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 Hellblazer: Rise and Fall #1, Black Widow #1, Inkblot #1, and Teen Titans: Beast Boy.

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

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

DC #1

BATMAN #98

“The Joker War,” like all of James Tynion IV’s run on Batman thus far, has been a tangle of things. Things have been uneven at best and while some of the new introductions into the world of Batman have promise, they smack of gimmick and marketing hype. In fact that slick, plasticky sheen of hype has more frequently than not left the story feeling soulless and mass produced to the point that while some issues have had great moments of promise, the longer “The Joker War” wears on the more I’ve come to dread the continuation as a lifelong Batman fan. However, this week’s Batman #98 manages to claw its way out of the toxic haze. While the issue falls into a lull narratively, it’s easily one of the most moving issues on the title to date, offering a bit of raw honesty in regard to not just Batman but Bruce Wayne himself. Tynion may not always execute things well, but in this issue he absolutely nails the vulnerability beneath the cape and cowl. Batman isn’t all punch and smash and grim and dark—something most writers and fans would do well to remember. He has a humanity that, more than anything else, is what drives him into the night. There’s also a truly epic “I’m Batman” moment that feels a touch out of place visually, but it’s so artistically stunning and works so well in regard to Batman’s dealing with Punchline that it erases any doubt. It’s not a flawless issue, but it’s probably a best of run and a damn fine read. — Nicole Drum

Rating: 4 out of 5

DCEASED: DEAD PLANET #3

It’s weird so say DCeased: Dead Planet is backtracking, but issue #3 definitely made it feel that way. The horrific final scene involving Plastic Man from last issue was (mostly) undone, as was the shocking final moment from issue #1 and one of the tie-ins from the original DCeased. We’ve got a pretty good idea now of where Tom Taylor is going with this second series now and it sounds amazing on all fronts, but I can’t help but knock him—just a little—for going “Surprise! The people you thought you saw get graphically murdered actually weren’t!” It kind of lessens the impact of whatever tragic moments come further down the line. — Connor Casey

Rating: 4 out of 5

THE DREAMING: WAKING HOURS #2

The Dreaming: Waking Hours had a strong debut, but its sophomore outing might be even better. The first issue focused on the Shakespeare scholar, but this issue turns the spotlight toward the other lead character, Ruin. Concentrating on the nightmare gives artist Nick Robles a chance to cut loose and show that he may be the most versatile artist in mainstream comics. The framing of Lindy’s dream is simple enough, but then there’s the elegant, illuminated-manuscript look of Ruin’s origin story and the smokey, white-on-black pages depicting the world within Dream’s box of Nightmares. This book is a marvel to look. G. Willow Wilson shows her skill with dialogue in the issue, giving us the introduction of the utterly delightful sorceress Heather After. It’s brilliant all the way around. — Jamie Lovett

Rating: 5 out of 5

HELLBLAZER: RISE AND FALL #1

[READ THE FULL REVIEW HERE]

From the reference to a Doctor Delano forward, Hellblazer: Rise and Fall reads as though it could have been lifted directly from the original series’ 300-issue run. It captures the elements of its protagonist and style of storytelling that transformed a supporting character in Saga of the Swamp Thing into a DC Comics icon. There are hints at modern themes and more specific additions to be revealed in later installments, but issue #1 is focused on establishing tone and style above all else, and it succeeds in doing exactly that. Taylor and Robertson, both immense talents, bring their own perspective to this idiosyncratic corner of comics and reveal a clear understanding of what makes it work. Old fans of Hellblazer and new fans of John Constantine alike are bound to enjoy this tale of the magician’s early misdeeds and modern misadventures in a London that feels every bit as dark as the world outside our windows today. — Chase Magnett

Rating: 4 out of 5

JUSTICE LEAGUE #52

Justice League #52 actually has some timeliness because of recent Twitter Discourse involving Batman, and his use of his wealth to change the world. Justice League raises a similar argument, albeit with a Black Mercy twist, in that Batman could be doing so much more if he weren’t actively superhero-ing. The issue might be a little more rewarding if it had any consequence down the line, but it mostly steps on concepts explored in other Batman books over the years. This isn’t a terrible issue by any stretch, but it’s hard to think that it’ll have any real impact besides posing a rhetorical question asked many times before. — Christian Hoffer

Rating: 3 out of 5

SHAZAM #14

With the finale of Geoff Johns’ run on Shazam, the story closes with a shattershot approach that doesn’t live up to the build up of what we’ve seen before. In adding the menace of Superboy Prime and wrapping a number of different story lines, the final installment has to not only bounce between characters, but artists as well. It’s a fine conclusion when all is said and done but it could have been more more than what we got. — Evan Valentine

Rating: 3 out of 5

STRANGE ADVENTURES #5

Strange Adventures #5 speeds up both of its plots and, even if some extended sequences of dialogue become a slog, manages to provide the first amusing issue of the series since its debut. The sections drawn from the past by Shaner are pure pulp, moving away from their unexamined colonial politics, if only briefly. Gerads’ pages in the present deliver a wider array of settings, including both a congressional testimony and a (quite literally) high-class rendezvous. Earth and Rann alike are shown to be fascinating worlds by these artists, and they provide the issue’s highlights in silent moments of passion and violence. However, much of their pages are devoted to disquisitions on how and why these worlds operate with Alanna speaking in a voice that reads as much like an outside narrator as the character introduced and emphasized thus far. The extended page count does the comic no favors as it’s easy to identify what works between long stretches of explanatory dialogue, much of which reads as being unnecessary. Strange Adventures #5 doesn’t eschew politics, but steps so far away from its earlier assertion that it’s possible to simply enjoy the reimagined world of this odd, B-list superhero, and briefly imagine where else this concept could have gone. — Chase Magnett

Rating: 3 out of 5

THE TERRIFICS #30

It’s a legitimate shame that The Terrifics is coming to an end, but fans can rest easy knowing that it ends on a high note. This final issue picks up on the cliffhanger of the team’s fight against Sebastian Stagg, Lobo, and company, and things unfold in a way that is the perfect mess of hectic and delightful. Through and through, The Terrifics has represented an underappreciated corner of the DC universe—its superheroes in the fields of science and technology, and their efforts to make the world a better place. Luckily, this issue hammers that message home in a heartfelt, but incredibly ambitious way. If there are still good things in this world, this hopefully won’t be the last time we see The Terrifics in the pages of DC Comics. — Jenna Anderson


Rating: 5 out of 5

YOUNG JUSTICE #18

Young Justice #18 focuses on Spoiler and delivers fans of teenage sidekicks and Batman alike an excellent one-and-done adventure. A long conversation between Drake (who appears ready to drop the new alias, thankfully) and Spoiler overlays an extended series of events, including an impressive flashback sequence drawn by Michael Avon Oeming that introduces a new villain who emulates KGBeast in the best ways. While the inclusion of Young Justice in this adventure reads like an afterthought, the action and intrigue of Spoiler’s solo investigation provide plenty of fun and still tie into the group’s collective outings by the end, with Stephanie firmly embedded in their dynamics. Although the end of Young Justice looms on the horizon, the series could go out on a high note if it continues to deliver succinct single issues in the mode of Young Justice #18. — Chase Magnett

Rating: 4 out of 5

Marvel #1

BLACK WIDOW #1

[READ THE FULL REVIEW HERE]

Black Widow #1 exceeds expectations at every turn, bringing a new take on the world of Natasha Romanoff that feels both reverential and fresh. In the span of twenty-ish pages, the issue effectively and brilliantly uproots both Nat and the reader, setting up a mystery fans will definitely want to follow. Sure, the issue leaves a lot of questions unanswered and fight scenes unseen, but it’s so unfaltering in its nuanced and earnest take on its heroine that those aspects never seem like a problem. When coupled with some truly breathtaking art and color work, this is a debut issue that Marvel fans—and comics fans in general—definitely don’t want to miss. — Jenna Anderson

Rating: 4 out of 5

CABLE #4

The first arc of Duggan and Noto’s run on the time travelling teenage soldier ends strong with its latest issue, continuing the series’ ability to use some of Marvel’s most insane ideas while blending in an infectious sense of fun into the proceeding. There’s no other X-book on the market like Cable, and perhaps no other Marvel book that accomplishes what this book does. Even if you’re not a fan of the X-Men or Cable specifically, this book is a must read. — Evan Valentine

Rating: 4 out of 5

EMPYRE #6

As someone who had high hopes for the latest Marvel crossover, it’s sad to see it go out with a whimper rather than a bang. When a big event happens, that isn’t too say that there needs to be a death in order to sell it, but it certainly needs to justify its own existence. Empyre ultimately doesn’t only fail to give us lasting ramifications, but also comes across as a big confusing mess with many story elements taking place in tie-in books. The Cotati simply weren’t unique enough to shoulder an event such as this and it showed. — Evan Valentine

Rating: 2 out of 5

FANTASTIC FOUR #23

Thank heavens Empyre is over. This book is every bit as dull as the crossover it’s tied to, easily the worst bit of Slott’s otherwise delightful Fantastic Four run. A Fantastic Four book starring Wolverine isn’t exactly a Fantastic Four book anyone wants to read. Let’s chalk it up to a bland crossover experience and move on, yeah? — Charlie Ridgely

Rating: 1 out of 5

GUARDIANS OF THE GALAXY #6

After five propulsive issues—perhaps the most stacked debut of any superhero series this year—Guardians of the Galaxy finallys takes a moment to breathe as Richard Ryder heads to therapy. It’s a shift in style and pacing as Marcio Takara takes over art duties. The painterly touch accents Richard’s internal journey well, and it makes the dramatic high points appear more poignant. Ewing’s script accomplishes quite a feat in recontextualizing continuity to deliver a new story. Reminiscing about past galactic events and years of interpersonal history arrives at some new conclusions, and a particularly affecting rendezvous between Nova and Gamora. It’s a showcase for both how well this relaunch appreciates its characters and how flexible the new team is in offering a wide array of different stories. Expectations for Guardians of the Galaxy have never been higher, which is what makes the final pair of pages such a significant letdown. If you didn’t read Empyre #6 this week, then it’s a cliffhanger that reads like a wet fart, but everything before it is still excellent, at least. — Chase Magnett

Rating: 4 out of 5

Marvel #2

MARVEL ZOMBIES: RESURRECTION #1

A long time after a zombie outbreak, Spider-Man, Moonstone, and Forge have banded together to protect Val and Franklin Richards after the death of their parents, requiring them to find supplies and possible survivors to join their cause. When confronted with the futility of their cause and fatal encounters, the new group must decide whether to keep fighting or embrace the inevitable. The initial Marvel Zombies series didn’t have to do much other than depict the grotesque interpretations of beloved heroes battling undead hordes, with subsequent narratives failing to reach the narrative potential of such a premise. Luckily, all these years later, Resurrection has brought the concept back from the dead, depicting Peter Parker’s immense guilt over those he has disappointed and how drastically different and dire his entire way of life has become. Phillip Kennedy Johnson and Leonard Kirk’s book manages to not only find ways to disturb us with its visuals, but also introduces compelling mythology to add even more layers to the concept, making for a strong debut entry into a promising series that also has one of the most exciting last-page reveals in a Marvel book in quite some time. — Patrick Cavanaugh

Rating: 4 out of 5

MILES MORALES: SPIDER-MAN #18

Picking up from their cliffhanger ending that was one of the final comics put out by Marvel before the pandemic almost killed the industry, Miles Morales: Spider-Man finally returns with another solid issue. Artist Carmen Carnero manages to keep the action quick and eye catching throughout, maintaining a breakneck momentum through the issue even when the B and C stories take the spotlight. Writer Saladin Ahmed continues to keep the character and his run in a classic motif, pulling the story along in a way that keeps the mystery going without its lack of reveals feeling like a cheat. — Spencer Perry

Rating: 4 out of 5

NEW MUTANTS #12

New Mutants‘ latest issue has its heart in the right place but approaches its subject matter in an uninteresting way. It sees Magik, Dani Moonstar, and Glob Herman confronting the owner of the DOX website, the site with the one-the-nose name that reveals the personal information of mutants traveling through Krakoa’s gates, which leads to those mutants being hunted and hurt, if not killed. Doxxing is a fascinating phenomenon to tackle with the X-Men concept, but here it’s reduced to the New Mutants giving a lecture and strongarming the publisher to get their way. We do get some new insight into Glob Herman’s past, which is nice, but on the whole, the issue would have served its subject better by delivering its message through story instead being a sermon in comic book form. — Jamie Lovett

Rating: 3 out of 5

SWORD MASTER #10

Not going to lie, I didn’t see this coming, but Sword Master pretty much ruled. Writer Shuizhu takes the book’s lore and mystical elements seriously, but there’s a wonderful sense of fun and humor to the whole adventure, which allows the reader to lose themselves in the epic fight sequences throughout the entire issue. Not only that, but you find themselves rooting for this oddball crew along the way, as it feels like one big 90s action romp, and I mean that in the absolute best way. It helps that artist Gunji embraces the over the top aspects of the combat, though we also get some lovely expression work to help balance out the action-heavy second half. Having someone yell “Get off my lawn!” as they plow through a horde of undead is the description that perfectly describes this book in a nutshell, and by the end of it all I couldn’t help but get lost in all the craziness, and here’s hoping next issue is just as fun. — Matthew Aguilar

Rating: 4 out of 5

WOLVERINE #5

It’s part two of the long-promised Wolverine vs. Vampires story, and this issue is exactly the glorious hot mess that you’d expect. It’s filled with convoluted plot points (Wolverine’s blood can suddenly give vampires the ability to walk in the sunlight! The vampires are targeting declining Canadian towns out of pure coincidence!), silly but awesome visuals (Wolverine spends the first few pages in a block of ice! Canadian punk vampires eat moose instead of humans!), and lots of decapitations. While this isn’t necessarily a “good” comic, I firmly believe that Wolverine at least borders “so dumb, it’s fun” territory. — Christian Hoffer

Rating: 3 out of 5

Other Publishers #1

ASCENDER #12

The entire Ascender book is such a roller coaster of emotions and this week’s Ascender #12 more than most. There’s an energy to the issue, thrumming just below its otherwise calm surface as you feel the various moving parts starting to come together. All along the way there have been breadcrumbs that things are about to become much bigger than you’d have expected when you started this journey and this issue delivers. There’s not a ton of action and there doesn’t need to be. This issue is all about the heart and emotion and a striking, beautiful development for Andy and Effie that probably was pretty obvious but Jeff Lemire does such a good job of making it have real feeling and real emotion that it hits hard in the best possible way. As always, I could praise Dustin Nguyen’s art all day and it still wouldn’t be enough—and it’s excellent here once again. Truly a solid issue and a joy to read. — Nicole Drum

Rating: 4 out of 5

BANG! #3

The third issue of Bang! introduces a third character ripped straight from the pages of pulp adventure, and it’s the most stylish and original debut so far. Michele Queen and her cybernetic enhancements make for a thrilling start, and one that offers plenty of haunting tech as the mysterious threat of Goldmaze mounts. Bang! is easy to read on an array of levels with Wilfredo Torres delivering a thrilling adventure that can be taken as pure superficial fun, but leaves space for both the development of conspiracy and shockingly human characters. Both Queen and Cord make for compelling protagonists and it’s not difficult to imagine either of them as the centerpiece for unique series. However, Bang! is focused on bringing them together and assembling a team of allegorical heroes. With each issue so far adding a fully developed protagonist in the midst of their own drama and adventures to the cast, it’s hard to wait for issue #4 to arrive. — Chase Magnett

Rating: 4 out of 5

BITTER ROOT #10

The end of Bitter Root‘s second arc is a brutal look at the corruptive nature of hatred and racism, mixed with the bombast of a literal god coming to Earth. There are a lot of layers here, ranging from the death of a supporting character and how it relates to the greater themes of the series to the Sangeryes’ own struggles to overcome their own flaws and rage to save the world. This issue feels bleak, even in victory, although it likely reflects how many view the world today. After all, what progress is truly being made in dealing with racism and bigotry, even after a summer of protests and endless talking points and superficial changes? — Christian Hoffer

Rating: 5 out of 5

BUFFY THE VAMPIRE SLAYER #17

Buffy the Vampire Slayer #17 introduces Wesley Wyndham-Price into the BOOM!’s rebooted continuity, which proves to be a breath of fresh air for the series. Wesley was primarily comic relief and the wrong-headed rival to Giles during his brief stint on the Buffy the Vampire Slayer television series, only proving his value later on, during his time on spinoff Angel. Here, Jordie Bellaire and Jeremy Lambert present a more nuanced but equally flawed character, turning Wesley into the well-meaning ally without the conviction to walk the walk if it means it’ll cost him anything. Employing Ethan Rayne as the literal rebel spirit whispering in Wesley’s ear is another stroke of brilliance. Andrés Genolet’s simple linework emphasizes Wesley’s youth, which fits well with the depiction of Wesley as the Watcher’s Council’s golden boy. This issue is an example of the series’ creative team taking full advantage of the unique opportunity they have with this fresh comics continuity to improve upon the source material. — Jamie Lovett

Rating: 4 out of 5

COFFIN BOUND #6

Coffin Bound releases its new issue this week with more intrigue than ever before. The comic checks in on Taqa as she continues her search for a vulture, and death comes to her willingly when an assassin reaches out to her. The bloody affair is hard to witness, but its floaty dialogue brings an otherworldly feel to Coffin Bound. And in the face of ever-growing danger, Taqa will not rest until she has saved her god and her people. — Megan Peters

Rating: 3 out of 5

DIE  #13

Leave it to Kieron Gillen to turn the “Year of Double Crits” into a major plot point in his comic about our relationships with RPGs. DIE delivers a lot of answers this issue, both in terms of the world’s “true” purpose along with the nature of Grand Prussia and many other facets of the world. Stephanie Hans’ art is absolutely stunning, and I particularly loved her depiction of the stodgy HG Wells as the latest manifestation of the people who impacted DIE. I could write a long essay about why DIE is a must-read comic, but it’s definitely a “critical hit” for anyone who has ever had a complicated relationship with a game. –– Christian Hoffer

Rating: 5 out of 5

DISASTER INC #3

Three issues in, Disaster Inc. feels like its throwing everything at the wall and trying to see what sticks, and the end result ends up being oddly hollow. This issue has a split narrative between Abbie and the rest of the tour group, as well as a flashback to some of the shady things going on at the reactor site. The art fluctuates between being beautiful, sunset-hued renderings and being a little too cartoony, while the narrative only gives us a surface-level reading of the ensemble of characters we’re supposed to care about. There’s a chance that Disaster Inc. might eventually find its footing and end up being a relevant, horrific comic—but it’s still too early to tell if that will actually happen. — Jenna Anderson


Rating: 2 out of 5

Other Publishers #2

INKBLOT #1

[READ THE FULL REVIEW HERE]

In spite of some lackluster panels and a generally slow start not quite hitting the mark, the second half of Inkblot #1 shows immense promise. Readers will find it difficult not to smile and laugh a few times before the issue comes to a close. The dynamic duo at the heart of the story are enough to justify the price of admission, and the future for Inkblot seems pretty damn bright. — Matthew Aguilar

Rating: 3 out of 5

THE KING OF NOWHERE #5

The King of Nowhere ends with a whimper, as this Boom! miniseries struggles to provide much of a meaningful ending. Now that the truth about Nowhere and its misfit residents is known, the series tries to deliver a poignant conclusion with confrontations between Denis and the sheriff who “befriended” him at the start of the series, along with a dragged out fight among the rest of the townfolk. The issue tries to make grand statements about the truth versus living in ignorance and the “cost” of freedom, but truthfully it doesn’t deliver much of a strong message. We’ve seen similar comics do a lot more in a lot more interesting ways, so don’t bother to read The King of Nowhere. –– Christian Hoffer

Rating: 1 out of 5

MY LITTLE PONY/TRANSFORMERS #2

Splitting off the main narrative introduced last issue, this title branches into two short stories this month, each with their own set of characters. Seemingly taking on the format of a kids show, each of the stories contained in #2 stand on their own with no need for prior knowledge of the title. No prior knowledge, of course, other than the fact of knowing the worlds of the two toy brands have collided. The first story is probably the better of the two here, featuring the adorable dragon Spike. Within includes a great story of courage and self-worth—there’s even a tear-inducing moment or two throughout. More surprising is that the art looks nearly identical between both stories, even though each of the stories has its own artist. If you—or one of your children—enjoy the brands included, it might be worth the read. There’s no telling now if it’s something worth sticking around for, however. — Adam Barnhardt

Rating: 3 out of 5

LONELY RECEIVER #1

Lonely Receiver offers an uncomfortable, close-up perspective on pitfalls in relationships and patterns that guide those issues. It digs into the idea of growing apart as you grow together by blending person-to-person interactions with a futuristic twist: What happens if you’ve “built” someone meant to be the perfect match for you and things still don’t work out? Was the premise of the PHYLO X11 tech flawed from the start, or is its companion system so realistic that it’s riddled with the same obstacles normal relationships experience? The highs and lows of the first chapter of the Catrin/Rhion story are guided by bright pops of color to highlight the best moments with cool bleakness permeating the worst. The body horror parts of Lonely Receiver are subtle but effective in taking this love story in a new direction. — Tanner Dedmon

Rating: 4 out of 5

LOST SOLDIERS #2

Lost Soldiers #2 blurs the line between reality and fiction as a list of vocabulary at the issue’s end implies the old men in Juarez can only see the world through the haze of their past wars and so much violence. It’s a disorienting, but never confusing, read and one that embeds readers firmly in a state of mind. As that effect is developed, so are mysteries about what happened in Vietnam and what cause these soldiers now serve. It ratchets up tension and leads to a moment that readers hope will not arrive, but is ultimately inevitable. Lost Soldiers remains an intense read applying a dazzling mix of colors and moods to develop an experience that extends far beyond the plot. Whatever happens next, it’s apparent that this long trail of misery still has some more pain to share. — Chase Magnett

Rating: 4 out of 5

MONSTRESS #30

The best issues of Monstress, in my opinion, are the ones that get into feelings and that’s the case with Monstress #30. While the story does continue forward as does the war, the book spends some time pulling back the curtain and giving readers a bit more of Maika’s past while also opening up and letting us know more about her feelings—something that those closest to her also get to know more about as well. There’s still plenty of action and on many levels the subterfuge and complexities of the plots and plans are the real gems here, but the emotion centering around Maika lets Marjorie Liu shine even brighter as a writer. Monstress is already a rich and dense comic that’s deftly written. Monstress #30 just reminds you how skilled Liu really is. — Nicole Drum

Rating: 5 out of 5

MOONSHINE #20

Moonshine #20 would read better if the series’ characters were something more than a mix of gangster stereotypes and dialogue trying too hard to be clever. A collection of encounters is interesting because of who occupies them, but here they rely almost entirely on Risso’s stellar artwork, including a particularly effective sequence on what it’s like to sleep beside a werewolf. However, most of the issue rambles between moments that are building towards some eventual conflict, and one that is taking far too long to arrive. When the most memorable element of a comic book containing vampires, gangsters, and Elliot Ness is a new nickname for Tony, that’s a problem. — Chase Magnett

Rating: 2 out of 5

Other Publishers #3

ON THE STUMP #5

Though still somewhat scattered between plot threads, On The Stump manages to even itself off here, giving time to the story arcs and characters who need it the most. At last, some development with Jack Hammer, a welcome sight indeed; even then, that might be the brightest spot of the book. The pacing is a bizarre mix between in-your-face action and calm, soothing exposition—but there’s no buffer between the two and no rhythm to be found. For every question answered, it seems four or five take its place. Though one might hope all is revealed in due time, I’m not sure from what I’ve read yet the long haul on this title will be worth it. — Adam Barnhardt

Rating: 2 out of 5

SEA OF STARS #6

There’a certain awe and wonder to Sea of Stars that is rarely equaled anywhere else in comics, but despite the quirky characters and imaginative world, it doesn’t always make for the most compelling story. At its heart this particular part of the story is about a father in search of his son, but that gets a bit cluttered by all the timeline hopping and eccentric shaman speech. When Jason Aaron and Dennis Hallum’s story is focused on the Kadyn, Kyle, and the rest of the crew and action at hand, it shines, but when it moves aside to focus on a relationship that ultimately doesn’t even matter in the end, it falters a bit, feeling like a pointless exercise when all is said and done. Artist Stephen Green and colorist Rico Renzi deliver some splendid visuals throughout the issue, but again, it feels like half the issue doesn’t really take advantage of that. That final page hook is promising, and there’s a lot to like here, just not that much to love. — Matthew Aguilar


Rating: 3 out of 5

SEX CRIMINALS: SEXUAL GARY SPECIAL #1

One of the most consistent joys of Sex Criminals was the consistent background gags—sex-filled puns reimagining famous films as pornos and twisting so many pieces of iconic imagery into something lewd. Sexual Gary Special is a last hurrah for all of the jokes that never managed to make it into the series, and there are some excellent jokes to be found here (Umberto D.(ick) is a personal favorite). That’s the reason to read this one-shot, though. Sexual Gary isn’t so much a character as an avatar to carry the weight of neverending sex schticks, and his Dirk Diggler routine quickly wears out its welcome. Even the inclusion of a familiar Sex Criminals character does little to bolster interest in panel after panel of unused comedic ideas. Read from front to back, it can be exhausting, but there are plenty of chuckles to be had for fans who want to flip through a few pages at a time. The order of reading doesn’t matter much. — Chase Magnett

Rating: 3 out of 5

SONIC THE HEDGEHOG #31

Sonic the Hedgehog finishes picking up the pieces from the sprawling zombot saga, and begins a new adventure in the final pages of issue #31. All of the characters who receive a check-in here offer some personality and joy, but the overall effect is comparable to a clipshow. The relief of victory has worn off and now these brief check-ins read like status updates. Some moments work better than others, Chaotix’ work specifically highlights the positive, collaborative themes of the series, but it creates a relatively mellow issue waiting for new conflicts to arise. Now that the heroes have had a breather, new threats are prepared and it appears that Sonic the Hedgehog #32 will return readers to the colorful, fast-paced adventures this series excels at providing. — Chase Magnett

Rating: 3 out of 5

TRANSFORMERS ’84: SECRETS AND LIES #3

The charm of Transformers ’84: Secrets and Lies begins to wear thin in its third issue. The exercise in retroactive continuity, using a prequel setting to foreshadow events from the original Marvel Comics run, has become a parade of semi-random clashes between relatively obscure Transformers characters. It is still easy to appreciate the craft that goes into recreating those original Marvel books’ aesthetic, and maybe there’s more to love here for readers with a detailed understanding of the original Transformers comics continuity. Still, it’s hard to recommend on those points alone. — Jamie Lovett

Rating: 2 out of 5

TRANSFORMERS: GALAXIES #9

Transformers: Galaxies stumbles in its conclusion to an arc that had a promising start. Sam Maggs’ script tries too hard not to offend, giving the Reversionists a pass after threatening Cybertron with a “convert or die” ultimatum. Beth McGuire-Smith’s artwork makes some fundamental storytelling errors, such as stacking on panels on the left side, leaving it unclear how the reader should proceed. Taken together, it’s a read that’s harder than it should be, and that ultimately rings hollow. — Jamie Lovett

Rating: 2 out of 5

WE ONLY FIND THEM WHEN THEY’RE DEAD #1

It should come as no surprise to fans of artist Simone Di Meo that this series is absolutely gorgeous. Sleek starships shoot through space several centuries in the future harvesting the corpses of dead gods floating in the void. It’s a high concept that is elegantly presented in Di Meo’s spreads and designs, accompanied by an economical script that emphasizes the most important elements rather than dumping loads of exposition on readers from the jump. That makes this big idea a pleasant read, too, the sort of comic book that’s easy to read and re-read—discovering new details and making connections without that process ever feeling like work. Introducing the series’ high concept leaves little space to develop characters or summon a plot, but there’s just enough here to hook readers into at least one notable conflict (making the antagonists police doesn’t hurt either), and the final page provides all of the reasons one would want to return for issue #2. We Only Find Them When They’re Dead is one of the most ambitious debuts of 2020, and it appears that Di Meo and Ewing are ready to deliver on all of its strange promise. — Chase Magnett

Rating: 4 out of 5