Comic Book Reviews for This Week: 11/29/2023

The Pull List: Spider-Man Gang War

The Pull List is back on Comicbook.com with reviews of all the week’s hottest new comic books, from the kick-off of Spider-Man Gang War: First Strike, to an amazing and dark new origin for the original Green Lantern…and even a look at the last days of Moon Knight!

So just who is Spider-Man facing off against in his new Gang War: First Strike run…and can shake the wall-crawler out of his funk?

And just how has DC reinvented the origins of Alan Scott, the Original Green Lantern?

Watch The Pull List and find out!

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DC #1

ACTION COMICS #1059

Action Comics #1059 isn’t bad, but it’s not good. It falls kind of in the middle when you take in all three stories in the issue. The first, the main story, “New Worlds” part three is solid. We get the full showdown between the Super Family and Blue Earth as well as all of its frustrations in how extremism can be manipulated for public consumption, but there’s a twist about Norah’s real identity—and interestingly it’s Lois who more or less sorts it out first—that upends everything as it comes too late. It leaves everything on a major cliffhanger that feels like everything is a setup for something much much bigger. The second story, “Secret Identity” part two isn’t terrible and shows Gene Luen Yang’s creativity for sure, but there’s the sense that the story is a little undercooked and unfinished – there are bits and aspects that feel confusing at times and could have been fleshed out more when it comes to Keenan Kong’s story The third story, “A Heart In Metropolis” just feels like a poorly done lift of Superman: The Movie just with Jon and Jay and the art isn’t particularly great here. The result is an issue that is just a mixed back that gets progressively less good as it continues. — Nicole Drum

Rating: 3 out of 5

ALAN SCOTT: THE GREEN LANTERN #2

Only two issues in, this series has established itself as a surprising—albeit, occasionally a bit too ambitious—reinvention of Alan Scott. Without getting into spoilers, Tim Sheridan’s script is both sweeping and incredibly intimate, offering fans a lot to chew on with regards to Alan’s past, present, and future. Cian Tormey’s art gorgeously fits within a sort of house style, although some visuals occasionally require a bit of a double take. By and large, Alan Scott: The Green Lantern is succeeding at everything it’s supposed to be, and that’s great to see. — Jenna Anderson

Rating: 4 out of 5

AMAZONS ATTACK #2

It’s not often a companion book is as good strong as its flagship, but Amazons Attack comes pretty close. Each of the four lead characters gets the right amount of time to develop and differentiate themselves, creating a great balancing act of a core ensemble. Pair that with social commentary that consistently strikes the right chord, this series is firing on all cylinders. — Charlie Ridgely

Rating: 4 out of 5

BATMAN ’89: ECHOES #1

Writer Sam Hamm, artist Joe Quinones, and colorist Leonardo Ito return to the Batman and Batman Returns universe with Batman ’89: Echoes. Following last year’s Batman ’89 series, Batman has been missing for years, but his impact on Gotham is still felt through the would-be copycats, who have inexplicably become the target of rage-fueled outbursts. Other “echoes” of Batman and the Joker’s presence in Gotham include Barbara Gordon, whose pending transformation into Batgirl is foreshadowed by visual clues like the yellow trim of her coat framing her like a cape. Elsewhere is Dr. Harleen Quinzel, a fame-chasing celebrity psychiatrist. The Burton-verse Harley Quinn’s shallowness is a far cry from the antihero Harley that’s become a pillar of DC, veering closer to Bruce Timm and Paul Dini’s original imagining of her as having only ever gotten into psychiatry to use Arkham’s inmates to achieve fame while mostly skating by on looks instead of skill. Hamm cleverly suggests a professional rivalry with Dr. Jonathan Crane, the future Scarecrow, making it suddenly occur to me that their shared past vocation has gone largely unnoted in Batman stories until now (at least to my knowledge). When thinking back on Tim Burton’s Batman films, it’s the gothic aesthetic that endures. Quinones’ tight linework and framing, and Ito’s blue-purple color palette imbue it onto every page of this issue. With its unexpected ending, Batman ’89: Echoes #1 is a thrilling return to a fan-favorite era. — Jamie Lovett

Rating: 4 out of 5

BATMAN BEYOND: NEO-GOTHIC #5

Batman Beyond: Neo-Gothic has evolved past being simply a Batman Beyond story and more a story of two halves of Gotham fighting for survival, and that’s part of what’s made the series so fascinating. Neo-Gothic #5 is the epitome of this struggle, with the larger scale battle taking precedence over the narrower beginnings of the story. That’s not a bad thing though at all, and it’s impressive how well writers Collin Kelly and Jackson Lanzing weave those grander elements into the story. The Green and John Constantine’s roles in this could easily derail the whole thing, but Kelly and Lanzing keep the plane on course and the goal in sight. Artist Max Dunbar and colorist Rain Beredo have a field day with those elements by the way, and the battles sequences in this issue are off the charts, especially when Constantine is involved. I’m curious to see how this plane lands, but Neo-Gothic has never failed me yet, so I’m not betting against it now. — Matthew Aguilar

Rating: 4 out of 5

BATMAN: THE BRAVE AND THE BOLD #7

The most recent installment in Batman: The Brave and The Bold delivers some excellent elements, but the anthology struggles to make its sum greater than any individual part. “Pygmalion,” fails to function as the issue’s A-story as its second chapter quickly dispenses with the mystery of a memory-less Batman for a much more familiar plot. The change in approach is sudden enough to question why so much space was invested in developing a premise in the first chapter that’s largely done away with in the second. “Wild Dog: Here Comes Trouble” proves to be the issue’s highlight combining an appreciation for midwestern eccentricities, an understated sense of humor, and outstanding action sequences. “Aquaman: Communion” may appeal to readers seeking out sci-fi oddities as Gabriel Hardman’s depictions of both aliens and sentient Earth creatures make for excellent splashes, but the hook of its plot is lacking. A final installment featuring The Demon provides some fine opportunities to showcase Matteo Scalera’s artwork in sequences filled with shadows and fire, but also lacks much in the way of a conclusion. The Brave and The Bold is still collecting some outstanding comics talent, but it’s clear that most of these stories would be considered B-sides for good reasons, all but Wild Dog’s, at least. — Chase Magnett

Rating: 2.5 out of 5

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DC #2

CITY BOY #6

City Boy‘s finale is definitely fitting for its titular protagonist, even if it is just a bit too understated at times. Cameron’s grip on his powers—and the threat they might pose for the entire DC Universe—come to a head in a visually-cool chaos, and Greg Pak’s script delivers enough heart and nuance where it needs to, even as other elements are rushed. Minkyu Jung’s art has fun in that cacophony, even if it falls a little bit flatter in the issue’s quiter moments. There’s no telling what the future will hold for City Boy, but at least this storyline got to stick (enough of) its landing. — Jenna Anderson

Rating: 3.5 out of 5

CYBORG #5

The Titans guest-star alongside Cyborg in this one, and they do a good job playing supporting roles and allowing Cyborg to shine in his own comic book. We get some extra art from Travis Mercer in this one, and I enjoyed his style a lot more than Tom Raney’s. It seemed to fit the characters better. Solace is a good adversary for Cyborg, and hopefully he sticks around when the series finishes up. — Tim Adams

Rating: 3 out of 5

DETECTIVE COMICS #1078

Catwoman’s rescue attempt is officially underway, as Gotham’s heroes and villains make their move to rescue Batman from a public execution. Catwoman’s attack on the Orghams is perhaps the most organized attempt to thwart the new villain’s grip on Gotham yet, although it’s still a little murky what’s changed since the Orghams put Batman on his heels the previous arc. Is it the change of personnel, a more prepared counter-attack, or just a contrivance of plot? Still, this is a very engaging issue and the one-page reveal early in the issue hints at even more chaos to come. — Christian Hoffer

Rating: 4 out of 5

THE FLASH #3

Each new fold in the mystery surrounding the Speed Force makes the eldritch horrors and impossible physics added to The Flash all the more tantalizing. The Flash #3 pairs up Wally West and Max Mercury to investigate and, combined with Mr. Terrific’s own observations reveal new layers that could be plumbed for months, or even years, to come. There are threats present throughout the issue but it never needs to provide a supervillain in order to establish stakes. Rather, the unknown itself proves more than sufficient in summoning terrifying possibilities. Deodato’s layouts remain central to unpacking this new perspective on space-time in superhero comics with metaphors from the story about poking and unfolding space leading into literal visualizations that make the entire ambitious approach gel exceedingly well. Wherever The Flash is going, it has shown readers it has the style, story, and skill to make this mystery one worth following wherever it leads next. — Chase Magnett

Rating: 4.5 out of 5

GREEN ARROW #6

There are reunions and surprises galore, as DC wraps up the first storyline in Green Arrow’s new series. The change in artists for the different storylines isn’t too jarring, but Sean Izaakse is the standout. It seems every issue of Green Arrow has to include an almost splash page-like shot that tugs at the heartstrings, and that continues here. Amanda Waller looms large, and it feels like her story is only starting. — Tim Adams

Rating: 3 out of 5

HARLEY QUINN #34

Harley Quinn #34 is just weird. That is no real surprise because this whole run has frankly ben extremely weird, but there’s something nice about seeing Harley stand up for herself this issue as well as a quiet little reunion between Harley and Ivy which is what the issue really needed amid the chaos of a few too many puns and visual jokes. There’s also the bizarre introduction of Harley AI and while I’m still not sold on this story knowing what it’s doing, at least this issue was both kind of fun to read and visually fun to look at. — Nicole Drum

Rating: 3 out of 5

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DC #3

(Photo: DC)

THE PENGUIN #4

The promising aspect of The Penguin #4 is the promise that the story will begin in the next issue. While the addition of an ex-flame and advisor makes for the best of the “getting the band back together” installments, that doesn’t set a terribly high bar either. Framing this particular installment as a job utilizing the entire team is intriguing, but it also makes all of the individual elements of that team, including both Oswald and The Help, seem borderline incompetent. The arrangement of this particular plot is too cute by half and raises a number of questions that will never receive an answer. It’s the inclusion of some romantic tension and a partnership wherein Penguin isn’t a singularly dominant figure that marks some promise for future development. It also showcases how well de Latorre can assemble the pieces of a multi-faceted plan on the page, even if this one isn’t particularly compelling. Yet the promise remains that next month The Penguin will start owning its’ obvious potential. — Chase Magnett

Rating: 3 out of 5

POWER GIRL #3

Paige is someone you can spend hours with and not tire of her story or character. She’s complicated, frustrated, hurt, and sometimes messy, just like the rest of us. Such care is put into bringing her to life that this Power Girl series continues to be one of the better character studies DC is publishing at the moment. — Charlie Ridgely

Rating: 4 out of 5

STATIC: SHADOWS OF DAKOTA #7

Static: Shadows of Dakota ends with a confrontation between Static, Ebon and Dr. Lennox, who has been experimenting on various Bang Babies. While I feel that the final fight suffered a bit from its sterile lab setting, this was still a solid issue that delicately framed Lennox with the young gifted child who was killed earlier in the miniseries. I’ve enjoyed this Static miniseries – it’s shown a lot of heart and Nikolas Draper-Ivey’s art style has really shown compared to last issue. A big step up from the previous Static series and a good sign for the future of Milestone. — Christian Hoffer

Rating: 4 out of 5

STEELWORK #6

Steelworks comes to an end having me hope that we see John Henry Irons returns with a series that is ongoing. The latest series focusing on this Man of Steel had some issues, specifically when it comes to its villains, but had enough gas to warrant Superman fans, and DC Comics fans in general, to give it a look. Some interesting ideas were shown off in how Irons was hoping to protect Metropolis versus the Super Family, and the final issue gives us some big and bright moments for Metropolis’ heroes across the board. Steelworks pays homage to John Henry Irons as a character and it lays the groundwork for plenty of interesting territory to cover should DC decide to do so. — Evan Valentine

Rating: 3.5 out of 5

TITANS: BEAST WORLD #1

Titans: Beast World, the latest DC Comics crossover, is most assuredly worth your time and feels like a breath of fresh air in an industry that can often rely too much on company-wide stories. Taylor and Reis are both performing at their best in Beast World #1. For fans of the Titans and DC’s legacy characters in general, this feels like the comic book crossover bound to give those characters their day in the sun. The Titans represent a perfect mix of down-to-earth storytelling and the “gods walking amongst men” feel that the DC heroes exude in these pages, suggesting an incredible crossover ahead. — Evan Valentine

Rating: 4 out of 5

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Marvel #1

THE AMAZING SPIDER-MAN GANG WAR: FIRST STRIKE #1

Introductory issues for events often provide a tough road for creators as they serve many, often conflicting purposes. The Amazing Spider-Man Gang War: First Strike is tasked with catching readers up on recent events in Amazing Spider-Man while establishing threads both for the core series and nearly a half-dozen tie-ins. Yet the writers and artists involved manage to make this one-shot a satisfying, if busy and exposition-heavy introduction to the very fun status quo of Amazing Spider-Man and a crossover that’s ready to unleash some of that series’ best historical elements with lots of streetlevel heroes and villains slugging it out all over New York. Once one looks past the expository dialogue restating recent events and occasionally odd jumps between characters, there’s plenty of meat on the bones of First Strike. Even readers of Amazing Spider-Man will find themselves in for several big shocks as the power dynamics of this sprawling gang war alter themselves more than once. What’s most impressive is how that scale is displayed with so many bosses and vigilantes filling the space. The set up for this chaotic event is abundantly tantalizing and First Strike walks the line as both a catch-up for new readers and entertaining addition to the story. — Chase Magnett

Rating: 4 out of 5

CAPTAIN AMERICA #3

There are fantastic ideas sprinkled throughout this Captain America series, and focusing on any one of them could probably result in a good tale about the Star Spangled Man. But putting all of them at the center of the narrative has turned the entire thing into a confusing mess. There are a few pages in this issue dedicated to talking trash about Nazis, and that is awesome. It’s also, unfortunately, the only enjoyable sequence in the whole thing. — Charlie Ridgely

Rating: 1.5 out of 5

HOWARD THE DUCK #1

Marvel is celebrating Howard the Duck’s 50th anniversary in style with Howard the Duck #1, a one-shot that reunites Chip Zdarsky and Joe Quinones, the creative team behind both of the Howard the Duck series that launched in 2015 (it was a weird year) remains the best thing done with the duck since creator Steve Gerber stopped writing him. While Zdarsky and Quinones’ contribute only the frame story to this What If-like anthology, it’s still the best part of the book. Quinones’s linework is tight and his characters are energetic and emotive. Zdarsky’s humor is still sharp and the perfect tone for Howard the Duck, including the recurring sad Spider-Man gag, back from their previous run. The Peeper is the best new character of the year, and Zdarsky applies just the right amount of pressure to the fourth, not quite breaking it all the way as a Deadpool comic might, but gently prodding it enough that readers in the know get the joke. Dan Kibblesmith and Annie Wu provide the best What If story, imagining what might have been if Howard the Duck had won his presidential bid back in the 1970s. Wu’s artwork is always great, and colorist Ian Herring manages to walk the line between ’70s retro and modern well enough that the atmosphere is right without feeling like a total throwback. Through an alien invasion, Kibblesmith’s story becomes a clever metaphor for how Hollywood scoops up niche IP, as Marvel Comics once was, and sanitizes and streamlines them for mass appeal, a process to which Howard himself is anathema. The satire might be more biting if the call wasn’t coming from inside the House of Mouse, but even if this critique’s teeth have been filed and smooth, it’s still easy enough to appreciate how well it’s built, as well as the surprise guest appearance by another of Gerber’s creations that seems similarly allergic to adaptation. The remaining stories both imagine Howard on traditional Marvel teams, the X-Men and Guardians of the Galaxy. There are some thematic connections between Howard and the mutants, both being ostracized (though Howard isn’t regularly hunted), but the story mostly feels like a mild excuse to have Howard share panels with some fan-favorite characters. The Guardians of the Galaxy story at least feels like an alternate ending to a plot from the Zdarsky/Quinones run and also digs up some Gerber deep-cuts. Altogether, it’s a fine tribute to Marvel’s most misanthropic fowl. — Jamie Lovett

Rating: 4 out of 5

LUKE CAGE: GANG WAR #1

The first half of Luke Cage: Gang War #1 is entirely focused on describing how difficult it is to be the mayor of New York City (something any New Yorker would readily acknowledge) going to frankly silly extremes to showcase how Luke Cage is bound by his job and the Anti-Vigilante Act. Yet in the issue’s second half, it seems that the job involves little more than taking tedious phone calls about whatever is currently annoying New Yorkers. It’s such a contrast that it’s difficult to accept they belong in the same story, especially as Luke’s adventure quickly boils down to a list of uninspired superhero cliches, including a new costume and new team. The refusal to wed Luke’s status as mayor to this story as anything more than his annoying civilian job not only misses many opportunities to do something new, but also makes the story itself comical given the obvious demands and scrutiny of that specific job. When this fundamental flaw is combined with an atrocious new costume straight out of a BDSM magazine, excessive expository dialogue, and Silver Age action tropes it’s all too much to tolerate. Let’s just hope the rest of “Gang War” gets off to a better start than Luke Cage. — Chase Magnett

Rating: 1.5 out of 5

MARVEL ZOMBIES: BLACK, WHITE & BLOOD #2

Marvel Zombies: Black, White & Blood #2 doesn’t share the same twisted mean spiritedness of the original Marvel Zombies line, but it does feel dabble in a few tropes other Marvel horror books and various zombie media has delved into. You’ve got the guy going on one last mission knowing he’s already been bitten (Warpath & the X-Force) and an attempt at survival with a cruel twist (Mr. Fantastic). But there’s also a shockingly optimistic story hidden midway through the book that feels like a short reprieve from the otherwise dour series. If Marvel Zombies is your bag, this series continues to provide. — Connor Casey

Rating: 4 out of 5

MILES MORALES: SPIDER-MAN #12

Miles wraps up his vampire hunting alongside Blade and Brielle just in time to partake in the upcoming Spider-Man crossover event “Gang War.” It was cool seeing Miles in his Blade-themed vampire hunting costume and dealing with threats of the supernatural variety. He needs more team-ups like this that don’t include your typical Spider-Man friends and family members. — Tim Adams

Rating: 3 out of 5

MOON KNIGHT #29

Moon Knight’s days may be numbered, but everyone’s favorite Fist of Khonshu is going down swinging. Artist Federico Sabbatini and colorist Rachelle Rosenberg are deserving of so much praise, capturing the grittiness and brutality of the battle with Black Spectre, and on multiple fronts. While the Moon Knight sequences are understandably great, Moony’s supporting cast really gets some well deserved shine, especially Reese and Zodiac. While you have an idea of where things are headed due to the arc’s title, Jed MacKay still find ways to throw in a twist or two to keep you on your toes, including a well laid fake out that worked all too well. It remains to be seen if next issue’s answers will make that last reveal hit like it needs to, but as an issue unto itself, Moon Knight #29 was a home run, and next month can’t get here soon enough. — Matthew Aguilar

Rating: 4 out of 5

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Marvel #2

(Photo: Marvel Comics)

MS. MARVEL: THE NEW MUTANT #4

Ms. Marvel’s first foray into mutantdom concludes in a manner that’s fast-paced, but filled with heart. Iman Vellani and Sabir Pirzada’s script is as breezy and lively as ever, but still has a fun fundamental understanding of who Kamala is. The art from Carlos Gomez and Adam Gorham, especially when the visuals of the issue get truly larger-than-life, carry that energy even further. Regardless of whatever Kamala Khan’s Marvel Comics future holds, this miniseries definitely stuck the landing. — Jenna Anderson

Rating: 4 out of 5

PREDATOR VS. WOLVERINE #3

Writer Benjamin Percy delivers easily the wildest piece of this crossover, with a sequence that not only changes Wolverine’s history in a unique way but which manages the kind of galaxy-brained idea that only comics can pull off. A trio of artist put their fingerprints on this one too, and while Ken Lashley and Kei Zama’s segments are great (Zama’s easily the best), the bulk of it falls on artist Hayden Sherman. These pages in Predator vs. Wolverine don’t quite live up to the other two, which makes it stand out a bit, but Sherman manages to take the above-mentioned galaxy-brained idea and really make it work. This series remains a winner and Percy continues to prove he’s the best modern Wolverine writer. — Spencer Perry

Rating: 4 out of 5

REALM OF X #4

For a book that had plenty of ups and downs through its first three issues, the climax is both engaging and action-packed. The stories of these characters get the chance to come back around to fairly interesting places, giving them some good material to launch their next chapters back in the main X-Men continuity. — Charlie Ridgely

Rating: 3 out of 5

SPIDER-WOMAN #1

A new creative team takes on the adventures of Jessica Drew, and while there are a lot of ties to current events in Spider-Man’s world, there are also several strong elements from previous runs mixed in for good measure. All this results in a compelling new concoction that feels fresh and familiar simultaneously, with immediately identifiable and significant stakes for her as a hero and as a human being. Spider-Woman #1 is a hell of a start, and hopefully, things only get better from here.. — Matthew Aguilar

Rating: 4 out of 5

STAR WARS: OBI-WAN KENOBI #3

Having successfully rescued a young Leia from her captors, Obi-Wan and his new companion aim to find Bail Organa, but the inherent attention that comes with a reluctant Jedi traipsing through the galaxy far, far away makes them a target for new threats, which includes Lord Vader himself. From a narrative standpoint, this chapter in the journey is much more subtle and more of a literal progression of the characters, so while the narrative momentum is a bit more literal, the artwork allows the book to be a bit more moody and self-reflexive. Given that this chapter features Obi-Wan’s first meeting with his former apprentice, it was a pivotal moment for the character, especially since his last collision with Anakin saw him become the victor while this bout was much more defeating. As compared to the previous issues, the emphasis of the artwork in this chapter is much more on the emotions of the characters, accurately reflecting their inner struggles, though it only manages to replicate barely the effectiveness of the live-action series, so even with the compelling artwork, it still fails to do anything that the TV show didn’t already accomplish. — Patrick Cavanaugh

Rating: 3 out of 5

X-MEN BLUE: ORIGINS #1

It’s the retcon readers have been waiting for ever since Uncanny X-Men #428 revealed Azazel to be Nightcrawler’s father and writer Simon Spurrier takes this detour from Uncanny Spider-Man to not only amend continuity but do so in a surprisingly satisfying package. It’s no easy feat to make rewriting past stories interesting in themselves and Spurrier utilizes Nightcrawler’s (adorably drawn) Bamf-on-his-shoulder as a narrator to frame the story and offer some meta-humor well. While the narrator may be cute in appearance and speech, the artistic team on X-Men Blue: Origins ensures that the many action sequences and diverse setting portrayed in flashbacks are suitably thrilling. Grand castles and viciously fast portrayals of bloodshed ensure that so many presentations of prior comics capture what was best in those stories (as it often wasn’t the plotting). All of this allows for a story driven by a retcon to retain reader’s attention for the quality of its telling, and that really pays off in the final few pages. Because at the heart of the original mistake was a betrayal of the emotional truths readers have found in the character Nightcrawler. What occurs in this reconciliation—one that occurs literally and metaphorically—is a recognition of what makes these characters inspiring and makes this story worth telling for its own sake. Watching creators weave a widely panned mistake into a compelling comic book is the sort of magic that can only happen in the exceedingly strange history of Marvel Comics. — Chase Magnett

Rating: 4 out of 5

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Other Publishers #1

007: FOR KING AND COUNTRY #6

The latest James Bond comic from Dynamite has come to a fitting end. Bond has to contend with a double-cross from Gwendolyn Gann while also stopping her takeover of Fromm’s supersoldier virus. In typical 007 fashion, everything is wrapped up rather nicely, but it was still an exciting ending nonetheless. — Tim Adams

Rating: 3 out of 5

ALICE NEVER AFTER #5

Alice Never After #5 brings our heroine face to face with a truly troubling decision. Stuck in Wonderland, Alice must chose between the life she wants and the life she is comfortable with. This difficult decision tests what it means to grow up, and by the end, Alice Never After leaves fans reexamining the heroine’s strength. — Megan Peters

Rating: 4 out of 5

THE BLACKOUT BOMBSHELL #3

The Blackout Bombshell ends on a disjointed note, as Jack Atlas and Casper Fitzpatrick both get their happy ending, although neither are really sure why nor do they necessarily deserve it. The final chapter of the comic serves to explain just how Atlas and Fitzpatrick got into their mess, although it’s clear that neither of them particularly care. Overall, a goofy and gritty story with plenty of ups and downs. — Christian Hoffer

Rating: 3 out of 5

BRZRKR: FALLEN EMPIRE #1

BRZRKR: Fallen Empire #1 is quite honestly a fantastic comic. a chapter from B’s distant past, the book is told not by B but by Asana, an old woman who is the last of her people, come to a reclusive group of monks to beg them to record the story of her people’s downfall. That story ends up being an epic tale about B, a kingdom, manipulation, love, and betrayal. It’s an elegantly-written story with equally elegant art that also never shies away from the brutal violence BRZRKR is known for. There’s also a bit of a twist at the end that I genuinely did not quite see coming which makes the story all the more interesting. If all of B’s tales are like this one, then they will all be a delight to read. — Nicole Drum

Rating: 4.5 out of 5

CRAVE #1

Crave #1 is as sexy as it is tense, a coming-of-age story shrouded in a story made for an older generation. This comic is one where the story comes first, at the risk of depthless characters that find themselves far from three-dimensional. Luckily for Llovet and readers alike, it’s a risk that pays off this this premiere given just how strong the other pieces of the puzzle are. That said, it’s a premise that’s not entirely original and runs the danger of skirting too close to similar stories that preceded it. — Adam Barnhardt

Rating: 4 out of 5

DARKWING DUCK #10

While bringing back the Justice Ducks has been an unwelcome reunion for the Terror That Flaps In The Night, it’s surprising that its a reunion that brings Dynamite’s take on Darkwing Duck to a close. The strengths and weaknesses of the series persist into its final issue, with the comic acting as a mirror to the original animated series, but little else. The finale could have been bigger, but it worked well as a goodbye to the universe if this is the last episode by bringing so many characters back to the scene. Dynamite’s Darkwing Duck had its ups and downs, but I’d be anxious to see more from the world of St. Canard. — Evan Valentine

Rating: 3 out of 5

DRIVE LIKE HELL #2

Things picks up in Drive Like Hell #2, and the artwork displays just how intense the action sequences are. It’s never really explained why Bobby Ray is so attached to this car he just stole, but Dahlia has more to do here than in the first issue. Drive Like Hell also does a good job of introducing more unique supporting characters. — Tim Adams

Rating: 4 out of 5

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Other Publishers #2

EDENWOOD #2

As with the first issue of Edenwood, the series has clearly had its entire world thought out to a T by creator Tony S. Daniel, but it’s still dense and difficult to navigate with almost never enough context to fully grasp it all. Daniel’s pencils, with colors by Leonardo Paciarotti, remain the main selling point of course, with some wild character designs and unique looks that you’re not going to find anywhere else. The trouble is that narratively this one is like a thicket, a party that won’t let you fully through the door. It’s fun to look at from the outside but it just won’t let you in. — Spencer Perry

Rating: 3 out of 5

GRIM #15

Grim keeps raising the stakes and I’m all here for it. We now have all planes of existence (hell, Earth, the afterlife) all together in one cobbled mess. I really enjoyed the opening with the priest and the three fates, and all of our protagonists regrouping together in a random diner. I can’t wait to see what army Jessica assembles to fight back. — Tim Adams

Rating: 5 out of 5

KAYA #13

Kaya #13 returns to the series’ central quest in media res and introduces readers to a new companion as Kaya and Jin travel through a pirate’s dungeon bound to thrill fans of D&D. The opening sequence is a bold thesis statement for everything this series does so well – filled with inventive traps and colorful threats addressed with creativity (and occasional humor) by a band of eclectic, lovable heroes. While most of the issue is composed of this introductory action sequence, it scratches the itch for wonder, suspense, and thrills before delivering the necessary exposition for the third arc’s core story. Coming with pirates, princesses, and overwhelming odds, it’s bound to be another triumphant outing and shows readers that this series isn’t set to lose its head of steam anytime soon. — Chase Magnett

Rating: 4 out of 5

KONG: THE GREAT WAR #4

Now, in the fourth issue, Kong finally becomes a major factor in Kong: The Great War, and the book greatly benefits from that. He’s still treated as a looming threat for the other characters, but this issue finally brings that threat to life without relying on any prior knowledge of who Kong is. The pacing of this series is still lacking in some regards, but it has slowly become a much more exciting read. — Charlie Ridgely

Rating: 3 out of 5

LOCAL MAN #7

Local Man is still as excellent as ever and as this issue proves, it is able to find avenues to get even more inventive. Jack’s latest line of questioning leads him down a path that’s equal parts psychadelic, grotesque, and engrossing, with Tim Seeley and Tony Fleecs playing with the form of comics in a whole new clever way. This continues to be one of the strongest examples of what superhero comics can be capable of – as well as how fun it is to dismantle that. — Jenna Anderson

Rating: 4.5 out of 5

QUEST #4

On the one hand, Quest‘s sudden expansion of its main party has transformed the story from an Avatar: The Last Airbender style of quest into something more akin to a D&D campaign (complete with a mage who doubles as a bard). The pacing continues to show the scale of just how massive the journey and while it appears we’ve reached out first boss fight, we still have every indication this story will be treated as an epic quest rather than something that can be snuffed out with a quick finale in its sixth, eighth or tenth issue. That alone gives me the confidence to stay invested. — Connor Casey

Rating: 3 out of 5

SAVAGE RED SONJA #2

We’re only two issues into Savage Red Sonja, and I am left with less of an indication of what the series is promising, and more of a general vibe. The plot proves to be both painstakingly simple and convoluted, only beginning to scratch the surface of what Sonja’s newest predicament means. But what Savage Red Sonja lacks in plot, it does slightly make up for it in aesthetics, with Alessio Petillo delivering some scrappy and interestingly-executed art. While not a total wash, I hope this series doesn’t take too long to realize its full potential. — Jenna Anderson

Rating: 2.5 out of 5

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Other Publishers #3

(Photo: Image Comics)

THE SCHLUB #4

The Schlub seems to have hit its stride, delivering a surprisingly-pivotal chapter in the book’s body-swapping switcheroo. Ryan Stegman and Kenny Porter’s script balances consequential reveals with a fascinating undercurrent about identity and parental expectations. Tyrell Cannon’s art ties it all together with ease, folding in just enough 90s gonzo energy in character designs and panel layouts. This book is already great, but I have a feeling it’s about to get even better. — Jenna Anderson

Rating: 4 out of 5

SIRENS OF THE CITY #5

Sirens of the City #5 goes live with a dramatic chapter of death and betrayal. The series continues with Layla on the run with her pregnancy growing, and she has learned what the child means to the city. Hunted by others like her, Layla is left to fend for herself, but things get messy when factions from all sides begin to search for the girl in earnest. — Megan Peters

Rating: 4 out of 5

SLOW BURN #2

Slow Burn #2 is, well, a slow burn which might ultimately end up being an issue for a series that has just five issues. That said, the issue is a lovely read, focusing on the character Patti and the history of the town and how it came to be abandoned — and she came to be trapped there with her own trauma and ghosts. We also get a bit more of Roxane’s story and a pretty important revelation that could shift things in a major way so narratively, it’s strong. It’s just the pacing compared to the amount of space we’re dealing with that might be a concern. Time will tell. Art wise, the color choice for the flashback sequences is haunting considering the town’s past making this an overall solid issue. — Nicole Drum

Rating: 4 out of 5

SOMETHING IS KILLING THE CHILDREN #35

Something Is Killing the Children 35 is a masterclass in storytelling, delivering a satisfying payoff to the main event while also shaking up the status quo and planting the seeds for clashes to come. It’s everything one would seek in a season finale, and yet this is only just the next stop in Erica Slaughter’s winding adventure. To see where a character like Gabi started and how her story becomes such a linchpin of the book is a testament to James Tynion IV’s ability to slowly and methodically evolve the book’s cast, and when they step up to the plate they command the spotlight as a result. Werther Dell’Edera, Miquel Muerto, and Andworld Design are out of this world throughout the entire issue, conveying brutal action and heartbreaking sacrifice with expert precision. This is absolutely one of the best series in comics, but it’s also one of the most rewarding experiences you’ll read all year, and I couldn’t recommend it more highly. — Matthew Aguilar

Rating: 5 out of 5

SWAN SONGS #5

“The End of… Anhedonia” is set entirely in a single therapy session, which might make Swan Songs #5 sound like the dullest entry in the series to date, but an impressive application of fumetti effects by artist Alex Eckman-Lawn and metaphorical construction of the protagonist’s mindscape makes it a highlight in this already impressive series. The issue opens with a man describing his experience with anhedonia (i.e. the inability to experience joy) before delving into his trance therapy composed of pencil sketches, photography, and various other styles. These are used to dramatic effect in reflecting perception as a simple line drawing of a face is fractalized into its many underlying elements. The overlapping styles portray a depression-like fog in a revealing fashion as the specifics of a house and childhood experiences begin to feel universal. Colors are utilized to great effect and dull beiges, browns and grays contrast the discovery of new shades in the process of therapy. It serves to expose the vibrant inner life of its subject and reflect the possibilities found when addressing mental illness in an issue bound to resonate with those who have encountered similar struggles. — Chase Magnett

Rating: 4.5 out of 5

WHAT’S THE FURTHEST PLACE FROM HERE? #16

I could read an entire series just about Sid and her adventures in The City. Learning that the gods that are worshipped are nothing more than pop culture items like albums and songs, seeing Sidney learn that she’s pregnant and what that means, how The City protects the kids, it’s all a lot to take in. It’s also a larger metaphor about the real world and how societies can crumble and how we’re all responsible for their downfall. — Tim Adams

Rating: 4 out of 5

WILD’S END #6

Wild’s End #6 is an exercise in how keeping things simple can allow the important moment to shine. Dan Abnett and INJ Culbard’s cozy alien invasion story has had a calm demeanor and steady pace throughout, building toward this earned and explosive finale. Instead of thrusting the reader face-first into the cataclysm, these moments are framed from a distance, allowing the contrast of colors and the scale of the looming alien threats to come through. That bright yellow light popping off the subtle blue background is as memorable a moment as I’ve recently seen in comics. This approach also allows for certain other storytelling tricks, including a little sleight of hand that lets the reader believe certain characters are in one place when they are, in fact, elsewhere and calibrating for when the story pulls out further, emphasizing this struggle is but one skirmish in a much larger war. It’s a story of sacrifices made with calm reason and of people from various walks of life banding together to do what must be done when there’s little other choice left to them and they are reminded that, ultimately, they’re all they’ve got. We can only hope that the ending is hinting at more stories to come in this world that Abnett and Culbard have created. Storytelling with this level of quiet confidence is all too rare. – Jamie Lovett

Rating: 5 out of 5

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