readers, Doctor Strange #15 is a worthy addendum to Blood Hunt #1 that arrived last week. It helps that series architect Jed MacKay is also penning this series, delivering a companion issue that pushes the story further while also looking into a corner that’s too niche for the larger event. If there is a stumbling block in the issue it’s that the artwork seems to be in direct contrast to the tone of the narrative itself. Artist Pasqual Ferry and color artist Heather Moore are gifted, and their talent is clear throughout these pages, but there’s a more light-hearted and fun tone being exhibited in these images than the story itself communicates. Not bad, but perhaps not fully in tandem. — Spencer Perry
Rating: 3.5 out of 5
DRACULA: BLOOD HUNT #1
With vampires emerging all across the globe, one might think that Dracula himself would be reveling in the situation, and as he tracks down Blade’s daughter Brielle Brooks, it would seem like he hopes to put her on the chopping block. One thing vampires didn’t account for, though, is Brielle not only inherited Blade’s physical abilities, but also his knack for killing vampires, which could cause a prickly predicament for Dracula when the two collide. With Marvel’s Blood Hunt event only just recently kicking off, Marvel fans have a lot of questions about why there’s a sudden infestation of the undead, and while those answers could help elucidate the premise of Dracula: Blood Hunt, those details aren’t necessary quite yet. Dracula has a mission in mind and, despite assuming it would focus on one figure, this debut issue provides some unexpected outcomes, exciting us about what’s to come. The story and artwork perfectly pair together for a pulpy and blood-soaked adventure that will appeal to Marvel readers more drawn to the horror side of the publisher’s spectrum. — Patrick Cavanaugh
Rating: 4 out of 5
FANTASTIC FOUR #20
Fantastic Four #20 sports a very humorous comics script built around the farcical conceit of the Human Torch and The Thing seeking out mundane, minimum wage work. The gag doesn’t bear much scrutiny, but it produces so many silly asides and exchanges that it doesn’t require much. However, it does wear thin over the course of 20 pages as the issue’s stakes remain essentially non-existent; it’s only in the final few pages that readers receive an emotionally charged dialogue that largely exists outside of the issue’s story. Beyond that it’s the same silly set up producing a number of quality gags. It’s possible to imagine that not being a problem with a more humorous tone and aesthetic present in the issue; artists like Sergio Aragonés, Erica Henderson, and Eric Powell are masters of making the small stuff meaningful in funny books. Artist Carlos Gómez’s work delivers the story in a much-more straight-forward fashion that appeals to the best elements of Marvel’s modern house style. Yet that’s not what this issue requires and Gómez’s work depicting so many mundane environments without much exaggeration or idiosyncrasy inevitably grows dull. There’s merit to the humorous script and the superhero style of this issue, but they fail to effectively support one another when combined on the page – resulting in a sub-par team-up. — Chase Magnett
Rating: 2.5 out of 5
GIANT-SIZE X-MEN #1
Angel gets the spotlight in Marvel’s Giant-Size X-Men one-shot, which features a new story and a reprint of Marvel Two-In-One #68. The latter also features Angel in a fun team-up with The Thing, and it pairs quite well with the more introspective lead-story from Ann Nocenti, Lee Ferguson, KJ Diaz, and Cory Petit. Angel has often been the financial backbone of the X-Men while shifting between the lighter and darker sides of his personality after the trauma he suffered at the hands of Apocalypse. Its’ resulted in a complex and yet still somewhat unexplored character, and Giant-Size looks to mine some of that untapped potential. While the end is a bit underwhelming, there is some genuine insight into who Angel is and how his unique journey has shaped him, and more importantly how he tries to deal with it all on a daily basis. For those who enjoy the character, you’ll likely find enjoyment here as well. — Matthew Aguilar
Rating: 3.5 out of 5
SPIDER-MAN: SHADOW OF THE GREEN GOBLIN #2
J.M. DeMatteis has been writing Peter Parker stories for decades, and is able to demonstrate in Shadow of the Goblin how he knows Spider-Man like the back of his hand. What the second issue of this new mini-series does is give us one of the greatest Spider-Man/Sandman interactions that we’ve seen to date. There are more than a few moments in this second issue that do a fantastic job of diving into Peter’s psyche and how he’s struggling not just being Spider-Man, but with the death of his uncle. Shadow of the Green Goblin feels tailor made for those missing on the early days of Peter Parker and it’s an easy recommendation for Spidey fans in general. — Evan Valentine
Rating: 4.5 out of 5
Marvel #3
STAR WARS: DARTH VADER #46
With Darth Vader’s Imperial “Schism” faction deviating from the rest of the Galactic Empire, they serve almost as his own hit squad, whether they agree with his motives or not. In hopes of thwarting Emperor Palpatine, Vader uses his squad to help strike out at Palpatine’s growing power, as this Schism witnesses both the physical and mental power that Vader has amassed through his devotion to the ways of the Sith. While the previous arc in Star Wars: Darth Vader was relatively linear, showcasing the Sith Lord developing this group of defectors, kicking off this new arc offers glimpses of that narrative momentum yet juxtaposes it with imagery that showcases the ethereal and all-encompassing nature of Vader, the Force, and the power of the Sith. The explosions and carnage crafted by illustrator Raffaele Ienco and colorist Federico Blee feels entirely immersive, as if the readers themselves are being sucked into the blazing infernos, though they are ones we can safely escape by flipping the page. At this point, we have no real idea where this new narrative could be headed, but the artwork alone is reason enough to join Vader and his Schism to see just how far he’ll go to plant the seed to destroy his former master. — Patrick Cavanaugh
Rating: 4 out of 5
STAR WARS: THE HIGH REPUBLIC #7
Kreeve and Sskeer’s journey continues to be the highlight of the current High Republic phase. This series balances so well the overall themes of Star Wars, putting its characters in various crisis of character and allowing the exploration of each of those issues to get its time to shine. It’s also a master/apprentice story that borrows plenty from Anakin and Ahsoka, without ever taking so much that it feels like a copy. — Charlie Ridgely
Rating: 4 out of 5
STRANGE ACADEMY: BLOOD HUNT #1
It was fun to check back in with the kids of Strange Academy. “Blood Hunt” is an event perfectly suited for this cast of characters, and they even introduce a vampire amongst their ranks. Plus, readers get a side story with a de-aged Agatha Harkness and the living embodiment of the Darkhold. It reminds me of how the Infinity Stones now have human hosts. I’m always a sucker for teenage superhero books, so Strange Academy: Blood Hunt was right up my alley. — Tim Adams
Rating: 4 out of 5
VENOM #33
Artist Juan Ferreyra begins this issue of Venom with a dedication to his father, who recently passed away, noting it’s the first comic he created without him around and that he couldn’t be in this line of work without him. You did him proud Juan, even without Al Ewing’s terrific prose, this issue of Venom would be a sight to behold from a visual standpoint. Ferreyra’s style lends itself not only to the weird world of Venom and the otherworldly biology that comes with the character, but also the antagonist found here that ties into the “Blood Hunt” crossover event. Not only do the individual panels push the story ahead and capture emotion in devastating ways, but Ferreyra is also able to meld that into unique paneling layouts that feel alive and vibrant. A must read by an artist that has hit a homerun. — Spencer Perry
Rating: 5 out of 5
WOLVERINE #49
Wolverine #49 sets the stage for the big climactic fight between Logan, Victor, Bad Seed and (presumably) Laura and the rest of X-Force on what’s left of Krakoa. But it also gives one last reminder that, unlike Logan, Victor doesn’t have any regrets for his past sins – he relishes them. It’s one of the key differences between the two, and bravo to the comic book for managing to illustrate that while keeping the two separated for these past couple of issues. — Connor Casey
Rating: 3 out of 5
X-MEN: FOREVER #3
X-Men: Forever #3 tries to depict an epic battle for the fate of Krakoa, but the art isn’t up to the task. The visuals appear rushed, lacking in depth, and compositionally chaotic. They fail to visually differentiate between a looming, active Sentinel and one that’s been deactivated, making a certain turning point feel confusing rather than victorious. Also, perhaps thanks to its positioning as a supplement to Rise of the Power of X, it’s hard to shake the feeling that scenes are missing from the plot. It isn’t a total misfire though. Gillen manages to get in some clever beats, and it’s becoming increasingly clear that X-Men: Forever is, beyond being part of the Fall of X, a conclusion to the Hope Summers story he began back in Generation Hope back in 2010. But even Gillen can’t help but fall prey to how overstuffed and rushed the Fall of X feels, with the reunion of Mystique, Destiny, and Nightcrawler—what should be the emotional focus of the book—feeling crammed into the corner of another story. — Jamie Lovett
Rating: 2 out of 5
Other Publishers #1
AIN’T NO GRAVE #1
Ain’t No Grave #1 is a little uneven, but there’s clearly a lot of potential. The story follows Ryder, a reformed criminal in the old west who gets bad news about her health and, faced with dying and leaving those she loves behind, she decides to go on a dangerous journey. The premise is interesting and in terms of the narrative, the first issue does a solid job of setting things up. We get backstory, we get purpose. But the real unevenness comes in how much of the comic is spent on a lot of nothing. Just big scenes in a long ride with little engagement to really tell the reader much – and at times, the scenes can be a little difficult to follow. Still, it is intriguing enough and leaves the reader with an interesting hook to see what’s next. — Nicole Drum
Rating: 3 out of 5
BENEATH THE TREES WHERE NOBODY SEES #6
Beneath The Trees Where Nobody Sees was something self-evidently special when issue #1 delivered readers a chilling serial killer drama infused with a near-alien perspective on humanity and a potent mystery, all bound in Patrick Horvath’s outstanding cartooning of adorable animals about town; it’s the sort of idea that can only be found in comics. And with its final issue this week, Horvath makes clear that readers will want to revisit this talking-animal thriller for years to come. The less said about the actual events of this showdown between Samantha and her homegrown nemesis, the better, as readers are left to ponder what will happen alongside Nigel in sequences that recall and contrast the debut issue’s introduction of Sam. What comes next is always tense and surprising in ways bound to both excite and chill its audience. Horvath utilizes understated details and some outstanding page turns to ensure that the first read keeps readers at the edge of their seats and later reads will be even more satisfying. — Chase Magnett
Rating: 4.5 out of 5
CRITICAL ROLE: THE TALES OF EXANDRIA – ARTAGAN #3
The Tales of Exandria continues to build towards Artagan’s final fate, with the trickster archfey being faced with the deadly consequences of his actions. It’s interesting to watch the character seemingly seek to avoid retribution but acknowledging that he may in fact be a terrible person. The issue is that the comic has probably leaned a bit too heavily into Artagan’s chaotic side and the damage it’s done to so many people, that it’s hard to really see much redeemable about him if folks haven’t followed his somewhat redemption arc in the second Critical Role campaign. — Christian Hoffer
Rating: 3 out of 5
CROCODILE BLACK #1
Crocodile Black is captivating from the very first page, and its grip only continues to tighten as you learn more about the world, the forces at play within it, and the conflicted young man that finds himself at the center of it. Phillip Kennedy Johnson wastes no time in setting a tone, and these opening pages will leave a lasting mark thanks to the talents of artist Som, colorist Patricio Delpeche, and letterer Becca Carey. That’s all before even meeting the lead character Danny, but as Johnson starts to unravel his backstory you start to see the connecting fibers, and the more fantastical elements are coupled with an equally compelling character study of someone who is trying to take control of a life in the midst of chaos. That all comes together to create a book that is unlike anything else at the moment, and while the world is dark and brutal at times, I simply have to know what happens next, and I’m very much along for the ride. — Matthew Aguilar
Rating: 4.5 out of 5
DEADWEIGHTS #2
Deadweights #2 levels out some of its tonal inconsistencies in its second issue, though it hasn’t made a great case yet for what sets it apart from other “the superheroes are bad, actually” style takes on the genre. Thus far, there have been multiple instances of Clarence and Jerry pointing out the absurd resources used on the Paladins’ base and training apparatus, and the dubious ethics of recruiting minors to be trained as a paramilitary force, and it all feels as if pulled out of the types of posts that often make the rounds during certain seasons of the comics discourse cycle on social media. Perhaps the secret sauce is in Jerry and Clarence themselves. The glimpses of their supervillain origin stories provided in Deadweights #2 hint at nuanced characterizations worth unpacking. The coloring of Deadweights also makes an impression. It may be a bit too close to a sepia monochrome at times but considering how often comics have depicted high-tech facilities like the Paladins’ headquarters with the same familiar gradients of metallic gray, it’s nice to see this sunblasted, sandy palette instead. There are some genuine laughs in Deadweights #2 as well. Here’s hoping it all comes together as the series progresses. — Jamie Lovett
Rating: 3 out of 5
THE DEVIANT #5
This issue exists mostly in a flashback, but it provides so much important context to the story at hand. It also feels like it’s a very short issue, which is admittedly a little frustrating because this comic is so great and you want each issue to last as long as possible. That’s just a testament to how wonderfully crafted this entire series has been. — Charlie Ridgely
Rating: 4 out of 5
ENERGON UNIVERSE 2024 SPECIAL #1
[READ THE FULL REVIEW HERE]
If you want to try a different kind of shared universe, Energon Universe 2024 Special certainly delivers a strong case for its featured comics. I’m curious as to how Skybound will approach this world in the long term, but this one-shot is all about intrigue and possibility, which is perhaps the strongest sales pitch you can make for a still nascent shared universe. — Christian Hoffer
Rating: 4 out of 5
Other Publishers #2
GEIGER #2
Geiger #2 is all about style because there’s not much in the way of substance. It’s a perfectly readable homage to the morally ambiguous plots and atmospheres of spaghetti Westerns neatly packaged in a single issue, but that is delivered with broad characters and unsurprising resolutions. The only shock in the issue arrives with a nihilistic cliffhanger. However, there’s no denying the vibrancy of Gary Frank’s post-apocalyptic landscape nor the thrilling effect of seeing a skeletal anti-hero leap across it in a train-related chase sequence. Geiger #2 may deliver a banal plot that leaves its leading man as unaffected as any, but it looks great delivering that, which given the gritty level of detail Frank brings to this dusty, radiation-soaked setting is alright by me. — Chase Magnett
Rating: 3 out of 5
GONE #3
In wrapping up Gone, Jock provides a sensible conclusion to Abi’s story that doesn’t fully cover some of the weaknesses in the series overall. The conflict between the Sabs and the government authorities has been ill-defined throughout the series, and it remains so until the end, making all the scenes involving the two factions feel narratively weightless. Abi’s two would-be mentors meet the same fates but by opposite means, each reflecting their differing character flaws, with Jay undone by his recklessness and the ship’s captain trapped by his ambition and stubborn desire for control. Jock’s artwork remains consistent throughout, with a two-page spread that takes a cross-section view of the ship’s innards being a standout. However, there’s little that really surprises or excites here. Despite the craftsmanship on display, the danger to the vessel from the strange hive-mind space gas, and Abi’s fate hanging in the balance, the issue lacks much tension. Gone is so focused on the binary question of whether Abi survives that it doesn’t invest readers in anything greater. It all hinges on Abi, who isn’t a memorable enough character to connect with readers in a way that makes them feel the intensity of her situation. — Jamie Lovett
Rating: 3 out of 5
THE LAST MERMAID #3
There’s barely any dialogue in The Last Mermaid #3, and that’s more than needed, given the strength of Derek Kirk Kim’s cartooning. The consistent use of horizontal, rectangular panels throughout the issue makes reading the issue feel like reading polished storyboards, and there are moments where the pages feel practically animated. Such a technique could have made the issue dull, but Kim varies the sizes and panel count to change the pace and scale the impact appropriately. Kim’s compositions convey how utterly adrift and alone the mermaid is within the water cave, and the environment’s dark, aquatic coloring provides contrast to the sun-bleached landscape that awaits her outside. The issue doesn’t pack much subtext or depth, just an incredibly well-executed and tense chase scene. The ending is a bit predictable given that Kim alerted readers to another person being in the mermaid’s vicinity back in the series’ first issue – one has to wonder if the impact would have been enhanced had he not, or if the reveal would have felt too much like a deus ex machina without the previous prompting – but he pushes past what feels like a breaking point enough times that danger feels real and rescue (such as it is) like a respite. The Last Mermaid #3 is a masterfully crafted comic. — Jamie Lovett
Rating: 5 out of 5
MASTERPIECE #5
I’m loving the crew Masterpiece has assembled The dialogue was extra catchy and witty, probably because the drama picked up and the tension escalated. Masterpiece is picking up vital information from everyone in her orbit, and they all have important roles to play in taking down Zero Preston. My favorite part came when Gleason told the story of how he helped someone who was out to get him, turning kindness into a weapon. — Tim Adams
Rating: 4 out of 5
MONSTERS ARE MY BUSINESS #2
With this second issue, Monsters Are My Business coalesces into a stronger (and gleefully weirder) series. Cullen Bunn’s script delivers effective twists and wacky character-building moments in good measure, and the art from Patrick Piazzalunga is grotesque and wacky. Here’s hoping the momentum continues from here, because it could help this series become something special. — Jenna Anderson
Rating: 4 out of 5
NIGHT PEOPLE #3
The comic adaptation of Barry Gifford’s novel delivers its best issue yet. With “The Ballad of Easy Earl,” series scribe Chris Condon luckily has a story on his hands that can be molded into any kind of medium easily, and thanks to artist Artyom Topilin it works great as a comic. Topilin’s paneling and character work depict a specific kind of world and its maybe the best pairing of artistic style with the grim and gritty world of Night People so far. Color artist Ronda Pattison is able to capture mood and tone with their contributions to the series, elevating the already unique style of Artyom Topilin and making this a delight to read on the whole. — Spencer Perry
Rating: 4.5 out of 5
THE ODDLY PEDESTRIAN LIFE OF CHRISTOPHER CHAOS #9
In some regards The Oddly Pedestrian Life of Christopher Chaos #9 makes the series’ first 8 issues seem like preamble. It’s here that readers see a group of four, distinct friends building to future goals based upon conflicts both recent and centuries old – a strong foundation for a horror-tinged teen adventure with queer themes. And this reads like the comic book I expected to discover when picking up issue #1. Even if some elements, like the inclusion of Christopher’s largely absent mother, are still predicated more on inference than text, the series is clearly building upon a strong foundation in this issue. The plot itself is diffuse as a wide array of new characters and threads are introduced for future payoffs, but there’s plenty of sizzle to this set up. The final few pages alone justify the price of admission with a startling spin on lycanthropy, but the entire issue makes good use of its supernatural elements to keep events visually engaging. I anticipate reading more of this series. — Chase Magnett
Rating: 4 out of 5
Other Publishers #3
THE ONE HAND #4
The creative teams behind The One Hand and The Six Fingers have done an admirable job of pacing out the mysterious dual series. Reading the penultimate issue of The One Hand, it’s almost easy to forget that what started as a murder mystery has now escalated into an existential crisis questioning the very fabric of the reality in which these characters live. Could there be anything more perfectly cyberpunk than that? Ram V does an admirable job of bringing readers along for Ari Nassar’s descent into madness, or Truth, depending on how things turn out. Laurence Campbell, meanwhile, continues to pour on the heavy black and shadow, ensuring Neo Novena still feels like a half-remembered, shadowy dream even as patterns become illuminated. Even with only one issue of each series left, there still feels like plenty of mystery left to unravel in this thriller. — Jamie Lovett
Rating: 4 out of 5
RED SONJA: EMPIRE OF THE DAMNED #2
This issue does not instill further confidence in me that Red Sonja: Empire of the Damned will continue to deliver. The script stretches its cliche dialogue as thinly as possible, and even the prospect of Sonja getting a new ally is left feeling incredibly flat. The aesthetic choices certainly don’t help either, with Alessandro Amoruso’s art being rendered incredibly unflattering by Salvator Aiala’s color work. If you’re looking for a new Sonja series to dive into, this isn’t the one. — Jenna Anderson
Rating: 1 out of 5
THE SACRIFICERS #8
The Sacrificers #8 is certainly building to something big and those final few pages make the appeal of Max Fiumara’s art undeniable – possessing the scope of epic fantasy that grounds itself in an absorbing, visceral quality. That aesthetic makes each part of the sequence surrounding Pigeon’s long walk compelling, but the individual elements of that journey stack up like a series of “and then”‘s. Lacking a consistent geography or clearly-defined cultures, there’s little tension before characters lash out. Even Pigeon’s own inner turmoil remains mysterious to readers, despite them possibly narrating a portion of the issue. The conceptual appeal of The Sacrificers remains undeniable, but the concept isn’t quite cohering here. — Chase Magnett
Rating: 3 out of 5
TEENAGE MUTANT NINJA TURTLES: BLACK, WHITE & GREEN #1
I am admittedly a complete newbie when it comes to Teenage Mutant Ninja Turtles so each of the four stories in Teenage Mutant Ninja Turtles: Black White & Green #1 felt like solid ways to get in on the stories of the characters in a way that was approachable for someone with lots of familiarity and someone like me who has none. Each story takes a different approach and, generally, follows a different turtle, showcasing personality and fighting styles. The real standout story, however, might be “Green Screen” just because it was both funny and heartfelt, but also had some of the most crisp art. However, what makes this issue maybe not as great as it could be is the use of color. As one might guess from the title, green is the only color used in the issue and it makes it a little difficult to look at sometimes and even more challenging to differentiate between the characters when they, generally, look very similar. — Nicole Drum
Rating: 3 out of 5
TRANSFORMERS #8
Transformers #8 is shifting gears from the tight structure of its introductory arc (perfect for a best-selling TPB) into the long term investments of serialized superhero team series. That isn’t to say this series plays like superhero comics—it clearly possesses its own special genre-melange of sci-fi, adventure, and war comics—but it does possess a wide-ranging interest in subplots and diverse characters exemplified in series like Claremont’s Uncanny X-Men. What makes it work under Daniel Warren Johnson’s direction is a preparedness to make every page count with compelling characterization, plot twists, terrific action sequences, and often a blend of all three. The story moves quickly and draws out lots of interesting drama from an exceedingly strange ensemble of characters. Jorge Corona ensures that all of these characters remain distinctive and provides even blank-faced robots with a surprising degree of emotionality. Although there are some issues of consistency in portraying the scale of Transformers, there’s no denying that panels emphasizing scale will still leave readers demanding more. — Chase Magnett
Rating: 4.5 out of 5
USAGI YOJIMBO: THE CROW #2
Usagi Yojimbo: The Crow #2 features Sakai’s fine cartooning, as strong as ever with great expressiveness from its character, and its central theme, that of Yukichi with his youthful idealism regarding the samurai code confronted with the reality of what one must do to survive without a master, is compelling. The issue does highlight some of the limitations of coloring in Sakai’s work. Hi-Fi’s flat coloring is appropriate for Sakai’s style. However, the vibrancy is in conflict with the mood of the story Sakai is trying to tell with his visuals, emphasizing how rundown the town where Yukichi and Usagi are staying is and the roughness of the bounty hunters they find themselves in conflict with. In black and white, Sakai’s linework is versatile enough to take on whatever mood the story suggests (or the density of his brilliant hatching implies). Here, the coloring fills that void in a way that isn’t entirely comfortable. It hardly makes the issue poor reading and makes it more inviting to those not reared on black-and-white indies, but it does feel like something was lost. — Jamie Lovett
Rating: 4 out of 5
THE WITCHER: CORVO BIANCO #1
Whereas much of Dark Horse’s Witcher comics play like short stories—Geralt walking into a specific adventure and resolving it before moving forward—Corvo Bianco #1 plays like the next chapter in Geralt’s serialized adventures, for better or for worse. Most readers will likely be thrilled to hear about and then see a key member of Geralt’s supporting cast. And they return to an idyllic setting that allows Geralt to present his best attitude and humor. This vineyard of Corvo Bianco is well-drawn and presents a great locale both for friendly encounters and bloody action, even if the action presented in this issue reads as forced in its insertion and depiction. But the appearance of mysterious antagonists and stakes closely tied to Geralt’s own self make the future events of Corvo Bianco much more appealing. It will be intriguing to see how this story plays out and what, if anything, it may portend for the future of Dark Horse’s excellent Witcher comics. — Chase Magnett
Rating: 3.5 out of 5
