A.S Tiger Comic Reviews

With the main mystery component set up and the promise of more fun character dynamics to come, Jed MacKay, Mahmud Asrar, and Matthew Wilson set the stage for an exciting second issue and build on the momentum from the start of the event.

Amazing X-Men#3 slows down the action a little and lets the X-Men breathe right before the sure-to-be exciting Finale issue. In the process, Jed MacKay expertly weaves in more mysteries and unexpected twists.

Binary is a reheated version of Phoenix, telling a more grounded story, but in a way that isn't very compelling or interesting. One can't help but feel that this was an unnecessary pivot in the story, rather than continuing with the one Phillips had already written.

Binary's conclusion is satisfying enough, but it raises the question of whether it was the best avenue for taking these characters down at all.

Cyclops #1 is a strong, effective start to what promises to be a brutal, gritty survival story. Nods to past X-Men story are appreciated, particularly in how they are contextualized in the present, and while some of those encounters could have used more time to develop, the highlighting of Marvel history is worth praising nonetheless.  <

Cyclops #2 is a well-paced read that balances character introductions and new dynamics being forged with action and plot progression. Paknadel sets a gritty tone for the series, and while the art stumbles in some places, the issue sets up for even better things to come.

Expatriate X-Men #1 sets up an interesting premise by exploring just how this cast of characters has changed and become more jaded. The art is strong and suits the characters well, while the story is intriguing, if a bit brief and cutting off right when the momentum begins to build.

Expatriate X-Men #2 races by at a much swifter pace than the first issue, though in this case, it might be too fast. The dynamic between these characters is still new to us readers, so even by the second issue, the arguments and distrust between the members feel inorganic and contrived.

Expatriate X-Men falls short of its bold premise and the ambitious attempt to build a complex narrative. While presented in a visually interesting way, the writing and coherence of the story leave much to be desired.

Giant-Size House of M isn't quite as strong as some of its predecessors in the series, lacking the concentrated narrative of Giant-Size Dark Phoenix Saga #1 and Giant-Size Age of Apocalypse #1. However, the scenes between Kamala and Kitty truly stand out, allowing Kamala to share her valuable life experiences and connect with how the mutant metaphor resonates deeply for many in real life.

Giant-Size X-Men was maligned before it even began, and a subset of fans seemed reluctant to ever give it credit. But it's been a fun, if slightly uneven, ride through iconic X-Men stories.

Inglorious X-Force #1 is an exciting, fun start to this new series, with a team that combines various eras of X-Force and that leans into nostalgia but still provides fresh faces. The art is well drawn and coloured, and Seeley packs a good amount of material in this debut issue, giving the story momentum and a hook.&#160;

Iron &amp; Frost feels linked to the Age of Revelation event in a compelling way and is, overall, a very strong start to the series.

Iron &amp; Frost #3 suffers from pacing issues, trying to do too much in too tight a timeframe. But it makes the important moments count, and reminds readers of how effective and romantic a pair Tony Stark and Emma Frost were.

Magik #7 may be light on plot, but it effectively introduces the final key players for the explosive concluding three issues. It sets the stage for the girls' pivotal Vegas mission, which will either mend or break Dani and Magik's friendship, and firmly establishes the long-looming threat of Liminal. While primarily an expository issue, it successfully serves its purpose by setting up a compelling finale.

Magik #8 is a strong issue that ties up some character conflicts while pushing the story forward to a logical conclusion. Allen has done a good job of tying up loose ends and setting the stage for a strong finale in the next two issues.

Magik #9 has several strengths, including strong character development for Dani Moonstar and a compelling villain with an interesting backstory in the Embodiment. The art and colors are also a highlight, especially in Matt Horak's flashback sequence.

Magik #10 is a tightly paced, action-packed conclusion that ties up the major conflicts and deals with the main threats. While some showdowns land better than others, the issue is a strong finish and a great debut for writer Ashley Allen.

Phoenix #13 picks up the pace from previous issues, driving the story forward and revealing significant character developments. However, it remains choppy, with character voices feeling lifeless, and their actions needlessly dramatic. While the artist demonstrates solid fundamental skills and works diligently, the art lacks the polish and experience necessary to truly elevate the book.

Phoenix #14 is the strongest issue of Phoenix in a long time. This troubled book has undergone numerous changes and twists in its production, and those issues have often hindered what was initially the most promising concept among the From the Ashes titles. While this most recent arc hasn't been able to meet the emotional weight such a story deserves, Phoenix #14 ups the stakes in an interesting way and sets the table for a truly cosmic showdown.

Phoenix started as one of the most promising new solo titles from Marvel, it never seemed to find its footing. Here's hoping that 2026 provides the character and the book with more direction and refreshed ideas.

Storm: Earth's Mightiest Mutant #1 might be a new #1, but it is not new-reader-friendly. Even those who have followed the Storm series since Murewa Ayodele began it in 2024 will be frustrated by this issue, which features a chopped-up narrative, significant expository dialogue, and a lack of depth. The art is sufficient and shows promise, but is not up to par with the previous ongoing Storm series.

Ultimately, Ultimate Wolverine #9 is a visually beautiful but unfulfilling experience. There's little to hold on to or contemplate for the next issue, and with Ultimate Endgame approaching, this issue feels like a time-filler before the main event.

Ultimate Wolverine #16 brings the series to a lackluster end, with the sparse, unoriginal plot and writing making it feel as if nothing really mattered. Alessandro Cappuccio and Bryan Valenza shine on artistic duties, however.

Unbreakable X-Men is not a bad story in its own right. Still, it feels out of place in this event, unconnected to the broader Age of Revelation story, and even disconnected from the story Gail Simone was telling. The art, however, is excellent, and some pages of Gambit's grief are quite moving, even if it is dwelt on for too long.

Unbreakable X-Men is not a bad story in its own right. Still, it feels out of place in this event, unconnected to the broader Age of Revelation story, and even disconnected from the story Gail Simone was telling. The art, however, is excellent, and some pages of Gambit's grief are quite moving, even if it is dwelt on for too long.

Uncanny X-Men #17 is a mixed bag, showing the promise of Gail's writing as well as the pitfalls. While the initial premise was delightful, if not slightly muddled, the issue ultimately leads the story to take a turn for the worse. Let's hope this story arc regains the quality of the issue's first half, rather than continuing the decline of the latter.

Uncanny X-Men #18 offers a heartwarming, character-focused story that emphasizes human-mutant solidarity. While its charming interactions and refreshing change of pace are highlights, some minor plot points feel rushed or underdeveloped. Readers looking for action or high drama, however, might find this issue falls short.

Uncanny X-Men #19 is a charming revisitation of the "From the Ashes" era's first true story. The focus on Jubilee is a welcome change, and the ending is satisfying and heartwarming.

Uncanny X-Men #20 is a rich issue packed with character development for Ransom, Rogue, Gambit, Wolverine, and Monet. While some in the online community dislike the Greymalkin story, this comic adds a new layer that leaves readers wanting more.

With strong visuals, some good gags, and a heartwarming conclusion, Uncanny X-Men #21 embodies the essence of the book itself: it isn't always the most focused, but it is consistently heartwarming and wholesome. At its core, it's built on the idea that the X-Men are a family, and no matter how much of an outsider you feel, you can find people who will value and care for you. And in the end, what's more X-Men than that?

Uncanny X-Men #22 isn't quite the grand return readers might have hoped for, despite a strong visual presentation. While there's some enjoyable humor present early on, Mutina is a strange, distracting, and uncooked presence in this title, and the unfortunate focus on her brings down the art team's collective efforts and Simone's.

Uncanny X-Men #23 is the strongest entry the title has had in quite some time. Kicking off an exciting new arc, Where Monsters Dwell, the issue perfectly balances two different stories, both touching on classic Marvel Comics and classic movie and TV archetypes and tropes. Simone juggles the two well, and the art by Marquez and Wilson is excellent.

Uncanny X-Men #24 brings the thrills, the spooky vibes, and the chills with a cliffhanger that is sure to leave readers scratching for more. Gail Simone, David Marquez, and Matthew Wilson put together their series best work here, and continue one of the best arcs in X-Men comics of the last two years.

Wolverine: Weapons of Armageddon #1 is a simple but effective Wolverine tale. Readers excited for Armageddon might be a bit disappointed by the familiarity of this story; it is a classic Wolverine tale. But it is well told, and there is enough mystery in the strange box, as well as in the presence of certain other figures from Marvel that lend this comic intrigue. The art is competent, though the colors don’t quite mesh with the pencils. <

Zdarsky pens an effective issue that reminds readers of the stakes and tragedies inherent in the lives of the central characters. Both heroes and villains have done wrong, and the battle for Tyler is one that has consequences on the conscience of every character.

World of Revelation features three distinct stories, each one contributing to the somber, bitter world the X-Men and the Marvel universe find themselves in. While not all the stories are equal in quality, each of them leaves an impact and is memorable in its own way.

Ryan Stegman puts together an issue that highlights the creative power and potential of all people, and how it is always better to have faith in oneself and create with one’s own abilities rather than rely on shortcuts and stolen work. Steve Skroce, Sanford Greene, and Arthur Hesli provide art that complements the story perfectly and is the highest artistic point of any issue of Jed MacKay’s X-Men run so far. <

X-Men #18 serves as a mostly satisfying conclusion to the five-issue arc, resolving the key conflicts, albeit sometimes in rushed terms, and presenting a new dilemma for the future. While the lack of answers may frustrate some readers, and the overall pacing leans more towards the decompressed side than the efficient side, there's enough emotion and intrigue in this issue to build momentum for what comes next.

X-Men #20 is a slow-paced issue that I once would have loved. But on the heels of so many unresolved and interrupted stories, that slow pace becomes a detriment rather than a feature. The character interactions are strong, but it's hard not to be frustrated by the lack of progress and the "mystery box" style of storytelling.

X-Men #21 succeeds in its primary goal of making Jen a true member of the X-Men. It has clear strengths, including a strong character arc for Jen Starkey and a well-written conversation between her and Quinten. The art team's visuals also enhance these moments. The interesting and surprising ending is another redeeming quality.

X-Men #22 is a strong, well-paced issue that effectively uses character dialogue to bring together multiple plot threads from earlier in the series.

X-Men #23 is a light and breezy issue, but one with consequences for the future. The story moves along at a frustrating pace, and too much of Jed MacKay's X-Men has been dedicated to future set-up rather than current stories, but the issue does contain intriguing elements that could make or break the Age of Revelation event. There is strong writing for future Cyclops and several of the other X-Men, and Tony Daniel's return to the X-Men office is in a visually strong fashion.

X-Men #24 is ultimately a successful outing by Jed MacKay and Tony Daniel, with some sharp art complementing a well-written and well-scripted story. While there is a sense that more could have been revealed and shown to the reader, X-Men #24 still comes out as one of the best issues of Jed MacKay's time on X-Men.

X-Men #25 gives the story a real sense of movement. Identities are revealed, some mysteries are solved or at least pushed forward, and realizations are abound. The identity of the ONE leader is followed up swiftly by Beast realizing who the leader of 3K is, both are exciting developments. <

X-Men #26 is a sturdy start to a new arc, featuring a new threat for the team to deal with. Jed MacKay’s writing is strongest in the sequences involving Glob and Greycrow, setting up intriguing story threads there. However, the issue itself is mostly set-up for yet another villain group, and in a story that moves slowly at times and seems meandering, X-Men #26 sadly doesn’t offer anything new.

X-Men #27 is another issue in a long list of slow-paced, establishing issues that Jed MacKay has written. There remains little urgency and excitement in some of these arcs, and this one, more than any other, has the feeling of truly being “filler.”

X-Men #28 features improved art that upgrades and enhances the visual look of Diaz’s pencils and handles the segregated stories efficiently. However, the villains remain forgettable and uninspired, and the pacing of this issue and the previous one belies a problem that’s been inherent in Jed MacKay’s writing from the start.

X-Men of the Apocalypse is a quick and breezy issue, one without too much substance beyond the intriguing conversation between Nate and Phoenix. One can't help but feel this should have been an X-Man mini rather than an Age of Apocalypse one, but visually it is striking and showcases some different characters than normal.

X-Men of Apocalypse Alpha #1 is a tight, breezy read, one that will inform new readers with just enough detail to get going, without bogging them down in exposition. Simone Di Meo's art is unique, stylish, and aesthetically pleasing in its character design.

X-Men United #1 is a largely competent but unextraordinary first issue. X-Men United succeeds in the writing of the younger mutant cast but fails to truly bring anything new to the table, both visually and creatively. <

X-Men United #2 begins with an interesting moment, but ultimately does not inspire confidence. The pacing and set-up of the story feel flawed and reversed, and the art remains a weak point for the series. 

X-Men: Age of Revelation #0 is an indispensable read for anyone following Jed MacKay's X-Men, providing an enticing and exciting preview of what's to come. While some readers might be wary of yet another "Age of Apocalypse" homage so soon after Sins of Sinister and Giant-Size Age of Apocalypse, Age of Revelation #0 offers enough intrigue and unique story elements to stand apart.

Age of Revelation Finale #1 encapsulates many of the triumphs and flaws of this event. MacKay skillfully sets up the future with a genuinely exciting, thrilling twist and builds a strong foundation for new stories. However, in the Revelation future, with the actual story told, he falls short, failing to write a compelling villain and to provide the necessary scale and dramatic tension to pull off the kind of conclusion he was reaching for.

X-Men: Age of Revelation: Overture #1 is an exciting beginning filled with mystery and promising story angles. The action sequences are kinetic and dynamic, and the issue is well drawn. Aside from a strange choice of dialogue in one scene and the lack of follow-up on some broader world-building, the issue is immersive and full of energy, providing an exciting setting for the story to unfold.

X-Vengers #1 explores Dani Moonstar's leadership of the Avengers, and provides a sincere look at what it means to help others in even the most difficult circumstances. There is a true and very sincere disability metaphor to be applied to the Avengers, and how Moonstar functions almost as a therapist, coach, and friend in helping them come to terms with their new normal.

X-Vengers #2 is one of the biggest surprises of the Age of Revelation, setting up an interesting, high-stakes story that blends the mutant metaphor with the Avengers' good-hearted heroism. With strong action and dynamic art, X-Vengers #2 sets the stage for an exciting finale.

X-Vengers has told a story about people struggling with mutation after living much of their lives without them. The metaphor for disabilities brought on in later life are clear, as is the message that life can continue on in a fulfilling way once those conditions are managed; all that is needed are people willing to stop and help.