Aquaman has been building to an epic battle between Black Manta and Aquaman, and luckily for fans Aquaman #55 delivers on all that promise. Writer Kelly Sue Deconnick has managed to bring together several compelling subplots into one cohesive whole in #55, while also leaving enough hooks for the story moving forward. The book gives characters like Mera, Maurer, Black Manta, Jackson, and more their moments to shine, including an impressive display by Mere that shows just how powerful she can be. That doesn’t really work without the supreme stylings of artist Robson Rocha and colorist Sunny Gho, who aside from the stellar Mera scenes also deliver on the smaller moments that ground the larger spectacle of the battle. While most of storylines come together, the Maurer angle did leave a little to be desired. DeConnick found a way to bring it into the main plotline, and it works, but we were hoping for another reveal that lent Maurer’s involvement in things a bit more importance, and it just didn’t turn out that way. Even still, this was a fantastic way to close out an arc, and the future has never looked brighter for Aquaman. — Matthew Aguilar
Rating: 4 out of 5
After the thrilling chase and blood shedding in the prior issue, readers might expect Basketful of Heads to maintain its momentum, but #3 slows things down in a big way. Much of the comic is spent in conversation with June and her new companion. A few of the jokes land and the surreal nature of their relationship is amusing, but that initial appeal doesn’t cover just how long this lasts. It’s only the final few pages that do much to remind readers that there’s more to this story than charming artwork on every page. Even with a final moment that’ll be familiar to any horror fan, it still delivers that moment in such an appealing fashion that the moment is absolutely thrilling. — Chase Magnett
Rating: 3 out of 5
It’s a shame that there isn’t a text equivalent to “stares blankly into the void” because that would be my review for the end of Tom King’s Batman run, Batman #85: a long, blank stare into the void. This final issue, much like the rest of King’s run, is difficult to review as it’s something that is clearly one small part of a much larger whole and should be evaluated that way, but is also its own issue and needs to be looked at in small scale, too. On the larger scale of things, I think time will treat Batman #85 more generously as it is full of nods, callbacks, and threads that will work best when woven back into the whole overall run. The issue itself, however, goes out with a whimper. There’s too much bouncing back and forth between different places in the timeline of the story and things pull together far too smoothly. While I have long been a supporter of this more introspective take on Batman, even I have to admit that this ending feels too “clean”, too insightful while the resolution of the Bat/Cat story (at least until we get the actual miniseries) feels like a cop-out. The overall issue ends up feeling a little too bland and a lot too clean for a Batman story and while one could argue that it’s never been a Batman story, it’s a Bruce Wayne story, even from that angle it misses the mark. — Nicole Drum
Rating: 2 out of 5
Last Knight on Earth wraps up Scott Snyder and Greg Capullo’s final Batman story in epic fashion. As Batman discovers the last of his allies holed up in his cave, he learns the truth about Omega, the mysterious person who overtook Gotham and is on the verge of corrupting the entire world with a variant of the Anti-Life Equation. Last Knight on Earth has the same manic energy as Snyder and Capullo’s original Batman run. It’s not afraid to be weird or to try new things (such as an actually rehabilitated Joker), and full of countless effortlessly cool moments. Last Knight on Earth, in my opinion, was the best Batman comic of the year, with amazing artwork, a weird and psychedelic story, and a firm understanding of Batman’s role in the DC Universe. — Christian Hoffer
Rating: 4 out of 5
Batman/Superman #5 puts the best aspects of the Worlds Finest at the forefront once more, and that’s why the series ends its first arc with a bang. Previous issues had us paying more attention to The Batman Who Laughs and his infected, but here writer Joshua Williamson returns the focus to Batman and Superman, and watching them play off each other and cutting loose is a joy. Superman especially soars here, and once again that has a lot to do with artist David Marquez and colorist Alejandro Sanchez’s lovely visuals, conveying the sense of grief and subsequently anger that fuels Superman in a visceral and stunning way. Now, it does remain to be seen if the premise of the Infected can continue to be a captivating hook, as it may be nearing overkill at this point, especially regarding The Batman Who Laughs specifically. That said, this book has been a popcorn worthy action film with two of DC’s biggest icons, and with the promise that the third icon will join the party going forward, we are definitely in for more of this action thrill ride. — Matthew Aguilar
Rating: 3 out of 5
Even in a stacked week of comics, you definitely should not miss out on this week’s Catwoman. Nearly all of this issue follows the team-up between Selina and Zatanna, and the way it unfolds is a genuine gem to behold. Jones’ dialogue truly stands out, with the playful and biting exchanges between Selina and Zee. The art, which alternates between Jones and Fernando Blanco nearly-seamlessly, is so stylish and buzzing with emotion. If this issue is any indication, Catwoman is really hitting its stride with this issue. — Jenna Anderson
Rating: 5 out of 5
Johns still tries to cram a lot of information into this last issue—and some square pegs into some round holes along the way. The results are a mixed bag and, even at its best, it’s hard not to be a little frustrated with a series that was billed as a high-minded Watchmen follow-up and instead became a sequel to Infinite Crisis. — Russ Burlingame
Rating: 4 out of 5
Even in a miniseries as poorly conceived as this one, Flash Forward #4 reads like a filler issue. The problem presented is contrived, the solution nonsensical, and the closest thing it has to a character moment is delivered in lines that could have been nabbed from an outdated sitcom. This is 20 pages of filler before the story delivers its hero to the ultimate challenge, one presented in a tension-less, hackneyed cliffhanger. There’s a joke to be made about a Flash comic lacking any momentum, but this issue doesn’t merit the moment of concentration required to craft it. — Chase Magnett
Rating: 1 out of 5
Harleen remains a stylish take on Batman’s rogues gallery, but it stumbles at the finish line with a conclusion that doesn’t do much to support its final page. While the comic finally acknowledges the cyclical horrors of abuse, it’s depiction of Harley and Joker’s consummation receives far more space on the page and is designed purely to titillate. Combine this with the climax being guided more by the requirements of plot, rather than any coherent reasoning on behalf of the Executioners or Two-Face, and the entire affair feels a bit forced. There’s no amount of monologuing that can bridge what is depicted as thrilling on each page and the other, terrifying story that’s only referenced in words until the last few moments. Harleen remains an engrossing entry in the Black Label line, but one that’s ultimately incapable of grappling with its complex subject matter. — Chase Magnett
Rating: 3 out of 5
This is a strangely fun series so far. The second issue is more all over the place than the first, making it a little harder to keep up at times, even though it’s contained to mainly one location. But the colors are bright, the action is enjoyable, and the emotions land when the need to. This multiverse take works better than most. — Charlie Ridgely
Rating: 3 out of 5
The Commissioner #1 starts off with a fantastic premise—what if Jim Gordon, with no super powers or influence beyond being the GCPD commissioner, finally gave up? He hasn’t been replaced with with some doppelgänger, he isn’t being brainwashed, but rather he simply gave up on trying to protect Gotham and recognized the only thing left to do with the city was destroy it. That’s a premise for a fantastic graphic novel or DC’s take on Charles Bronson’s Death Wish if they so chose. Unfortunately this story is part of a massive event, most of which is happening offscreen. And as a result we aren’t given too much time to sit with the premise and drink in Gordon’s thought process before the issue has to refocus on the overall event narrative. It’s still a fun read, but it feels like a missed opportunity for something more. — Connor Casey
Rating: 4 out of 5
This is the good stuff, at least as far as anything related to John Constantine can be described as being good. There’s ample violence, crude humor, and displays of prejudice in this comic, and it adds up to a vision of London that feels quite real, especially in the wake of the recent election. This is a city segmented by class and filled with people all looking out for their own best interests; it’s also the sort of setting that makes for excellent character and conflict work. The end of this issue is barrelling towards a set of ugly showdowns and develops sympathy for its least ugly characters along the way, even as tragedy seems inevitable. It feels like the spirit of Hellblazer has returned for a new decade, and it’s nice to have that back. — Chase Magnett
Rating: 5 out of 5
As hard as Joker: Killer Smile is trying with its unique art design and dark subject matter, it just can’t help but retread the same ground as other stories. We’ve seen physiologists try and dive into Joker’ psyche, we’ve seen them fail and fall into their own type of madness madness. Even if it’s not specifically the Joker, we’ve seen this same story surrounding psychopaths be done so many times before. Even the twist, which #2 positively relishes in, isn’t even all that special. What’s worse is that the book seems so disinterested with actually diving in to what makes Joker tick, there’s no take on what makes him the way he is and the very brief mention of his relationship to Batman consists of three panels. There’s a chance—a slim one—that this might be going somewhere interesting in #3. But so far it’s just lacking. — Connor Casey
Rating: 2 out of 5
I’ve had my criticisms of the Justice/Doom War, but this issue of Justice League was quite good—probably the best issue we’ve had in a long time. My main criticism with this arc is that it tries so hard to be an epic story, it comes off as overstuffed and struggles to give any of the Justice League (or their many, many allies) time to breathe. This issue finally changes course by placing the focus on the core Justice League and their final fight against Lex Luthor. Each character gets a moment or two to shine, but the scene-stealer is Shayne, Hawkgirl and Martian Manhunter’s son from the Sixth Dimension. Not only is his purpose in the arc finally revealed (in heartbreaking fashion), it sets up what should be a great final issue. — Christian Hoffer
Rating: 4 out of 5
I feel very conflicted about The Last God. On the one hand, I love that DC is publishing a dark fantasy comic set in an original world that tries to steer away from the high fantasy tropes inspired by J.R.R. Tolkien. The creatures of The Last God are creepy and otherworldly in a way that fantasy movies or TV series just can’t hope to match. There’s a compelling story at play too, a tale of a group of heroes who lied about saving the world and getting their comeuppance 30 years later. However, this is counterbalanced by the terrible coloring that mistakes grittiness for shades of drab brown, and a lack of real characterization. Usually fantasy stories give their readers or viewers a chance to latch onto a character. The Last God failed at this, so we’re left watching a bunch of contemptuous and disdainful characters try to save a wretched world. — Christian Hoffer
Rating: 3 out of 5
The spectacle of Legion of Super-Heroes holds its luster here, but they provide diminishing returns in a series struggling to establish its foundations. An ongoing joke about an introductory presentation continues from the first issue, but every time it is made it calls attention to how unclear the relationships, organization, and stakes of this series all are. Every Legionnaire brings a spectacular costume design and some enjoyable moments of action, but they all spin by so quickly that they almost all still lack a personality. Rather than developing characters beyond Jonathan Kent, this issue opts to bring in another face that any current DC reader will recognize. Legion of Super-Heroes #2 is a well-presented and generally enjoyable read, but it needs to offer something to invest in because it also reads as being superfluous. — Chase Magnett
Rating: 3 out of 5
The Low, Low Woods throws a lot at readers in its first issue and takes some time to ease into, but the relationship between El and Octavia becomes a more compelling one as we learn more about the pair and the rundown town they find themselves stuck in. This doesn’t feel like your typical horror series either since it sets up a slow burn in the first issue. Jump scares and the like aren’t the focus here with more emphasis put on the subtle eeriness of a town with a hushed past and questionable intentions for its inhabitants, so it’ll probably take at least another issue or two to see if The Low, Low Woods capitalizes on its creepy potential. The weathered, murky way things are drawn makes everything feel a bit too similar at times, but it serves the horror aesthetic well. — Tanner Dedmon
Rating: 3 out of 5
If you thought John Constantine would somehow manage to make this book better than it’s been… well, you’d be right. The character’s narrative throughout this issue makes it an incredibly strong outing, with more than enough moments that will make you say, “What the f***?!” As with most Lucifer tales, it takes a while to get going and this issue isn’t any different. Lucifer #15 takes it’s time to methodically build before bursting open at the seams with all kinds of bat shit crazy goodness. — Adam Barnhardt
Rating: 5 out of 5
Thus far, this maxi-series is playing out like a comic from ten years ago, and it’s unclear if that’s a good thing or a bad thing. The dialogue is incredibly hamfisted and over-expository, while also feeling very flat and surface level. The highlight of the issue might be Jason Wright’s colors, which are genuinely great in a handful of key panels (but are still muddy in others). — Jenna Anderson
Rating: 2 out of 5
Nightwing #67 feels like it was ripped straight out of 1995—for better or for worse. On the bright side, it’s jam packed full of peak comic book action. On the other hand, it comes with it’s fair share of moments that certainly straddle the line of corny. Either way, you still have to applaud this team from putting something new—at least for the past 20 or so issues—out there. — Adam Barnhardt
Rating: 3 out of 5
Johns’ run with Earth’s Mightiest Mortal is starting to hit a standstill. As Billy tries to reconcile whether his “family” is the one he has found or the one he was born into, you can feel the wheels spinning as the series plays catch-up with its characters leading into a final confrontation. A narrative beat with Black Adam further proves this as a confrontation ultimately becomes toothless. One high point of the issue is the Wizard of Oz/Alice in Wonderland mash-up world, the kind of wacky “magic” that more modern comics should at least attempt as asides in their stories. — Spencer Perry
Rating: 3 out of 5
With this new relaunch of the classic title, Taylor hasn’t so much reinvented the wheel as he has forced the wheel to adapt to conditions that previous iterations hadn’t considered. How does the Suicide Squad react to a changing political landscape that includes their handlers? Bruno Redondo brings crisp artwork to the Suicide Squad that already feels classic, allowing the powers and abilities of the characters to be clear and decisive on the page in a wholly satisfying manner. This debut issue is setting up a story that could be a fruitful deconstruction of the plot tropes that have become ingrained in the title for too long. — Spencer Perry
Rating: 4 out of 5
Everything that was excellent in the first issue of this story continues to be excellent in its second installment. Yang’s big cast of characters each provide their own worldview and additional nuance to an all ages examination of race in the United States with it. What’s most notable is the empathy this story possesses for children, allowing it to simultaneously acknowledge the horrors perpetrated by adult actors without losing hope in a new generation. That so many complex ideas, like passing privilege and positive stereotyping, are distilled into accessible sequences make this both a well-considered story and an excellent teaching tool. It’s also a tremendous amount of fun to read due in no small part to Gurihiru’s top-notch designs and storytelling. If Superman Smashes the Klan sticks its landing in February, it could become a classic in classrooms and beyond. — Chase Magnett
Rating: 4 out of 5
Comics are sometimes still referred to as funnybooks (at least by boomers), but when was the last time you really laughed when reading one? Superman’s Pal Jimmy Olsen is the only series that reliably makes me laugh and it does so at least once every few pages. What’s wonderful is that’s because of the quality and diversity of humor on display. As this issue provides a few more links in Jimmy’s “crazy board,” it finds all sorts of opportunities to deliver both droll and slapstick bits. That doesn’t even consider the subtle (and a few less subtle) stylistic flairs in the artwork, homaging a variety of significant superhero touchstones while delivering moments of gravity and levity side-by-side without the slightest hiccup. Superman’s Pal Jimmy Olsen is some damn fine comic-bookery. — Chase Magnett
Rating: 5 out of 5
Teen Titans spills all the beans on the series’ big mystery, but it’s the smaller more personal moments that really make the issue shine. Writers Adam Glass and Bernard Chang have a knack for showcasing a genuine family dynamic, and that comes through in the conversation between Roundhouse and his mother, as well as the exchanges between Kid Flash, Crush, and Red Arrow. Those are the parts that stick with you, but as for the reveal of The Other, it was a little underwhelming. Seeing how The Other affected all of the previous events was more interesting than the person behind the mask, but to be fair it does present a compelling scenario for Robin. Chang and colorist Marcelo Maiolo deliver a solid issue as well, especially in the scenes featuring The Other, but it’s not the strongest issue of the series. The personal relationships between the Titans is always where this book shines, and that is the case once more here. We just wish the big payoff lived up a bit more to all the promise it had. — Matthew Aguilar
Rating: 3 out of 5
Wonder Woman continues to connect dots one issue at a time, as every moment in #83 is spent moving between the villains announcement of their plan and the inevitable next step in said plan. The meanwhile between the first and final pages is filled with an entirely gratuitous guest star and characters bluntly stating their motives and feelings. Everything about this installment reads as being superficial, but even the surface-level elements face serious issues. There’s a lack of a clear aesthetic combined with fluctuating depictions of individuals and blasé backgrounds. This is an issue of Wonder Woman to skip, even for committed fans. — Chase Magnett
Rating: 1 out of 5
What happens when you drop humanity’s greatest protector into a post-apocalyptic world in which humanity is barely clinging to existence after a horrific nuclear apocalypse? It’s a premise that might sound just a little overwrought and a touch cheesy, but when that character is Wonder Woman and it’s the hands of writer and artist Daniel Warren Johnson for Wonder Woman: Dead Earth #1 what you get is a masterpiece of a story that is both unique and fresh while being perhaps the most true to the core of the iconic character that we’ve seen her in a long time. It’s a book that is built exquisitely with rich, emotional layers that bring both beauty and horror to the surface while the kinetic, almost hurried art imbues the story with a desperation that only deepens this rich, dynamic take on the character. It’s hands-down one of the best books to come out this year and one that every Wonder Woman fan needs to read. — Nicole Drum
Rating: 5 out of 5
At long last, the long-brewing “Year of the Villain” crossover starts to blend together, creating an epic villain teamup that’s rather exciting. It’s always a pleasure to see Lex Luthor not have the upper hand and by the end of the issue, that’s most definitely the case. By now, Tynion’s a pretty safe writer so there’s nothing in here that’ll blow your mind or change the status quo forever but luckily, it doesn’t need anything like that. No gimmicks, no unreasonable cliffhangers—this book is exactly what it needs to be for a first issue. — Adam Barnhardt
Rating: 4 out of 5
This was a weird one. When you’re establishing a new mythos for an alternate reality/future, I feel like you need to make it crystal clear just what all the moving pieces are. The finale to this new 2099 offering simply doesn’t have the “oomph” needed for you to care where the new timeline is going and it certainly doesn’t improve on what was established before. This new 2099 was a hodgepodge of some neat ideas which unfortunately falls flat in the finale. A head scratcher more than anything. — Evan Valentine
Rating: 2 out of 5
It’s a great thing when a plot comes together, and that couldn’t have come at a better time for Agents of Atlas. It took some time to get here, but Agents of Atlas #5 finally pays off the story thread developing in the background, and it gives us one of the best issues of the series yet. Amadeus and Silk shine in just about every scene here, and writer Greg Pak presents a choice that draws out some of the team’s best traits. Artist Nico Leon and colorist Rachelle Rosenberg were evidently born to draw dragons, and if that last page is anything to go by, it seems there will be plenty more coming our way, and that’s a win-win in our book. It seems this book is really hitting its stride at just the right time. — Matthew Aguilar
Rating: 4 out of 5
Sigh. The same critique I had for the last issue holds true this time around with the artwork being so distractingly below par that it makes a solid issue, with great character work, fall to the wayside. Spidey’s encounter with Dr. Doom is honestly a great one, with Peter going through numerous attempts to figure out how to bring down the Latverian dictator (one of which is a hilarious “One More Day” nod). It’s a real shame that the artwork here is such a hindrance as there’s a great story to be found. — Evan Valentine
Rating: 3 out of 5
At last, the Annihilation – Scourge finale is here and despite a bump or two along the way, it manages to stick the ending fairly well. Omega takes a while to get rolling but once it picks up, it doesn’t stop until coming to a screeching halt in the last few pages. There’s one particularly applause-worthy moment in a double-page spread that will have fans of cosmic heroes hyped, there’s no doubt about that. This book has its fair share of thrilling scenes—and it also has its fair share of hopelessness and sorrow. Luckily it’s all balanced to equal a pretty well-rounded book. — Adam Barnhardt
Rating: 4 out of 5
Jason Aaron really enjoys playing in space, and he makes great fun for readers out in the great unknown. This is another issue that creates more questions than answers, which is just a tad bit frustrating, but it’s only the second issue of the arc so it’s more than forgivable. — Charlie Ridgely
Rating: 4 out of 5
Black Panther gears up for a new phase in its intergalactic odyssey, but is moving with feet of clay. A battle revealed in flashbacks offers little tension or excitement as all of its outcomes are known (or easily guessed) from the first page. Nothing is altered so much as slowly unwound, including a resurrection that has appeared inevitable since this volume of the series was launched. Between depictions of standard superhero action without an ounce of additional flair, there are still long conversations about the nature of leadership and national identity which feel only half realized in this genre and format. Black Panther is a competently created comic book and delivers familiar beats, but it still struggles to rise above an overwhelmingly large herd of similar material at the end of 2019. — Chase Magnett
Rating: 3 out of 5
The second issue of Conan: Serpent War pairs off our heroes. Conan travels alongside Dark Agnes while Moon Knight works with Solomon Kane. The first half of the issue goes out of its way to show these pairings as reflective of each other. Stephen Segovia juxtaposes pages and panels with identical compositions but different characters. But there doesn’t seem to be a point to any of it. It doesn’t draw out any interesting parallels and serves more to distract from than enhance the story. The plot moves at a grinding pace through Jim Zub’s verbose script. At one point, Zub even chastises himself for his wordiness, seeming to want to draw a line towards Robert E. Howard’s original stories. But acknowledging it doesn’t make it any better. Segovia gets in a few nice action shots along the way, though Frank D’Armata’s neutral colors only dull their impact. It’s a boring execution of an exciting premise. — Jamie Lovett
Rating: 2 out of 5
Daredevil continues to interrogate the causes and consequences of violence while simultaneously expanding that consideration with a new antagonist that threatens both Matthew Murdock and his arch-enemy, Wilson Fisk, in these pages. The two narratives slowly build together and deliver an excellent pair of fight sequences at the end. While the artwork and aesthetic may lack the clear identity of prior Daredevil runs, the ideas are as strong as they’ve ever been in this series’ storied history. The definition of two new villains link strongly to the series’ underlying themes and are frightening for what they represent, not requiring an absurd mask or exaggerated set of superpowers to examine what power means in modern society. The last few pages are tinged with red, a color that seeps in to both remind readers of the missing mask and all of the blood that has already been spilt in a pitch perfect final panel. — Chase Magnett
Rating: 4 out of 5
Excalibur #4 offers a thrilling side adventure beneath the Earth’s crust, spotlighting a couple of this series’ most interesting heroes, even as events surrounding England and Otherworld become a bit muddled. The adventure is easily distilled and offers an exciting twist on almost every page. It’s all of the poorly defined mechanisms of history and power between various groups embedded in Marvel Comics canon that make the issue a slow reader. While it’s possible to squint and perceive how these elements add up to something greater than the current moment in the last few pages, the results aren’t actually on the page. Instead, it’s a story with far too many mysteries and unspoken conversations that promises its own promise as something to be revealed when it should already be apparent four issues in. — Chase Magnett
Rating: 3 out of 5
Fallen Angels started with an intriguing chance to explore Kwannon and a group of X-Men ho felt like outcasts, but that’s not where the book’s focus lies any longer, and #4 is sadly a step in an altogether different direction. Much of the issue is all about Apoth, a sentient A.I. most likely that has come to believe it is God, and that Kwannon is somehow its mother. That’s all well and good, but the issue bombards you with this idea over and over again, and without much movement in the overall plot. These characters also feel like they’re running in place, and while there are some shining spots on the visuals side, the dark and moody settings become a bit mundane as well. This book started out strong, but it seems were’ going in the wrong direction, and here’s hoping things get back on track next issue. — Matthew Aguilar
Rating: 1 out of 5
Future Foundation wraps up its story in the best way it can, but it still falls victim to the pitfall the first issue experienced where it doesn’t give enough time to become acquainted with its characters before moving their story forward. Because of her late entry to the game, Lyja’s actions and resolutions in the final issue don’t feel nearly as meaningful as those of Julie’s or Rikki’s, and a rapid-fire introduction to the Skrull’s backstory doesn’t do her character justice. The outcome shared by Rikki and Julie is an expected one that fits the pair well, but after seeing how inept and frustrating characters like Alex and Bentley have been, it’s disappointing to see that the characters were underutilized in this final issue despite having so many of them in the series. Scenes showing interactions between Julie and her brother as well as Rikki are touching and depicted and well-designed though and rightly put the focus on the series’ strongest character. — Tanner Dedmon
Rating: 3 out of 5
The wannabe wit of Deadpool and Peter Parker have already become overused styles with those characters, but it’s especially frustrating to see them branch out into other books and still not work. These should be fun characters, but they’re written in a way that tries to emulate those that have come before, and it lands with a thud. — Charlie Ridgely
Rating: 2 out of 5
Now that Donny Cates’ time on Guardians of the Galaxy has come to a close, it’s safe to say it’s one of the better Guardians stories of the past decade. Not only has he taken the Guardians back to form, but he’s also managed to write one of the best arcs for Rocket Raccoon we’ve ever seen. In fact, this issue alone serves as the perfect endcap for the story Rocket’s been living the past year. When it comes to the Guardians, there’s this need to as goofy as all get out, to the point of overbearing and unnecessary. While this run has had its fair share of comedic moments and corny one-liners, it’s taken the team back to the glory days that made them a property capable of becoming one of Marvel’s biggest franchises. If you’re looking for a Guardians story to pick up—this is it. If you’re a fan of the team, there’s no way you’ll leave disappointed. — Adam Barnhardt
Rating: 5 out of 5
Gwenpool Strikes Back finally reaches its stride this week in its final issue. At last, the veneer before Gwen is pulled back to reveal more substance behind her outbursts. A surprise trip to a mutant paradise will leave fans more curious than ever about Gwenpool’s past, and her snarky commentary on all things Marvel Comics will make you feel for the heroine more than you have in a good, long while. — Megan Peters
Rating: 4 out of 5
History of the Marvel Universe is what happens when you ask a monkey’s paw to deliver Marvel-themed work from Javier Rodriguez. It has page after page of well crafted pages summarizing events and eras from the publisher’s most recent decade, but it’s buried in a non-existent narrative that clutters up each page with interminable narrative captions. Even on a spread featuring Marvel’s favorite new characters from the 21st century—something executed much like a poster—many of the captions associate themselves with multiple character, provide no discernable reading order in combination with the artwork, and inexplicably doubles the captions for one character. It’s poor writing with poor lettering and distracting from the work of one of the best artists working in superhero comics today. Even the dashed off meta-narrative stringing this series of “and then” statements together ends on a note so saccharine it may require insulin. What a disappointment this all was. — Chase Magnett
Rating: 1 out of 5
This collected volume of Invaders is well represented by its final installment. It’s a familiar story playing the expected hits in a way that evokes nostalgia for familiar readers and perhaps an occasional spark of curiosity for the unindoctrinated. You get what you pay for and there’s never a single surprise, even if you’ve never read a comic book before. Yes, the relationship between Cap and Namor feels well-considered and a single guest page by Butch Guice is smile-inducing, but these are rare exceptions in a comic that reads like the local roller coaster that only lifts about a dozen feet off the ground. — Chase Magnett
Rating: 3 out of 5
King Thor ends Jason Aaron’s Thor run on a melancholy high note, which seems fitting given the epic story he’s woven over the past few years. Aaron’s Thor worked best when it examined the nature of godliness and belief, and steered clear of the distractions offered on Midgard. Ultimately, I think that’s why King Thor worked so well—it ultimately boiled down to a tale about Thor, Loki, and Gorr, each making sacrifices in their own way to try to bring about a permanent change to the nature of gods. It’s a great reminder that a story doesn’t need tons of characters to have an epic feel, and provides a great payoff to those who have followed Aaron’s Thor run since the beginning. — Christian Hoffer
Rating: 5 out of 5
Marauders continues to be Dawn of X’s shining star, and #4 gives us the Kate Pryde and Bishop team-up we’ve been craving. Writer Gerry Duggan has captured Pryde’s voice perfectly, and Bishop provides a lovely contrast that allows the witty banter to shine. Not only that, but Duggan knows when and how to maximize each’s character’s screen time, even if its rather limited, as evidenced with fantastic moments like Pyro’s singing of a Journey song or Storm’s display of raw power. Artist Lucas Werneck and colorist Federico Blee’s visuals throughout the issue only help heighten the book’s humor and action, and they’ve managed to find a variety of imaginative uses of Pryde’s power set, who can somehow turn a pillow into a deadly weapon. It doesn’t get any better than Marauders, and you should not be missing out on all the fun. — Matthew Aguilar
Rating: 5 out of 5
Spider-Man: Velocity carries on its easy way this week with issue five. Fans see the heroes bring their conflict with Doc Ock to an end, and its one-two plot will keep younger readers entertained. The promise of Kingpin now looms before the trio, but longtime fans of the hero may feel a bit bored by how simply this latest arc wrapped. — Megan Peters
Rating: 3 out of 5
There’s a lot going on in this New Mutants story, and none of it is coming together well. Ed Brisson toys with making his villain fascinating, having him give a monologue involving the evils of the pharmaceutical industry. In light of Krakoa’s miracle drug economy, that’s an interesting thread to pull at. But Flaviano’s cartoonish artwork makes the villain feel like he’s overacting. Worse, Brisson backs away from the idea by making the villain a base drug pusher instead, making the entire episode feel like a waste of time. There’s some fun interaction between Sage and Boom Boom, but it isn’t enough to carry this frustrating story. — Jamie Lovett
Rating: 2 out of 5
Revenge of the Cosmic Ghost Rider knows it has a lot of history behind this version of Frank Castle and leans heavily into that background superbly. Pretty much all of Ghost Rider’s quips land well as his actions and words feel true to character, and the punishments he doles out come frequently enough that there’s hardly a dull moment. The powers of the Cosmic Ghost Rider and the hero’s spectacular transformations lend themselves to impressive displays already, and Revenge of the Cosmic Ghost Rider thankfully didn’t squander those—or any—opportunities. — Tanner Dedmon
Rating: 4 out of 5
The Runaways’ time with Doc Justice reaches an interesting—and emotional—turn in this issue. In addition to confronting how Gert feels about the whole ordeal, we get some genuinely awesome character moments, as well as an inkling of who the real Doc Justice is. If Rowell and company can keep it up, this might be the best arc of Runaways yet. — Jenna Anderson
Rating: 4 out of 5
On paper, Scream is a good idea. Merge a symbiotic throwback from the 90s and attach a horror bent in order to spice things up a little. At times, the series does introduce some hair raising parts, but we still don’t know enough about Andi and what sets her apart from other characters of the MU to rally behind her. Also, having the final page cliffhanger be the cover has always sat wrong with me, and this issue gives away the big surprise. The story is still finding its “sea legs” but needs a strong shot in the arm to set itself apart. — Evan Valentine
Rating: 3 out of 5
This Spider-Man story continues to be a frustrating blend of cliches and poor storytelling. Early on in the issue, we get what should be an emotional explosion between Ben Parker and Peter Parker. The Abrams and Pichelli shove the entire, prolonged argument into a single corner panel, robbing it of any sense of magnitude. What’s worse is the angle chosen for the panel doesn’t let us see Peter’s face. It’s a back and forth argument and we’re only getting one side of it. After that, it descends into hackneyed storytelling about aging and zombified versions of familiar characters, with a take on Tony Stark that’s supposed to read as eccentric but instead reads as tired. This Spider-Man series is a boring mess. — Jamie Lovett
Rating: 1 out of 5
If you’re looking for four strong Star Wars stories covering all corners of the mythology, then Star Wars: Empire Ascendant will make a worthy addition to your collection, though if you were hoping this book would tie up the loose ends of various other Star Wars titles from Marvel, you’ll likely be left frustrated. — Patrick Cavanaugh
Rating: 4 out of 5
Fans know what started Ben Solo’s path to becoming Kylo Ren, with Star Wars: The Rise of Kylo Ren set to shed light on that descent. Blending elements of the mythology of the Knights of Ren along with the immediate anxiety following Ben turning on Luke at the Jedi Temple, readers gain the exact insight into the character they’ve been looking for since his introduction. Rise of Kylo Ren is off to a strong start, depicting a variety of encounters Ben had with figures connected to the Dark Side that feels in line with the tone of the characters’ on-screen appearances that feel like organic explanations for how we could turn his back on his former allies. Given the shroud of mystery that has obscured Kylo Ren and the Knights of Ren’s pasts, we hope that the book continues to walk the tightrope of engaging audiences while not spelling everything out for us in a pandering way. — Patrick Cavanaugh
Rating: 4 out of 5
This “final” issue before Iron Man 2020 is a mixed bag in so many ways. The dialogue fluctuates between being interesting, filled with technical jargon, or just plain corny, and the facial expressions are bizarrely portrayed at times. But there are a handful of strong things about this issue, including some great character moments and a tease of what’s to come for Tony Stark. Tony Stark: Iron Man hasn’t been a perfect series, but there’s still enough to make this issue worth enjoying. — Jenna Anderson
Rating: 3 out of 5
X-Force is running with confidence. This issue comfortably maneuvers between the political, humorous, and the horrifying, delivering on each aspect of the Krakoan foreign intelligence service with inventive ideas that play well on the page. An extended conversation over comparing this concept to the C.I.A. shows that it’s being taken seriously and provides some definition, even as the team and its purpose continue to evolve. As much fun as Forge’s day planner may be to read, it’s the final page of this issue that’s bound to have people talking. It takes the new status quo for mutants and builds on what was a flop in #1 in order to deliver a shock so good it’ll still be on your mind a few comics later. — Chase Magnett
Rating: 4 out of 5
Writer P. Craig Russell and artist Scott Hampton have managed to bring Neil Gaiman’s words and characters to life in a truly compelling way in American Gods: The Moment of the Storm #8, and it will definitely leave an impression on you as well. Hampton’s work fits the tone of this story quite well, and while there are some panels that look a rather awkward, overall it’s a strong issue visually, and conveys a welcome tension and mystery in every page. Russell does a wonderful job building this mystery and making the revelations pay off as the issue shows its hand, and it all makes for an issue you don’t want to miss. — Matthew Aguilar
Rating: 4 out of 5
Hellmouth has taken Angel out of the mix of his own solo title, but that isn’t slowing down the series one bit, and it’s all thanks to Spike. Writer Bryan Edward Hill has found quite the groove with Gunn, Spike, and Fred, and while each has their moment to shine it would be hard not celebrate just how stellar Spike has been since joining the series. Hill seems immensely comfortable with the character, and there’s wonderful chemistry between Gunn and Spike that makes even the quieter moments entertaining, though there aren’t too many of those. Artist Gleb Melnikov and colorist Roman Titov are also on their A-Game here and deliver one bloody and brutal scene that reminds you just how deadly this team can be. It’s that gory mix of action and humor that Angel fans loved so much in the original series, and thankfully none of the magic has been lost in the comics. — Matthew Aguilar
Rating: 4 out of 5
Bloodshot #4 does what the previous issues in the series has done: taken readers on a jumpy, jerky ride that telegraphs from the jump where it’s going and offers only pre-programmed thrills and twists that ends with a slow, lurching and unsatisfying roll to a stop. This time, Bloodshot is hauled to fight some strange monsters as, essentially, a glorified bodyguard for a pair of sketchy agents whose affiliation and relationship is barely fleshed out at best and, like everything in this issue, are their own shades of grey. It’s flat, it’s predictable, and it’s boring, leaving readers with no real investment or no real reward for opening up the issue. — Nicole Drum
Rating: 1 out of 5
Count Crowley continues to create a must-follow horror lead in Jerri. She’s as exciting and flawed as they come, though it never feels like her issues are exploited. She’s easily one of the best new comic characters of the year. The story of the series needs to start going somewhere soon, but the ride is enjoyable nonetheless. — Charlie Ridgely
Rating: 4 out of 5
The latest issue of Critical Role – Vox Machina: Origins splits the party… literally. After learning that Grog has a phylactery embedded in his chest, the party splits into two groups for the necessary components to remove it. I enjoyed the split party, mainly because we got to see some of the characters shine a bit more brightly than usual. To this point, Vox Machina has stuck together to the most part, which has made for great banter, but not a ton of character development. In this issue, we got to see Grog’s softer side, along with Vax’s ingenuity. Olivia Samson’s artwork remains phenomenal—she’s had a fantastic 2019 and I hope we get to see her shine even more next year. — Christian Hoffer
Rating: 5 out of 5
Family Tree #2 makes it clear that the (well delivered) melancholy of the debut will not define every installment in the series. Instead, it focuses on past, pre-apocalyptic events with a lot of action. Hester’s depictions of a shootout clearly realize the magical realism embodied in this story. While there are ample fantastic elements on the page, they don’t change the efficacy of a bullet or provide any additional plot armor for the story’s protagonists. Violence is still an unpredictable and ugly thing, made all the more exciting by that approach. The action also isn’t used purely for its own sake, but develops relationships, mysteries, and a variety of other elements even as shots ring out. Family Tree remains a contemplative, yet undeniably thrilling, new story on the nature of family in an increasingly uncertain new century. — Chase Magnett
Rating: 4 out of 5
Farmhand struggles to balance its unfolding conspiracy with the immense heart that made the series so enjoyable from its outset. Sequences hinting at still buried secrets between the town elders are only interesting insofar as they affect present events. The mystery has been present from the start, but these ongoing bits of dialogue teasing at what remains hidden fail to provide a compelling centerpiece for this issue. Instead, some family secrets emerge (and are then quickly dismissed) and the family drama and bonds that make Farmhand so compelling are primarily left on the sidelines. Even with that in mind, the horror-infused moments that bookend this issue are a tremendous amount of fun and will likely leave some lingering fears for those who enjoy eating crawdads. It’s enough to keep going as Farmhand builds to a revelation that it has spent far too much time hinting at with little reward. — Chase Magnett
Rating: 3 out of 5
“The Unification War” arc of Firefly has gone longer and been wilder than I ever would have expected but wraps in a satisfying way in Firefly #12. The introduction of Ma Reynolds felt like an out of left field move by Greg Pak at first. Here, he puts her to good use. A single scene between Mal and his mother says everything about how far Serenity’s captain has come since the first war. The scene also shows some of Dan McDaid’s versatility. He’s been brilliant at bringing a weathered, pulp-style look to Firefly’s space western world that both fits and enhances the story. The Malcolm and Mal scene also shows he also knows how to frame a sweet and subtle scene for the greatest impact. Now that it’s all told, “The Unification War” is a wild ride that gives Firefly fans a dose of the familiar and double dose of the unexpected. — Jamie Lovett
Rating: 4 out of 5
Folklords is unquestionably an acquired taste. If the dark (and I do mean dark) humor doesn’t bother you, there’s a lot of fun to be had with it, particularly in #2. The story is incredibly self away of the fantasy tropes it’s dealing with, and seems to be playing around with the very concept of fantasy and fables in more ways than one. Basically, if this one managed to hook you in you’ll probably be in it for the long haul. If not… well I don’t blame you. — Connor Casey
Rating: 3 out of 5
This series is managing to find its groove, moreso in the idea of looking at what the world looks like under Cobra. The evil organizations has taken over and the world is a better place in some parts of this fascist regime. We get some nice insight into the past lives of some of G.I. Joe and the story moves at a steady clip. The best issue of the series yet and if they can keep up this tempo, IDW may have a hit on their hands. — Evan Valentine
Rating: 4 out of 5
You know a comic will be an interesting read when the first page has the National Suicide Prevention Lifeline number in big bold letters. Heartbeat #2 continues Maria Llovet’s utterly macabre and depressing teenage love (?) story. But instead of looking closer at our protagonist’s life we dive headfirst into her consciousness. The end result in a series of pages that can best be described as psychedelic by way of Hot Topic; it’s absolutely flooded with detail but it’s intertwined with an unquestionably juvenile outlook at things like classic art, poetry, sex and death. And yet none of that is a mark against it—our main character is a young high school girl after, the fact that she is juvenile directs a couple of crucial choices she makes throughout the issue. If you’ve been in that dark, emo (for lack of a better term) headspace in any way, or simply had a moody teen phase back in the day, a lot of this will all be unmistakably familiar to you. And the artwork that brings it to life is as stunning as it is horrifying. — Connor Casey
Rating: 4 out of 5
Invisible Kingdom #8 finds Grix stuck between two philosophical extremes. She and her crew are the captives of space scavengers intent on hurting Lux regardless of what it costs the company’s workers. At the same time, she’s trying to help some Lux employees who find themselves in a similar situation. Those workers make it clear that they no problem turning Grix and crew to make good with the company. Whether trying to help or hurt the company, both factions seem to care little about the people caught in the middle. This is where Grix plants her flag at the issue’s end, be telling her crew “You idiots are my whole life.” Its the strongest statement of intent that G. Willow Wilson has written into Invisible Kingdom yet. Christian Ward’s art is still beautiful, but looking rushed in place in this issue. There’s a whole conversation where one character’s face is a featureless, yellow slate. But with a statement of intent made, it’ll be interesting to see where the creative team takes it through the rest of the arc. — Jamie Lovett
Rating: 4 out of 5
Klaus and the Life and Times of Joe Christmas puts a fresh spin on a holiday tradition, and the absence of dialogue doesn’t make the story any less impactful. That’s a testament to the team who made it happen, delivering a story that makes each moment count with a delightful mix of humor and heart. If you’re looking for something that tugs on the heartstrings in all the right ways, look no further than Klaus. — Matthew Aguilar
Rating: 5 out of 5
Lumberjanes kicks off a delicious new story with its latest release. Issue #69 follows the girls on an early morning adventure through the woods, but Molly finds herself preoccupied with a mysterious journal. The book’s story unfolds through several tantalizing flashbacks which will hook fans, and the issue’s cliffhanger assures fans the Lumberjanes have a big journey to head up soon. — Megan Peters
Rating: 4 out of 5
Marvel Action: Spider-Man’s finish to its first Venom collab is a bittersweet one since Venom’s introduction to the series was one of the best guest appearances yet. Like the eleventh issue where four heroes are battling against Doc Ock, the fight gets a bit messy at times and hard to track everything that’s happening, but it transpires in a compact sequence that lets every hero have their chance to shine. It gets a bit hokey towards the end when yet another character makes a surprise appearance, but it fits the tone of the series overall and neatly lays the foundation for future team-ups. — Tanner Dedmon
Rating: 3 out of 5
Middlewest #13 gives a much-needed balm to a turbulent story. At last, Abel puts down his walls to show his vulnerabilities and gains back a lost family member as such. Despite all his misgivings, this issue proves Abel is loved flaws and all, but an incoming storm promises to shake things up for the boy before long. — Megan Peters
Rating: 3 out of 5
Wow, it’s hard to say just how good Mighty Morphin Power Rangers #46 is, but I’m going to give it my best shot. Writer Ryan Parrott crafts a thrilling rollercoaster ride full of gorgeous action (thanks to artist Daniele Di Nicuolo and colorists Walter Baiamonte and Katia Ranalli), delightful humor, and promising hooks that will make you wish the book was twice as long. Every group has their time to shine, including Kiya and her new team, who have the potential to be quite the lethal threat moving forward. Also, Daniele, Walter, and Katia should be thrilled at how good that Tigerzord page turned out, and we cannot wait to see more. This book is everything you love about Power Rangers distilled into one fantastic issue, and the next adventure cannot get here soon enough. — Matthew Aguilar
Rating: 5 out of 5
The Old Guard: Force Multiplied #1 provides a prologue to a new story more than anything else. It confirms the status quo found at the end of the prior series and only begins to hint at how things might evolve from that moment in the last few pages. However, the status quo itself is shown to be amply engaging with action, perspective, and quips that thrill. It’s a welcome return and a reminder why this issue was so hotly anticipated by an existing readership, a readership likely to be even more excited for #2. — Chase Magnett
Rating: 4 out of 5
Everytime I feel Once & Future has hit its ceiling it shatters it the very next issue, an
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