Comic Book Reviews for This Week: 4/17/2024

DC #1

BATMAN: OFF-WORLD #4

While I’m still not particularly sold on Batman: Off-World just because it feels really deriviative, issue #4 is actually pretty good. The previous issues saw Batman largely training so that he could defeat his alien enemies and doing quite a bit of table setting, but now we’re at the point where the Dark Knight is genuinely on an actual mission as he takeson the Blackksun Mining Company who are really up to slave trading across the galaxy. Obviously, Blakksun doesn’t like this and decide that Batman has to go and hires a bounty hunter—the Thanagarian—who is going to give Batman quite the run or his money. What’s interesting here is that this issue gives us a great deal of insight into Batman in this early part of his career as Batman. We get a glimpse of him understanding that he can be about more than just fear and his commitment to justice rather than just retribution. There’s also something kind of cool about Batman just being a little too cocky for his own good and not having the upper hand the way he does in Gotham. All around, this is a truly interesting read and feels like a turning point for this title. — Nicole Drum

Rating: 3.5 out of 5

BATMAN/SUPERMAN: WORLD’S FINEST #26

As I’ve stated many times in reviewing World’s Finest, this is the pure essence of what super hero stories are all about. Waid and Mora take things up a notch in a way that’s both hilarious and deadly serious. Waid has such a clear understanding and is more than willing to bring in as many DC heroes and villains as a story demands, making it all feel organic. Meanwhile, Dan Mora’s art is just as big and god-life as the heroes of the DCU themselves. While the Batman/Superman Annual might have started the story, it isn’t essential to enjoying the beginning of this new arc. World’s Finest continues to be the gold standard of current super hero tales. — Evan Valentine

Rating: 4.5 out of 5

CATWOMAN #64

The “Nine Lives” story arc has been a fascinating development in the overall arc of Selina Kyle, as well as one of the more inventive showcases of the DC Universe’s weird pockets in recent memory. This week’s Catwoman #64 continues that trend in style, delivering another great and unexpected predicament that only Selina can seemingly escape. With clever writing and gloriously cool artwork, this issue sets a high bar for the remaining issues of “Nine Lives.” — Jenna Anderson

Rating: 4 out of 5

GREEN LANTERN: WAR JOURNAL #8

John Stewart’s solo series continues by blending space-fairing action with some interesting moral quandaries surrounding the Green Lantern’s family. Johnson and Montos have something special here, giving us one of the best stories focusing on Stewart on two fronts. The only complaint I really have is that I almost feel like the story would have benefitted from having two artist tackle the different stories, as they work on far different emotional levels. War Journal remains my favorite Green Lantern comic book on the market today and here’s hoping that John continues to fly high far into the future. — Evan Valentine

Rating: 4 out of 5

JAY GARRICK: THE FLASH #6

The final issue of Jay Garrick’s new series does give us an interesting look at the eldest statesman of the Speed Force, it continues to stumble on some of the hang-ups of the previous five issues. Doctor Elemental doesn’t feel like a worthy villain here, as while he does have the connection, he is missing the menace and gravitas that could make him a tad more striking. Everything wraps a little too comfortably at the end here, and it would have helped if Jay and family were dealing with a tad more adversity. It’s a good enough series overall, but it never sprints as fast as Adams’ past work with Wally West. — Evan Valentine

Rating: 3 out of 5

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DC #2

(Photo: DC)

JOHN CONSTANTINE, HELLBLAZER: DEAD IN AMERICA #4

John Constantine, Hellblazer: Dead in America #4 tells a story that every child of small towns in the Great Plains will recognize. The horror at the center of the story is one that’s been covered in national headlines on occasion, like in the case of rapist Brock Turner’s trial and judgment, but those publicized cases are the exception to the all too common rule. It’s a story that stakes itself in familiar Hellblazer territory with a simple con job set to play with occult powers and far more significant events, but the con is satisfying in its execution and the greater stakes provide a sufficient (if not cathartic) response. Every step of this ordeal is executed in tremendous fashion by Aaron Campbell whose nightmarish depictions of small town life and the remembered horrors of this one’s landscape evoke dread without celebrating the terrible acts committed. What’s most impressive about this one-and-done ghost story, however, is how it addresses the question of “What next?”. Even as ghost stories remind us of the worst of our past, there remains a consideration of what should be done now and Dead in America #4 makes an incisive case against falling into despair. — Chase Magnett

Rating: 5 out of 5

NIGHTWING #113

There’s not really a good way to review Nightwing #113 without spoiling most of its major moments, and they’re something you should read and take in on your lonesome. Beware, though, its those moments that will rip your heart for your chest and stomp all over it before shoving it back in and giving you a new appreciation for the medium. Nightwing is the best it’s ever been, and that’s saying something. — Adam Barnhardt

Rating: 5 out of 5

SUPERMAN #13

“House of Brainiac” moves into its second chapter in Superman #13, and the anticipated collision between Superman and Lobo is just as entertaining and destructive as you expected. Writer Joshua Williamson picks right up from Action Comics #1064, and bringing the walking pillar of chaos that is Lobo into the fray only makes things more volatile, though in the best way possible. Superman and Lobo’s partnership immediately produces delightful results, including an out of this world motorcycle sequence that artist Rafa Sandoval and colorist Alejandro Sanchez completely knock out of the park. In fact, it’s difficult for their work not to steal the show anytime Lobo and Superman share the page, though their work on Brainiac does give the duo a run for their money. Those who have been following the series since the beginning continue to reap the rewards as well, with the book’s supporting cast given multiple moments to shine and continuing their individual journeys in the midst of the larger Brainiac plot, which is quite compelling unto itself. The sheer amount of threads at play in the series is impressive, but as always, it’s the characters and their continued evolution that stands above everything else, and “House of Brainiac”‘s second chapter has that in spades. — Matthew Aguilar

Rating: 5 out of 5

TITANS #10

Taylor and Meyer continue to set up the Titans crescendo into something quite serious, slowing building Raven up as a formidable opponent. Although the plot is something this run has already used a few times, the abilities of the character and inter-dimensional traveling involved with the current plot helps set this time apart from the others. Still, most might have hoped that comparison wasn’t even one that needed to be had. — Adam Barnhardt

Rating: 4 out of 5

WONDER WOMAN #8

Wonder Woman #8 is at best tedious and at worst an incredibly overdone example of style over substance. The issue sees Diana trapped in a 1950s inspired domestic hell thanks to The Sovereign and his lasso, but while it is superficially The Sovereign and his evangelical misogyny that is the “evil” here, the “ah ha!” of it all is that it’s Diana’s own limiting beliefs—the particular one being that the rope cannot be broken—that is the real prison that she has to break through to escape from her oppressed alternate reality. It’s a weird enough presentation of the situation made even more clumsy with the heavy use of bible verses spouted by The Sovereign which is itself made clumsy by the fact that as an antagonist or a villain, it’s a character that hasn’t exactly been particularly well-established enough to this point to feel like much of a real threat. As a result, when Diana almost as if by magic manages to right herself and take back her power, it doesn’t quite feel like any of it had any real stakes. The short version? It’s tedious, heavy-handed, weird, and has a muddled message about misogyny and patriarchy to boot. The art, however, is glorious. — Nicole Drum

Rating: 1.5 out of 5

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Marvel #1

AVENGERS: TWILIGHT #5

Avengers: Twilight pits the Avengers against a US Army functionally brainwashed by the Red Skull, as he and Tony Stark’s wayward son plan their not-so-hostile takeover of the United States. Zdarsky and Acuna are a touch heavyhanded on the political analogies, although at this point I think heavyhanded might be the only way to get the point across given the actual state of the world. I liked the fact that, despite facing an entire army of foes, the Avengers are still the Avengers and seem to have an answer for almost every problem. I think this comic is ultimately going to come down to how well the creative team can stick the landing, but it’s been an enjoyable ride. — Christian Hoffer

Rating: 4 out of 5

BEWARE THE PLANET OF THE APES #4

This final issue of Beware the Planet of the Apes pulls off the difficult task of not only offering a satisfying conclusion to this condensed storyline, thanks in large part to a battle between humans and gorillas, but also offers insight into how the events of the larger franchise could be reexamined. Even if the book got off to a rocky start, feeling like nothing more than a way to capitalize on the upcoming Kingdom of the Planet of the Apes movie, the ultimate reveals of the journey helped contextualize seemingly arbitrary elements of previous issues and, while not directly contradicting or correcting any elements of the original movie, offers more context for unexpected decisions in that 1968 film. This miniseries makes not only a satisfying read for devout Planet of the Apes fans but also for newcomers who are excited for the upcoming sequel, while also being a rare book that only gets better as it goes on. — Patrick Cavanaugh

Rating: 4 out of 5

BLACK WIDOW & HAWKEYE #2

There’s a sense of slightness to the story as Black Widow & Hawkeye reaches its midway point and reveals its villain. Much of issue #2 consists of flashback sequences revealing the origins of this current conflict and the eponymous pair’s first meeting. While these provide a better sense of the mystery at hand and character motivations, they also lack connections to the current narrative, which consists almost entirely of a brief action sequence occurring shortly after the end of issue #1. The individual elements of the issue play well enough with clearly portrayed action and consistent characterizations, but they struggle to enhance or reinforce one another. Flashbacks play like window dressing to a story lacking the substance to fill four issues and the inclusion of a villain reveal requiring at least a decade-long depth of Marvel Comics continuity to spot only reinforces this problem. The relationship between these villains-turned-heroes is one of the longest in Marvel Comics history, but Black Widow & Hawkeye seems prepared only to acknowledge that point of interest without building upon it. — Chase Magnett

Rating: 2.5 out of 5

CAPTAIN MARVEL #7

The idea of family and the bonds between them has been prominent throughout Alyssa Wong’s Captain Marvel series, and that idea comes full circle in issue #7. Wong has invested significant time in developing not just Yuna but also her family dynamic and relationship with Carol, and that all pays off in a major way throughout Captain Marvel #7, both in terms of character development and action set pieces. Genis has rarely been such a powerful force, and it’s always fun to see Carol get a run for her money, especially in the hands of artist Jan Bazaldua and colorist Bryan Valenza, who also deliver one unforgettable (and slightly disturbing) hook in the issue’s final sequence. I’m not really sure where things go from here, but that unpredictability is half the fun of this series, and things only look to get more epic from here. — Matthew Aguilar

Rating: 4 out of 5

DEAD X-MEN #4

One word: phew. After reading the finale to Dead X-Men #4, it might be best to take a break and get some fresh air or a reset before continuing on your daily duties. Steve Foxe’s script for this issue is the most intricate of the series, overly dense and chock full of exposition. If it wasn’t clear by now, Dead X-Men is a series born out of the need to connect the dots of the wider “Fall of X” event, even if it does make for some awfully jarring moments. — Adam Barnhardt

Rating: 3 out of 5

FALL OF THE HOUSE OF X #4

Fall of the House of X continues to do itself no favors with its callbacks to the early days of the Krakoan age. In this issue’s case, Apocalypse reenacting the Crucible to feed the starving Krakoa the mutant energy it needs to survive could be a significant moment. Instead, it lacks the sense of ritual gravitas that colored those original Crucible sequences, making the juxtaposition fall apart. Part of this is weakness in the art, which struggles to keep up with Apocalypse’s battle prowess, relying on half-hearted efforts to imply his speed and ferocity by not showing him at all, efforts that prove transparent and lack impact. The rest of the issue lingers on Professor X’s seeming betrayal of the X-Men to save his dream at any cost, another moment that should be momentous but gets buried under narration and the overall soap operatic tone of the issue. Fall of the House of X #4 has a lot going on. None of it quite hits the mark. — Jamie Lovett

Rating: 2 out of 5

GHOST RIDER: FINAL VENGEANCE #2

Parker Robbins’ first official issue exploring the power of the Ghost Rider begins here and it’s a hot one. The Hood was able to latch onto the Spirit of Vengeance thanks to striking a deal with Mephisto, giving the former kingpin of the super-powered underworld a major shot in the arm. Parker as the Ghost Rider works well here, creating the scariest iteration of the Rider to date. Seeing him using the power to get back to his old ways of attempting to take over NYC’s criminal underworld, but with a supernatural twist this time around, works. Unfortunately, all that glitters isn’t gold here as I felt Kim’s art could have used a bit more time in the over during certain scenes. Blaze and his ally also felt like a bit of an afterthought here, but still Final Vengeance is working well on revving the engines of an interesting premise. — Evan Valentine

Rating: 3.5 out of 5

GIANT-SIZE THE INCREDIBLE HULK #1

As with any “Giant-Size” there are a couple of stories in this Hulk issue, but the one that ties to the current ongoing is obviously the most impactful. It’s a wonderful bridge issue to take us from New Orleans to Bruce’s next destination, and he spends the journey pondering how to fix what happened with Charlie. Throw a Crossroads Devil on the train and you’ve got the recipe for another great addition to this already stellar Hulk story. — Charlie Ridgely

Rating: 4 out of 5

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Marvel #2

(Photo: Marvel Comics)

MILES MORALES: SPIDER-MAN #19

Miles Morales: Spider-Man‘s creative team ramps the drama up to a 10 on the stressful scale, but issue #19 does not disappoint. It’s not easy to introduce a new antagonist for our heroes and make them stick, but that’s exactly what’s happened with Rabble. She knows Miles’ secret identity and can attack him on a personal level, and it really felt like something tragic was going to happen to either Miles, or someone in Miles’ supporting cast. While I won’t give away how things end, there is a surprisingly happy ending that readers should enjoy. This was another story arc that proves Miles Morales is worthy of the Spider-Man mantle. — Tim Adams

Rating: 5 out of 5

ROXXON PRESENTS: THOR #1

Roxxon Presents: Thor #1 is a comic book artifact made real. It’s the issue that the Minotaur gives Thor to read, an issue that—with the help of Enchantress and Skurge the Executioner—will rewrite Thor’s existence to better synergize with the Roxxon Corporation’s corporate goals. As part of Al Ewing’s ongoing Immortal Thor story, Roxxon Presents: Thor #1 is a crucial look at a core theme, what corporately-owned comics and other mass media could do—or is it, have done—to how we tell stories. And within these pages, Ewing makes the case for why that is a vitally important thing to consider. — Jamie Lovett

Rating: 5 out of 5

THE SPECTACULAR SPIDER-MEN #2

One thing that writer Greg Weismann is able to do fantastically here is focus on the supporting characters to both Peter and Miles. It can be quite difficult for any writer to juggle so many different talking heads at once, but Weismann is able to do so with ease here. Greg has a serious knack for continuity, pulling random events from the Spideys’ past and some characters that you might not see coming. On top of Weismann’s writing, Humberto Ramos brings his eclectic energy and gives readers some of his best work to date. Spectacular Spider-Men feels like a gift to both old and new fans of the web-head and it’s not to be missed. — Evan Valentine

Rating: 4.5 out of 5

SPIDER-BOY #6

Spider-Boy #6 delivers one of the series’ strongest issues yet, and crazily enough there’s not a Spider-Man in sight. That allows Dan Slott to shine the spotlight on Bailey, Christian, and Madame Monstrosity’s Humanimals, and the more the book leans into those elements and characters the better it gets. The issue’s big revelations hit hard and bring up huge questions, and that only makes Christina’s current predicament more compelling, exploring the Humanimals from the inside. Paco Medina, Walden Wong, and Erick Arciniega work wonders with “The Man Upstairs,” and Julian Shaw and Her Sifuentes-Sujo keep the train running in “So You’re Now a Humanimal,” with both stories featuring their own signature visual flair while feeling part of the same world. Spider-Boy continues to be an absolute delight, and the more we learn about his world and his past, the more undeniable this book becomes. — Matthew Aguilar

Rating: 4.5 out of 5

SPIDER-WOMAN #6

Jessica Drew tries to find solid ground after the painful revelations of last issue in Spider-Woman #6, though as you night assume, her journey encounters some unexpected challenges along the way. Writer Steve Foxe shifts the setting and it produces immediate results, including a thrilling sequence on a train from the team of artist Ig Guara and colorist Arif Prianto. The villain is a bit surprising but the way she’s woven into Jessica’s ongoing story is intriguing, as is the tease of new characters and challenges lying in wait for Jessica. It still feels odd to be moving across country as opposed to tackling the events of the past few issues head-on, but I’m giving the series the benefit of the doubt that it will all connect down the road. — Matthew Aguilar

Rating: 4 out of 5

STAR WARS: MACE WINDU #3

Mace Windu’s attempts to safely escort Azita Cruuz back to the Jedi Order continues, despite the fact that not everyone respect’s Mace’s status as a jedi. From a narrative standpoint, there’s not much to report on with this issue, as it’s merely the next chunk in a sequential and extended chase scene. Even if the story itself doesn’t have major ramifications on the galaxy far, far away, it’s still impressive that we’ve basically been given a three-issue chase scene that showcases not only Mace’s skills as a Jedi, but also offers insight into his personality. Plenty of their Star Wars comics also unfold in a linear fashion, yet something about this book feels more akin to the spirit of the live-action The Mandalorian in how there seems to be a single objective for our main characters and audiences get to enjoy each step along the way, no matter how mundane it might be. With only one issue left, the book has the chance to end on a strong note and be an entirely satisfying miniseries, and even if the ending is completely botched, we’ve still been given quite a consistently entertaining experience thus far. — Patrick Cavanaugh

Rating: 4 out of 5

ULTIMATE BLACK PANTHER #3

Despite a first issue that seemed to maintain the status quo, writer Bryan Hill has managed to find a unique path for this version of Black Panther as the series has continued and issue #3 keeps this going. Series artist Stefano Caselli is tasked with making a mostly dialogue heavy issue interesting to look at and visually engaging, which he handles with ease by being a master of movement across paneling. Color artist David Curiel also wrangles a tough task by showcasing sequences set almost entirely in the night or in caves and makes everything visible and full of depth. — Spencer Perry

Rating: 4 out of 5

WHAT IF…?: VENOM #3

There’s not much to say about What If…?: Venom #3. Unlike the previous issues with She-Hulk and Wolverine (and most stories regarding a symbiote, now that I think about it), Venom’s attempts at trying to control Dr. Strange are completely rebuked. There’s no inner turmoil, Stephen’s “Venomized” version is gone almost as quickly as it arrives and the book doesn’t try to do much exploring into what a symbiote version of Strange’s magic would look like beyond giving his cape an upgrade. But just like the other issues, it’s more concerned with sprinting towards a big crossover finale with Moon Knight than it is exploring any of these combinations. And for that I remain slightly disappointed. — Connor Casey

Rating: 3 out of 5

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Other Publishers #1

7147AD #1

Despite being published by the biggest independent publisher in the land, 7147AD #1 feels like an underground comic through and through. A house style is far from this comic from Louise & Wood, and in its place are two stories as kinetic and attention-grabbing as the last. In both instances, dialogue and communication is light in favor of massive, page-breaking set pieces to usher the pace along incredibly quickly. — Adam Barnhardt

Rating: 4 out of 5

ANIMAL POUND #3

Animal Pound #3 arrives at the heart of its story as the Pound’s politics emerge in a long series of elections. The series’ narrative approach works well for this rapid time progression with years unfolding without losing track of key characters, evolving conflicts, and significant moments. Throughout this slow evolution of a two-party system, small improvements, and minor setbacks the comparison to Animal Farm finally becomes clear as the threat to the Pound emerges. Piggy, the webcam star and generally beloved idiot of the community, quickly develops as a Trumpian figure in Animal Pound #3. The parallels are difficult to miss and throughout the timeline in issue #3 are several key moments that reflect modern history. Wherever Piggy’s story is ultimately leading—an interesting question given the person and conflicts he reflects is far from resolved in the United States itself—it makes the allegorical comic function much better. This rapid development of both norms in the Pound and the disruptor coming to tear them down is made much more accessible by Peter Gross’ outstanding linework, which summarizes major moments in a singular image and reliably presents emotionality in characters without distorting their animal features. It’s an impressive looking comic book that, having arrived at its thesis, becomes a much more interesting and exciting read. — Chase Magnett

Rating: 4 out of 5

ARMY OF DARKNESS #7

Tony Fleecs continues to pave an amazing path forward for Army of Darkness comics, revealing that there is still life to be found in the franchise. Artist Pop Mhan fills in for the issue and though there is a noticeable difference from Justin Greenwood’s work in earlier issues, it’s not bad, just different, almost a more MTV Animation style. Color artist Brad Simpson keeps the seams near invisible though, making the images and action pop. — Spencer Perry

Rating: 4 out of 5

ASSASSIN’S APPRENTICE II #5

I understand that Assassin’s Apprentice is a decades-old, multi-book saga with more than enough of a fanbase to warrant this impressive comic adaptation. That being said, the overwhelming bulk of the second volume’s fifth issue is a man incessantly abusing pre-teens as a form of “training.” It flirts with being outright uncomfortable, something not even the expertly-written prose can overcome. — Connor Casey

Rating: 3 out of 5

BLOW AWAY #1

Blow Away #1 is a rare first issue that works on practically every level. Thompson makes expert use of the setting and environment to stage a story that is both raw and rich, utilizing the artwork in a way that supports its efforts without overpowering or over-reliant upon it. There are plenty of rich and interesting details and plenty of mysteries to unpack while still giving the reader just enough to compel them deeper into a complex and harrowing journey. — Nicole Drum

Rating: 5 out of 5

BLUE BOOK: 1947 #3

Blue Book heads to Roswell in the third installment of their flying saucer-focused tale. The slow and methodical take on the birth of UFOs in popular culture has gotten a bit more interesting as it delves into the most well known UFO incident in US history, but honestly this comic is still incredibly dry. The second story, per usual, is definitely the more interesting of the pair, with a story focused on urban legends around a remote road in New Jersey. — Christian Hoffer

Rating: 3 out of 5

COBRA COMMANDER #4

The character dive into Cobra Commander has been a welcomed surprise, giving depth to one of the most paper-thin villains of the 1980s toy-based cartoon empire. His desperation and unbridled ruthlessness are on full display in issue #4, culminating in a swift-yet-brutal fight with Nemesis. The real question now is how Image will pull off weaving Cobra Commander’s story in with the Duke series as they’re clearly on a collision course but have been kept apart up to this point. — Connor Casey

Rating: 4 out of 5

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Other Publishers #2

THE DISPLACED #3

Brisson and Casalanguida continue to weave their fascinating new horror story for Boom, as “The Displaced” attempt to figure out how to survive in a world that not only has forgotten them in the past, but continues to do so in the present. The Displaced‘s world adds some interesting foils to their new lives, coming up with new challenges, and benefits, to their current predicament. Boom has found a niche for itself in creating some of the best horror comics on the market today, and The Displaced earns its place amongst them as it continues to pitch twisted curveballs at its readers. — Evan Valentine

Rating: 4 out of 5

GOLGOTHA MOTOR MOUNTAIN #2

Talk about a trippy comic book. Though, that should be expected when one of our central characters takes a dose of a cosmic space rock. Golgotha Motor Mountain #2 masterfully weaves in a tale of a movie called The Pistolero, which intersects with the main story and characters. The art does a good job of taking readers from the world of Golgotha to this deranged, drug-induced horror flick as well. — Tim Adams

Rating: 3 out of 5

HACK/SLASH: BACK TO SCHOOL #4

Zoe Thorogood sticks the landing in a big way with Hack/Slash: Back to School, ending the story on a note that cements its place into the canon without undoing anything else before or after it. Naturally it comes with a heavy dose of tragedy, but still manages to be scary, sexy, and fun. There are a handful of images in the final issue that feel rushed, but they’re fleeting, by the time you get to the moments where Thorogood fully channels her combination of tactile hand-crafted art styles you’ve forgotten that they looked off. — Spencer Perry

Rating: 4.5 out of 5

HELEN OF WYNDHORN #2

Helen of Wyndhorn #2 continues to explore the magisterial estate, its fantastical secrets, and strange legacy introduced in the debut issue as Helen and her grandfather’s orbits slowly intersect. Although the first issue concluded with the revelation of a genuine monster, the second issue steps away from those terrifying visuals to establish a norm for the individuals occupying this setting. There are new wonderful creatures who appear, but they are bound to surprise readers and slowly build out whatever is yet to be revealed in a more natural fashion. This approach also emphasizes character over action, without burdening the series’ pacing. By the issue’s end there is a tremendous degree of excitement developed about whatever is to come and it’s bound to be better for the definition provided to characters and their relationships here. As the broader story develops, Bilquis Evely’s presentation of every portion of this setting remains absolutely stunning. Even the interiors of the manner are bound to impress with vaulted ceilings and detailed backgrounds filled with books, wine, or weapons. Yet the exterior establishing panels are consistently jaw-dropping and provide readers sufficient cause to keep reading with wondrous green fields and gardens that appear to be from another world, perhaps they are. — Chase Magnett

Rating: 4 out of 5

I HEART SKULL-CRUSHER #2

I Heart Skull-Crusher is such a wild little anime sports adventure. It’s got dark humor in droves and a character at the heart of the story that you can’t help but love, in spite of her own absurdity. The heart and fun packed into every page make this series a genuine page-turner. — Charlie Ridgely

Rating: 4 out of 5

JAMES BOND 007 #4

James Bond 007 #4 really feels like the classic Ian Fleming Bond, with a focus on spycraft and unraveling state secrets as opposed to big bombastic action sequences. This was a really fun issue, with Bond and Moneypenny determining whether M was a mole or if they were just being set up, and determining how much they were getting played by their mystery foe. Honestly, this is a great James Bond series, one that blends the ruthlessness of the original novels with some of the theatrics of the movies and Garth Ennis’s very distinct humor. — Christian Hoffer

Rating: 5 out of 5

JOHN CARPENTER’S TOXIC COMMANDO: RISE OF THE SLUDGE GOD #2

After the release of monstrous demons, a military force is sent in to contain the situation, which is, as expected, easier said than done. Like the debut issue, this next chapter in the series doesn’t do much to reinvent the wheel and instead borrows elements from a variety of horror and sci-fi genres, but what actually works in this chapter’s favor is just how many tropes are brought together and the pacing in which they are all balanced. We’ve got undead monsters, massive demons, bloodthirsty soldiers, and a bizarre cult, yet what specifically sets the book apart is a relatively lengthy focus on the inner workings of the corporation that has unleashed these terrors. By devoting just slightly more time to the ousting of a company’s founder for what he’s unearthed, the book feels somewhat fresh from a tonal perspective and the overall blend elevates it above the sum of its parts. With only one issue to go, this seeming cash-in on John Carpenter’s name could end up being surprisingly entertaining, or squander all the goodwill its earned. — Patrick Cavanaugh

Rating: 4 out of 5

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Other Publishers #3

JUSTICE DUCKS #2

Justice Ducks continues to further explore the universe of the Terror That Flaps in the Night, a.k.a. Darkwing Duck, in a way that would fit right into the Disney afternoon timeslot. Unfortunately, it doesn’t do much else for better or for worse. While there are some funny gags and the artwork is pitch perfect to that original animated series feel, it doesn’t break the wheel that some past entries in the Darkwing comic book history did. Justice Ducks is a light, breezy read that is able to capitalize on its characters but ultimately feels a tad lacking when it comes to creating something that could be more than its window trimmings. — Evan Valentine

Rating: 3 out of 5

KILL YOUR DARLINGS #8

In many ways, I wish Kill Your Darlings was bigger. Between the time skip and the final climactic battle, so much of this story called for it to be told as an epic saga on a grand scale, something that spans years rather than a mere eight issues. Yet what we have is excellent, and a surprisingly happy ending given how twisted the tale began. — Connor Casey

Rating: 5 out of 5

LOTUS LAND #6

Lotus Land is able to stick its landing as the mini-series brings its story to a satisfactory conclusion, if not a conclusion that is both life affirming and somewhat unsettling at the same time. It’s clear that Boom’s latest noir style series takes a page from Blade Runner, and certainly, this finale solidifies that. This ending is by no means a happy one, but it’s one that feels earned and works in tandem with the universe created by Van Poelgeest and Filipe. I’ll cross my fingers that Boom will bring back this universe in some form or fashion, though whether or not Strikman is at the helm is another story all together. — Evan Valentine

Rating: 4 out of 5

MOON MAN #2

Scott Mescudi and Kyle Higgins pen the script for Moon Man, which goes heavy on its exposition in the first half to a somewhat detrimental degree. The stylized work of series artist Marco Locati doesn’t exactly work in these dialogue heavy sequences, which feels like it’s spinning its wheels to get Locati to the almost totally silent second half where his art takes the spotlight. Color artist Igor Monti does great work in the comic’s big action scenes, delivering bombastic and vibrant layers on top of Locati’s great pencil work. — Spencer Perry

Rating: 3 out of 5

QUICK STOPS II #4

As if it wasn’t out of hand from the first page of the first issue, Quick Stops II really leaps off the rails by the time it comes to an end. Jay and Silent Bob get shoehorned into a story that was already lacking sense or a reasonable hook, only for it to introduce sacrificial cult elements in the finale? There has never been a real purpose for this series since it began and it’s frustrating that there wasn’t even an attempt to find one by the end. — Charlie Ridgely

Rating: 1.5 out of 5

RICK AND MORTY FINALS WEEK: BRAWLHER #1

The world of Rick and Morty tie-ins can be a bit of a mixed bag, but the second chapter in the “Finals Week” anthology definitely grew on me. As the family is thrown into a video game—and, in the process, a self-aware battle of the sexes—endearing character beats and fun puns are aplenty in Christof Bogacs’ script. Beck Kubrick’s art fits the house style of the series but with some cute flair, especially where the more outlandish sequences are concerned. — Jenna Anderson

Rating: 4 out of 5

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Other Publishers #4

(Photo: Boom Studios)

SAM AND TWITCH: CASE FILES #2

Sam and Twitch: Case Files is proof that Todd McFarlane is stretched too thin. As if having your hand in 10 different Spawn titles didn’t already look exhausting, almost nothing happens throughout the issue and what does is something you’ve seen before. Artist Szymon Kudranski does his best with what he’s given, channeling a specific visual palette that calls back to the noir genre in a way that the story itself does not capture in the slightest. — Spencer Perry

Rating: 2 out of 5

STAR TREK #19

There’s never a dull moment for the crew of the U.S.S. Theseus. Having averted a galactic war, the new arc “Pleroma” sees the group summoned to a meeting of the godlike beings of the Star Trek universe as they attempt to heal the wound in spacetime left behind by Kahless’ use of the Orb of Destruction. Kelly and Lanzing do a great job balancing the needs of their ensemble cast. The call of the divine is but the latest stage of Captain Sisko’s internal struggle with dual his human and Prophet, but it also speaks to the personal motivations of other members of the crew, such as Dr. Crusher’s desire to see her son again and everything we learn about T’Lir at the start of the issue. Megan Levans’ clean, clear artwork that remains consistent with the visual language of the series’ previous 18 issues, and Lee Loughridge’s lively colors brighten up every page. All in all, Star Trek #19 kicks off what has the makings of another fantastic Star Trek story. — Jamie Lovett

Rating: 4 out of 5

STAR WARS: THE HIGH REPUBLIC – SABER FOR HIRE #1

Every Star Wars: The High Republic comic series has done a good job of introducing intriguing, likable characters to this new era. Saber for Hire is no different in that regard. The only issue is that, with so many High Republic comics out there and all of them bringing solid characters into the mix, these books need to start raising the bar a little higher if they want to stand out. Saber for Hire doesn’t necessarily accomplish that task, but it’s not a bad read by any means. — Charlie Ridgely

Rating: 3 out of 5

TEENAGE MUTANT NINJA TURTLES: THE UNTOLD DESTINY OF THE FOOT CLAN #2

Teenage Mutant Ninja Turtles: The Untold Destiny of the Foot Clan #2 is an action-heavy issue and thus benefits from Matteus Santolouco’s sharp linework, fluid compositions, and dynamic layouts. The issue sees the Foot Clan baiting their new rivals, the Dog Star Clan, as Karai struggles to learn the magical ninjutsu techniques that her grandfather, the Shredder, chose to pass down to the Turtles instead of to her. Karai’s previous defeat at the hands of the Dog Star Clan creates dissension within the Foot Clan’s ranks, which writer Erik Burnham takes as an opportunity to craft a compelling scene involving Zodi and Rocksteady. The former hints at ambitions to replace Karai as the Foot Clan’s leader and expresses an anti-human sentiment, which Rocksteady confronts with steadfast loyalty to Karai formed from how she has previously proven her strength regardless of her non-mutant status. Both follow a brutish “might makes right” mentality, which Burnham capably mines for shades of difference to craft an involving conflict from relatively simple characters. — Jamie Lovett

Rating: 4 out of 5

UNDERHEIST #3

There is a particularly tense sequence in Underheist #3 in which David reencounters Mr. Wexler and is brought back to the scene of the crime. David Lapham has already made the tone of Underheist a consistently unsettling affair and that remains true in opening pages filled with shadows, disfigured faces, and occult elements. But the most distressing part of the issue comes from the classic gangster scenario in which an inside man has to play it cool. The results in that sequence are absolutely riveting. Beyond that particularly effective element, Underheist #3 continues exploring the supernatural nature of its setting and provides some notable clues to readers about what exactly is going on. Read on a monthly basis, this can often seem disorienting, but when collected that disoriented feeling clearly reflects David’s state of mind and is building toward some sort of (likely terrifying) answer. Wherever Underheist is headed, the crime elements are plenty satisfying until the horror has an opportunity to deliver on the promises presented here. — Chase Magnett

Rating: 3.5 out of 5

THE WEATHERMAN #4

Things come to a bit of a crossroads in The Weatherman #4. Jenner and Ian deploy their virus weapon on Venus while a coup upends the Presidency with Mars in the crosshairs all as Cross figures out exactly how Jenner plans to use one weapon to destroy two populations. The issue is one full of tension and urgency as it truly becomes a race against time to get Cross in position to see if they can stop the end of humanity from happening in what might be the worst possible odds yet. Story wise, this might be some of the most engaging of the run to date with the stakes never having been higher. The issue does feel slightly rushed, but that’s more a product of what is going on and less the writing – we’re coming down to the wire and things are getting crazy and it shows. — Nicole Drum

Rating: 3.5 out of 5

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