Jamie Lovett Comic Reviews

Teenage Mutant Ninja Turtles has settled into a solid groove. The Turtles are reunited, but the strife between the brothers continues to create emotional distance and drama, helping to drive up the tension as the narrative draws closer to a turning point moment. Inhabiting Leonardos perspective shows Aaron's solid grasp on what makes each Turtle tick. After finishing the issue, Im left wondering if Aaron plans to shift perspective to each of the other Turtles during the next few installments as they come together through breakthrough moments similar to what Leonardo experienced here, which would be a fitting conclusion to this arc considering where it began. Regardless, Teenage Mutant Ninja Turtles #8 proves again that the series is in good hands.

Theres a warm, joyous energy crackling beneath the surface of The Great British Bump-Off: Kill or Be Quilt #1. Its welcoming and possibly even wholesome, but without feeling childishly twee. The Great British Bump-Off is in fine form in the first issue of its return and is as inviting to new readers as it is to those anticipating its comeback since the final issue of the first series. With its confident pacing the first issue introduces the cast of characters before hinting in the mystery to come, with the energetic cartooning ensuring it all still feels vibrant and entertaining throughout Kill or Be Quilt #1 is a finely crafted comic that'll have readers yearning for more.

Star Trek: Lore War #1 arrives at a time when the Star Trek franchise is going through an identity crisis and while the creators of the comic book event couldnt have known these conversations would be taking place at the time of its debut the story feels no less timely for it. The Star Trek of the franchises golden era, where intensely competent people apply their crafts to problems to uphold a future that is as close to perfect as a 20th-century-human could imagine, is replaced by a world built on conflict for the sake of conflict, where real change is impossible and better futures are beyond imagining. Star Trek: Lore War #1 kicks off a fight for Star Treks very soul, as told in a story with a scope like Star Trek fans have never seen before.

Immortal Thor #16 is a beautifully structured superhero story.

At a time when new superhero comics often struggle to justify their existence, Storm #1 creates the framework to position Storm as a leading superheroine she perhaps should have become a long time. Here's hoping they can build on this strong start.

Nightwatcher #2 provides a strong, compelling origin for Mutant Town's new protector that should continue to compel as the creators unpack it through future issues of the series.

X-Men #5 simply does not measure up to the legacy it seeks to co-op.

There's not much memorable here and the issue is likely to be forgotten once its closed.

G.I. Joe: A Real American Hero is in full climax mode as it wraps up its first arc, yet things are still escalating.

With visuals this stunning, readers should be more than willing to hop onboard and enjoy the ride wherever the epic journey may ultimately take them.

It's an intense and provocative read that manages to upend its own stated premise in a way that only makes things more intriguing.

X-Factor #2 feels less like a case of early 2000s deja vu than the series' debut, focusing on Havok and Polaris' increasingly complicated relationship.

At four issues in, this latest X-Men volume is already feeling rote.

Avengers Assemble #1 is an endearing debut that'll give readers a dose of what Avengers comics have been missing.

Batman '89: Echoes continues at something of a slow pace, even as things begin to explode and costumes are revealed.

If you're here for cool Kaiju art, you'll be satisfied with what's on offer, but the issue will bring you no closer to understanding why you should care about these kaiju-obsessed weirdos and their little conspiracy.

Teenage Mutant Ninja Turtles #2 is another fine outing for the TMNT relaunch.

For longtime readers, this issue will offer both catharsis and excitement for what comes next.

Time Waits #1 is a strong debut, introducing a cast of endearing characters, an intriguing mystery, and visual storytelling that is clear and easy to appreciate.

Black Cloak returns with its seventh issue set several years after the fire that closed out its first arc. After all that time, it was shocking how fast the new issue reads, concluding just as it feels like it's getting started, but that's not to say what's here isn't worthwhile.

The sheer number of characters, many of who are not particularly distinct, can make the action a bit tough to follow in place, but the art is sharp and keeps a lively pace.

Right now, this feels like an inessential addition to Ewing's ongoing Thor saga, but only time will tell if that proves to be the case in the long run.

The Star Trek franchise has told stories that are epic in scale, but a pissed-off android breaking into the clubhouse of the gods and threatening to erase all existence out of apparent spite has to be up there with the grandest.

Some bits in the ending don't completely satisfyI'm not sure the series ever gave a satisfying explanation for what Jimmu's whole deal was, and it's unclear why Stray Dog remains so standoffish about his true morality with his peersbut on the whole, its another compelling adventure for Usagi Yojimbo.

Part of why the action-packed issue works as well as it does is that it isn't simply a fight, but lesson, a test that Hercules and Thor must pass, challenging their wit as well as their combat skills, creating a clever and satisfying experience for the readers.

Nightwatcher #1 has the vibe of a compelling pilot episode, making a clear case for the book's existence (Who is looking after the people of Mutant Town while the Turtles are scattered to the wind?), and giving its mystery hero the opportunity to break out like never before. Readers and TMNT fans should be looking forward to seeing what Ba and Pe build on this cornerstone.

It's not a total bust, but it is a bit underwhelming and quite derivative.

I'm not sure what X-Men #2 is trying to achieve beyond possibly turning X-Men into a straightforward power fantasy and not even doing that particularly well.

A Vicious Circle feels like a story built on a clever plot device desperately grasping for meaning and coming up empty.

Ultimately, this is all thematically muddied, with Deadweights suffering an identity crisis that mirrors its main character.

Sons of Giants hasn't made a strong enough case for why readers should be this invested in the titular group and is taking too long to get the point of this sequel.

It's intense, yet understated, and gripping. Ripe with the potential for drama, intrigue, nuance, depth, and meaning, The Power Fantasy is primed to explode superhero comics.

While it's a bit awkwardly paced for a monthly release, the strong, if straightforward, visual storytelling keeps it from being a cumbersome read, and one that will likely be elevated once the entire adaptation is complete.

Most importantly, Immortal Thor #13 presents a compelling and entertaining story with strong characterizations, captivating action, and an immersive atmosphere.

If this continues, William could soon be standing alongside the likes of Hellboy, Miyamoto Usagi, and the Goon as part of the pantheon of iconic adventure heroes published by Dark Horse Comics.

The shadow art fits perfectly with Defiant's darker tone, though it falters during the sunnier scenes. However, that's a minor flaw in what is otherwise a strong start to this series' next chapter.

This year's iteration of the Supermassive crossover one-shot is full throttle from start to finish, with a visual style that is kinetic to the point of exhaustion and replete with exaggerated fight scenes.

In Teenage Mutant Ninja Turtles #1, Aaron and Jones offer longtime fans something that feels undeniably inspired by the original TMNT comics published by Mirage 40 years ago without being slavishly devoted to them, all while making the Turtles' wild and expansive universe easily digestible for new fans.

There are no easy or clear answers to be found in The Six Fingers, any more than there were in The One Hand's finale, and nor should there be as such tidy summations would only betray the weighty spirit of the world these creators have built but the conclusion will likely linger with readers for some time.

It's an uneven issue, but one with some interesting things to say.

There are ambitious ideas here but a flawed execution results in a muddy reading experience.

This issue of RAH may lean a bit more into G.I. Joe's cartoonish aspects than readers are accustomed to, but it will still leave them eager to see what happens when it all goes down in Springfield.

There are some questionable plot points (A brilliant scientist builds a walking death machine with only one flimsy control device?), and narrative cohesion is sacrificed for thematic grandeur, but Man's Best ends on the right note.

Star Trek #22 runs the gamut of emotions, lines up themes with plot expertly, and is a total joy for a Star Trek fan to read.

The story is surprisingly emotional as conflicts internal and external hinge on a lapse in Data's learned humanity that may have derailed Lore's redemptive arc as Data is unable to reckon with his error in judgment, the slight he inflicted on his brother when the hand of reconciliation was outstretched. All of this makes Star Trek Annual 2024 an essential and rewarding read.

Untold Destiny of the Foot Clan does not disappoint.

With its straightforward and clear storytelling different permutations on three-tier pages throughout Sakai blends simplicity with depth, making Usagi Yojimbo consistently excellent comic book reading.

Much of Batman '89: Echoes #3 is spent on a flashback explaining how Bruce Wayne found himself in Arkham Asylum impersonating Firefly. However, this story is moving at such a crawl, with such little forward momentum, that it's hard to appreciate it now moving backward.

There's still the lingering question about making restitution for their past deeds, but by giving us a glimpse at the normal, mundane lives they may choose to live, Deadweights #4 goes a long way in creating empathy for these burned-out henchmen.

It's a strong collection with something for every TMNT fan and plenty of reasons to revisit after the 40th-anniversary festivities conclude.

X-Men #1 isn't poorly crafted but is indebted to a version of the X-team we've seen in the past. X-Men #1 lacks a strong hook, seemingly hoping that simply sending out these characters under familiar circumstances will be enough to make its case. It's not. Perhaps that's overly criticalthe issue is functional and capably sets the stage for future adventure, and it isn't a bad-looking comicbut it doesn't make much of a statement.

Life of Wolverine #1 adapts the vertically scrolling "Infinity Comic" by writer Jim Zub and artist Roman Bachs into print with passable results. Knowing that Life of Wolverine existed first as a webtoon-style comic, it's hard not to look for the seams where the phone-sized pieces were sewn together.

Sons of Star Trek's final issue brings the story to a close in a way that tracks perfectly well with what came before yet feels too tidy.

The Last Mermaid #5 again reads like enhanced storyboards for an animated feature without feeling like a studio pitch disguised as a comic book. That makes for another thrilling, masterly crafted installment of one of 2024's best new series.

While it will most fully appeal to those with prior investment, or at least curiosity about, the Psylocke character, X-Men: Blood Hunt Psylocke #1 is a stellar outing for the fan-favorite mutant ninja.

As long as readers can accept Anansi Boys for what it isa serialized graphic novelthey'll be in for a fine time in the Gaiman mold.

While Godzilla: Here There Be Dragons II Sons of Giants #1 may not hook readers on its central mystery by the time the issue ends, the gorgeous historical vignettes are enough for even casual kaiju lovers to consider returning for a second look.

It's the conclusion to a Star Trek story that started as a tense bit of space horror and grew into something epic, a ride that every fan should go on.

There's so much going on in that era through these different comes, and it's getting difficult to care about all of it.

Ultimately, X-Men '97 lacks the thematic ambition that characterized the TV show and helped it transcend mere nostalgia play into something more resonant and essential. However, as a prequel, the comic appropriately fits the more indulgent mode that X-Men '97 starts with before shifting into more serious matters.

This issue sees the cold war between the various factions turning hot, affecting the vibe of an action movie, with standout moments like a Joe pulling the trigger on a cyborg's eye socket from point-blank range. If that sounds like your thing, this book will speak to you.

It remains a solid tale, but not the best that readers have seen from the series.

As Man's Best nears its end and the journey becomes increasingly weird, more chances are taken with layouts and compositions, which adds some flair and excitement to this issue, including one especially arresting two-page spread.

There's some concern here that the story is growing too big, too godly, to remain concise and relatable, the erasure of the Organians from the timeline feeling like a mere statistic compared to the individual lives of those among the ship's crew, but the plot plays out like a classic, diplomacy-heavy Star Trek episode and concludes on a strong enough hook to leave fans eager for more.

The second issue of Teenage Mutant Ninja Turtles: The Lost Ronin II is well-drawn and written but does hit a few problems, particularly with the recap of Fugitoid's history.

The visuals are bright, dynamic, and arresting as they flow from one vision to the next, despite some odd lettering placement messing with the sequence of events.

The One Hand is a consistently stellar bit of cyberpunk noir magic.

It's another issue that's crafted well but relies heavily on established tropes and a narrative pattern that is, by now, well-worn.

It's a front-loaded title, with its best efforts being the swashbuckling fairy tale focusing on the Hikaru Sulu of the Kelvin Timeline that kicks off the issue followed by a story about the dynamics of Raffi Musiker's relationship with Seven of Nine, the kind of micro-story that there wasn't much time for in three packed seasons of Star Trek: Picard. Stories featuring Paul Stamets, Jett Reno, and Christine Chapel get too bogged down in the pseudo-scientific details.

It's ripping, compelling cyberpunk noir with depth that hasn't yet missed a beat.

William of Newbury #1 is a masterclass debut. It's thematically rich, gorgeous, and dripping with atmosphere and personality. It's as close to a perfect first issue as I've seen this year, and it makes me hope for many more adventures to come.

Marvel Comics celebrates the renewal of Mystique and Destiny's vows in X-Men: The Wedding Special, which doesn't shy away from the complexities inherent in the celebration of two women who have had careers as terrorists and been unrepentant murderers or accessories thereof. The

The finale to Fall of the House of X bears the same signs of being rushed out the door as the rest of the series (and several others of the "Fall of X" era).

Immortal Thor becomes one of the early adopters of the new cosmic Marvel paradigm laid out in Jonathan Hickman and Valerio Schti's GODS, and it's a fine fit.

Fans looking for a unique artistic experience won't be disappointed, but those looking for an animal adventure may be less fulfilled.

Star Trek: Defiant offers a Star Trek story that is unlike almost any other Star Trek story to exist, even if it is drawing on familiar inspiration. But wearing its influences on its sleeve doesn't stop it from being an absolute blast to read.

It's a solid enough issue that picks up the pace but can't shake off all the problems plaguing the series.

Luckily, the tight pacing, rich artwork, and intrigue all hold together, investing the readers in all the intricate machinations that unfold.

Star Trek #20 offers artist Megan Levans a chance to show what she can do when put to the test. She plays with time over a two-page spread that shows the stationary Theseus ship in various states of upgrade (I did find myself wondering if a less explicit angle would have preserved a grander reveal later on, but what the issue offers is undeniably stellar), and gets to cut loose when things get psychedelic upon the ship's attempt to reach the pleroma through the galactic barrier.

Consistently compelling, thus far, The Untold Destiny of the Foot Clan has proven as essential and delightful as The Secret History of the Foot Clan. Teenage Mutant Ninja Turtles fans shouldn't miss it.

X-Men: Forever #4 may be the most essential issue of the Fall of X era.

There are some genuine laughs in Deadweights #2 as well. Here's hoping it all comes together as the series progresses.

In wrapping up Gone, Jock provides a sensible conclusion to Abi's story that doesn't fully cover some of the weaknesses in the series overall.

The Last Mermaid #3 is a masterfully crafted comic.

Even with only one issue of each series left, there still feels like plenty of mystery left to unravel in this thriller.

Usagi Yojimbo: The Crow #2 features Sakai's fine cartooning, as strong as ever with great expressiveness from its character, and its central theme, that of Yukichi with his youthful idealism regarding the samurai code confronted with the reality of what one must do to survive without a master, is compelling.

X-Men: Forever #3 tries to depict an epic battle for the fate of Krakoa, but the art isn't up to the task.

Ultimately, the issue takes a surprising turn toward the end that'll have readers guessing, but putting the issue down fulfilled.

It's a solid character arc told against the starship battle happening alongside it, and even Tuvix is put to good use getting everyone on the same page in understanding the whole time loop thing. It's a stellar issue of character-first Star Trek.

The issue does bring some closure to the Synch/Talon/Wolverine situation that has been at the heart of the book, but with even the considerable artistic talent involved struggling to make something out of what little the script has to offer, X-Men #34 feels like the tail-end of a story stretched too thin.

It's not going to surprise anyone or transcend expectations as a licensed tie-in to a video game based on a movie, but for the target demographic, it likely does enough to satisfy.

It's a personal issue that doesn't shy away from having Dimitri may a defiant, definitive statement on what matters to him. It's also tragic, though not quite as a heart-rending it seems intent on being, perhaps because it isn't all that hard to figure out what the downer twist before it lands. That said, the art remains gorgeous, and G.O.D.S., as it nears it (apparent) end, continues to feel like it is just now beginning to ramp up to something.

In its second issue, Man's Best remains a charming, well-crafted endeavor, though the pace isn't quite what one might expect.

The best thing about Star Trek: Defiant is that it isn't scared to make Star Trek weird.

Teenage Mutant Ninja Turtles' grand finale is a little less grand than one might expect, speaking in terms of scale rather than necessarily in quality.

With The Six Fingers #3, it feels like this duet between this series and The One Hand is hitting full stride.

While arguably not as essential as Rise of the House of X, X-Men Forever #2 enhances the reading experience while feeling substantial.

Fall of the House of X #4 has a lot going on. None of it quite hits the mark.

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

All in all, Star Trek #19 kicks off what has the makings of another fantastic Star Trek story.

Teenage Mutant Ninja Turtles: The Untold Destiny of the Foot Clan #2 is an action-heavy issue and thus benefits from Matteus Santolouco's sharp linework, fluid compositions, and dynamic layouts.

This whole exercise could have been a by-the-numbers extrapolation of what happens when a writer chooses option A over option B or when a character outlives their relevance. Instead, the tale is adding more depth to the character without fundamentally undercutting the thematic underpinnings that defined him in the first place.

It feels like there are ideas buried here, but the lack of mood and motion makes it hard to invest in whatever the narrative is trying to say.

A clashing of tones that fails to commit to one sensibility or another, or even to the tension between, creates a disorienting reading experience that fails to pose some obvious and important questions about its central characters.

The Immortal Thor is now verging on becoming fully metatextual, a rumination on the compromises made to turn a god of myth into a marketable superhero and the responsibilities that such an icon has accrued since comics have gone from being the disposable entertainment of certain relatively small subcultures to a dominant global entertainment force.

It's another stellar issue that will especially appeal to fans of comics that emphasize visual storytelling over verbose narration.

If The One Hand hadn't already fully sunk its teeth into its readers, The One Hand #3 will surely do the trick.

In other words, in this 275th issue of the series, Stan Sakai has found yet another way to effortless hook readers into another Usagi adventure.

It's beginning to feel a bit like X-Men is stretching out its finale to ensure it makes it to the upcoming milestone 700th issue.

It's a fine enough comic for fans of the game or the larger Avatar franchise, but it's unlikely to impress outsiders.

Reading G.O.D.S. feels a bit like watching the creators pull a sleight-of-hand trick. Many of the flourishes associated with Jonathan Hickman's writing style are a presenta sense of gravitas and mystery, systems within systemsyet, underneath that veneer, the series hasn't revealed much conflict or plot to latch onto and remains content to slowly build out its new take on Marvel's cosmic power balance as an exercise in pure worldbuilding.

At two issues in, The Six Fingers remains the cooler, more collected counterpart to The One Hand's weathered shabbiness.

It reads like someone took the basic premise of Neil Gaiman's television show-turned-novel Neverwhere and adapted it to appeal to fans of supernatural teen dramas like The Vampire Diaries with tedious results.

https://www.previewsworld.com/Catalog/JAN241401

G.I. Joe: A Real American Hero bears many of the hallmarks of Larry Hama's long and beloved run on the comic: unlikely odds, ninja action, and military tech jargon.

Star Trek #18 is about as perfect a distillation of what's good about Star Trek into comic book form as I can imagine.

Secret History of the Foot Clan will have set a high bar in fans' minds, but based on the first issue, The Untold Destiny of the Foot Clan seems unlikely to disappoint them.

Immortal X-Men was one of the highlights of the latter half of the Krakoan era. X-Men: Forever continues its narrative, but trying to service the scale of the "Fall of X" meta-narrative means sacrificing some of the sharp focus on character that made Immortal captivating.

At three issues in, Fall of the House of X has become the antithesis of the House of X miniseries from which it takes its name. Where Jonathan Hickman insisted that all other X-Men titles end before he began his run to ensure that House of X (and Powers of X) were the sole, singular X-Men narrative for readers to focus on, Fall of the House of X feels less like a story in itself and more like a highlight reel of events happening in the handful of other Fall of X stories that are running simultaneously.

Ultimately, Firefly: The Fall Guys is another failed attempt to get the Serenity crew's comic book adventures back on track.

Star Trek: Sons of Star Trek #1 is a shining example of approaching a long-running series by combining the fresh and the familiar. Q Junior is unabashedly pulling from his father's bag of tricks by sending the mortals who have caught his attention to an alternate timeline to learn their lessons. However, the focus on Deep Space Nine's younger characters who were rarely the show's main focus stops it from reading like a retread.

Teenage Mutant Ninja Turtles #149 is a functional issue, and there's still reason to hope that issue #150 will be the grand finale the run deserves.

The Sandman: Wesley Dodds has been an unexpected delight for six consecutive issues.

The totality of their vision hasn't yet become clearno obvious central villain emerges in this issue, and it is clear there's more to these turtles than skill with weaponsbut Re-Evolution #1 will likely leave readers ready to discover what's next for Clan Hamato.

Derek Kirk Kim returns to comics with The Last Mermaid, and the debut issue is a reminder of the cartoonist's considerable talents.

The issue is hampered a bit by lots of references to events occuring in other "Fall of X" books. Otherwise, this issue represents a solid outing that will put a smile on the face of a longtime X-Men fans.

Avatar: Frontiers of Pandora Solek's Journey #1 is a solidly assembled start to the character's pilgrimage.

The book slow crawl and lack of clear purpose make it ill-positioned for a crossover with another title, but all Carnage stories seem to inevitable lead back to Venom, and here we are.

It's an entertaining read but feels primarily invested in laying groundwork and seeding themes that will pay off later in the series' run.

Long-time Joe readers don't need me to tell them this, but I encourage newcomers to let themselves get lost in that sense of well-established wonder.

G.O.D.S. #5 is the most streamlined, quickest read issue of Jonathan Hickman, Valerio Schti, and Marvel Gracia's high-concept Marvel Comics series thus far.

It's a credit to Collin Kelly and Jackson Lanzing's grasp of Star Trek's characters and the subtle touches applied by letter Clayton Cowles that I practically hear Avery Brooks' voices giving one of his dynamic deliveries (often compared to jazz music by his peers) while I read Sisko's dialogue in Star Trek #17.

Taken as it is, The Six Fingers #1 is a captivating character study that deepens the mystery brewing in Neo Novena.

There's some impressive craft herethe art in the series has been a consistent highlightbut at the end of it all, the reader might struggle to explain what the story was about.

Fall of the House of X #2 is full of moments where the artwork fails to live up the pitch.

By the end, the issue feels like its run a lap on a narrative tread that's wearing increasingly thin, without anything memorable to show for the effort.

Much of this issue is spent reading about the Turtles and their allies attempting to understand what the heck is going on with Armaggon the timeline-devouring shark and various other time travel shenanigans going on, but that doesn't make for the most compelling comics book storytelling.

It's impressive that, even as the series nears its 275th issue, Stan Sakai's Usagi Yojimbo can still surprise.

This is the stuff that comic book dreams are made of.

Jock's artwork is as stellar as ever, walking that line between gritty realism and impressionistic flair, but while focusing on Abi and her father may be beneficial, it still feels like much of Gone's narrative picture is unpainted.

The One Hand #1 proves a dark and deeply satisfying introduction to Neo Novena, a setting shared with The One Hand's upcoming sister series, The Six Fingers, in a Rashomon-style retelling of the same story from multiple perspectives and with different creative teams.

Phil Noto's soft artwork helps the tragic end of Talon and Synch's time together go down smoothly but is less well suited to life-threatening throwdown with a killer robot, though some of that lack of menace can be placed on the issue's awkward timing in relationship to Fall of the House of X #1.

Even as Carnage #3 offers up the series' centerpiece a showdown between the original Cletus Kasidy and the Carnage symbiote, with its coughed-up clone it lacks the focus and seems at odds with itself.

It's not a bad collection of shorts, especially if you're interested in catching up on Trinity's story without hunting down a copy of Wonder Woman #800 or the other places where the bulk of this issue's contents have appeared previously. However, none of it feels essential, and the new material is the issue's weakest, making it redundant to those most invested in its title character's existence.

G.O.D.S. remains a beautifully crafted and compelling read.

The issue's abrupt end is its weak point and feels haphazardly attached, but the rest of the issue moves at a deliberate pace as Loki recounts the tale of Thor's first meeting with the Utgard gods.

Another cliffhanger time jump closes the issue, making Teenage Mutant Ninja Turtles #147 a stellar, well-crafted issue that doesn't land enough memorable beats to be counted among the series' best.

There are spots in the issue where the exposition is cumbersome, but it's hard to argue with this level of smart visual storytelling.

That the ending seems obvious only in retrospect, with Dickie's tale remaining enthralling throughout, speaks to Gaiman and Buckingham's storytelling abilities.

It's got brilliant character moments, political intrigue, ethical quandaries, and weird sci-fi shenanigans; in short, everything a Star Trek fan could ask for.

It's still an attractive comic to look at, but it feels like this issue needed to accomplish more narratively than what it ultimately managed.

Firefly: The Fall Guys #4 feels like it is retreading old ground as the Serenity crew and the Archambeau Gang continue this endless process of trying to frame and/or kill each other.

These issues will surely irk technically-minded Star Trek fans, and the art is undeniably busy, but it's an otherwise enjoyable conclusion to an enjoyable Strange New Worlds adventure.

Usagi and Jei are both compellingly expressive in their struggle, Jei's vengeful leering and Usagi's angry grimace both drawing the reader into the conflict. It's the latest in a long line of Usagi Yojimbo issues that never disappoint.

Wesley Dodds: The Sandman remains one of the most exciting and impeccably crafted superhero comics being published.

They say you can't go home again. After reading Fall of the House of X #1, it feels like Marvel and the series' creative team may be poised to test that maxim, clumsily stumbling all the way back to Xavier's front door. -

If it can shed its ponderous pacing, Carnage might become something worthwhile.

The issue wobbles a bit but doesn't fall down, keeping this stellar series on the right track.

Immortal X-Men #18 is good in its own right and will also readers eager for Krakoa's grand finale.

Larry Hama proved that gets how to use "silence" effectively in comics long ago, with the release of "Silent Interlude," his memorable silent story published in GI Joe: A Real American Hero #21. GI Joe: A Real American Hero #302 isn't entirely silent, but there are pages where Hama steps back and lets Chris Mooneyham and Francesco Segala's beautifully dramatic visuals breathe, and the issue is better for it.

G.O.D.S. is still laying out the full enormity of its mysteries, but it's doing so in a way that will ensure readers are too hooked to do anything but see all the way through.

What more can readers get from another take on Marvel's first five mutants after 60 years and all those previous returns? Based on The Original X-Men #1, not much.

Marcus To again shows his talents as he draws giant dinosaur people, Kim and Paris' quiet hearth-to-heart, and Scotty and Dr. Crusher's spelunking expedition with equal aplomb. It's hard to imagine what more any fan could want from a Star Trek comic.

The road to Teenage Mutant Ninja Turtles #150 is shaping up to be an exciting path to travel.

The artwork remains as appropriately dark as it has been, setting a grim mood, but much of the action feels uninspired, perhaps because the real conflict is in the staredown between the Goblin Queens while other threats previously built up as formidable fall fairly quickly.

As a package deal, DC's 'Twas the Mite Before Christmas is hardly essential reading but should satisfy anyone with a craving for holiday heroics.

With its first arc in the books, Immortal Thor is absolute must-read material.

Wesley Dodds: The Sandman continues to be one of the best-looking comic books published today, full of well-realized characters and compelling mysteries with meaningful moral weight.

There's a nice two-page spread as well, but on the whole, this is a puzzling, unpolished conclusion to an uneven series.

Dark Spaces: The Hollywood Special continues to pair luminous artwork with an unmoored narrative.

The characters still lack facial definition, making them look a bit like putty, but it's nice to see a strong if familiar theme emerging towards the end as friend and foe alike realize that their goal shouldn't be to win the race, but to stop running it.

Usagi Yojimbo: Ice and Snow #3 proves a tour de force for Sakai's innumerable artistic talents, once again proving why he's one of the greats.

X-Men #29 is a stellar issue that serves as a bright spot during what has been an otherwise uneven Fall of X era for this series.

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.

Altogether, it's a fine tribute to Marvel's most misanthropic fowl.

Storytelling with this level of quiet confidence is all too rare.

Carnage #1 is on the cusp of something worthwhile but hasn't fully invested.

The conclusion to Dark Spaces: Good Deeds reads like watching the end of a Twilight Zone episode on fast-forward.

With Lucas Werneck moving on to other things, Marvel Comics calls on Juan Jose Ryp to draw Immortal X-Men #17 and it proves to be an issue that plays to the artist's considerable strengths.

Any Star Trek fan is going to enjoy this issue (and series), but it'll be especially fun for fans of the characters named above.

Dark X-Men #4 starts on a strange foot. Gambit touches base with his wife Rogue, who hasn't appeared previously in the series, seemingly as a reason for him to recap the series thus far. Given this is the penultimate installment of a five-issue series, that hardly seems necessary. Once that's out of the way, Steve Foxe, Jonas Scharf, and Frank Martin kick things into a higher gear with a mercilessness typically reserved for horror stories rather than superheroes.

With introductions out of the way, it's easy to get swept up in the atmosphere and dramatics of the story even if the specifics may be unclear to newcomers.

If there's an award to be given out for the best first page of a comic book in the year 2023 then I'd like to nominate the opening splash of Immortal Thor #4.

The issue puts the horse before the cart at times when pacing out its plot, but there are some wonderfully creepy moments in the construction.

There's a rocket-powered stagecoach in this issue of Firefly: The Fall Guys, and I feel like that's somehow symbolic of how far the Boom Studios take on the series in comics has fallen.

Jonathan Hickman's commitment to treating the new additions he's introduced into the Marvel Universe in G.O.D.S. as if they've always been there is commendable and effective.

IDW has a knack for picking the right artist for each story arc of its Teenage Mutant Ninja Turtles series. Case in point, where Gavin Smith's stiff linework suited the urban action of the previous storyline, Vincenzo Federici's more fluid style makes the transition into the magic-and-time-travel-based Armaggon arc seamless.

Buffy the Last Vampire Slayer #4 is a disjointed mess of a comic book.

The plot could use streamlining, and there's at least one beat that feels out of character for Captain Pike, but there's still a solid core here for Star Trek: Strange New Worlds fans to enjoy.

It's another excellent Usagi Yojimbo chapter that teases an exciting twisttwo of Usagi's foes crossing pathsto come.

A lame-duck pall hangs over this run of X-Men, which feels increasingly like a retread of the "X-Men: Disassembled" arc that preceded House of X/Power of X. Krakoa isn't even dead and buried yet, and already the X-Men are back to retreading old ground. It's a real shame.

The pacing is a bit on the slow side, but Foxe is still nailing that horror-tinged narration, and there's enough weird going on here to want to keep reading.

While Gone #1's visuals are as strong as anyone familiar with Jock's work would expect, its vagaries fail to build a setting readers can believe in, leaving much of the issue's narrative scaffolding feeling like half-formed thoughts in Jock's mind.

While it fits nicely into the overarching Immortal Thor story, Immortal Thor #3 also serves as a self-contained story done in the style of a Norse fable and it all works perfectly.

It's a well-crafted, stellar issue with plenty of fun surprises for longtime Star Trek fans.

Having the Enterprise haunted without a sci-fi explanation would break Star Trek rules, but trying to ground a haunted house scenario in Star Trek's logic leaves little room for the themes or anything beyond the base plot to shine through.

Dark Places: Good Deeds may be falling into a common trap, which is including one twist too many.

Even with the tonal dissonance, it's an enjoyable enough read, but imagine what it could have been if the book had committed to one direction or the other.

Teenage Mutant Ninja Turtles #144 sets a somber tone heading into the end of one of the brightest spots in the Turtles' comic book history.

In an industry where gimmicks and flashy styles are often employed to draw attention to stories not worth the effort to read, Wild's End stands out as a testament to how effective a compelling story told well can be.

It's a fine enough continuation of Firefly's comic book adventures, but unlikely to draw or keep the attention of curious newcomers.

Star Trek: Holo-Ween is a ridiculous story, one that would put even the campiest Star Trek: The Original Series episode to shame.

The book looks as one might expect, with the artwork matching up to the television series perfectly. Similarly, the stories which are more comedy than horror rely mostly on puns and pop culture references for their jokes, the Creepy Eddie story throws in some clever metafiction into its plot involving Eddie having to stay legally distinct from Freddy.

Wesley Dodds: The Sandman #1 is a debut with the makings of a great superhero comics run.

Thessaly remains a compelling character and a believable evolution of the Slayer role for a new generation. However, Buffy the Last Vampire Slayer needs greater focus in its plotting and visual storytelling if its creators hope to do the character justice.

G.O.D.S. #1 meets and subverts expectations, leaning into some familiar Hickman tropes while shining the narrative spotlight in unexpected places.

Immortal X-Men's Biblical take on the Fall of X remains a highlight of the sunsetting line of Krakoan comics.

Thus far, The Scorpius Run contains enough solid and familiar elements to keep Strange New Worlds fans invested. However, it feels built on shakier ground than its predecessor.

Duggan is hardly the first writer to tell stories about conditions and times more dire than those he has lived through. However, the coopting of contemporary watchwords that have already run their course and other unsubtle parallels makes the entire endeavor feel dated and too literal.

Even as a casual James Bond fan at best, and even with 007 survival assured for future adventures, I find myself determined to learn how this clash of ideologies resolves itself and whether there's anything left of the relationship caught in the crossfires.

A strong enough follow-through in subsequent episodes will make it worthwhile, but it's hard to know what you're investing your time into.

No detail has gone unexamined, and it all works together beautifully.

The true origin of Dickie Dauntless is revealed in Miracleman by Gaiman & Buckingham: The Silver Age #6, and it is sad and uncomfortable in a way that fits perfectly with the Miracleman tone.

The creative team behind Day of Blood has recreated that cinematic experience in these pages, creating a worthy entry into the Star Trek canon.

The bones of an interesting Storm story are here, but overall, the series feels muddled and overburdened with subplots, distracting from the character it intended to spotlight.

Ice and Snow #1 keeps the high level of quality that they've come to expect from Sakai, weaving a tale of serene beauty mixed with understated horror, maintaining Usagi Yojimbo's well-earned reputation as one of comics' best series.

The focus on mood results in a sluggish pace of the plotmuch of Dark X-Men #2 is spent on bickering between teammates and the filling in of backstoriesbut it's a worthwhile tradeoff when the mood is apple this well.

However, while it's hard to tell how much Scioli has changed without the original work to compare it to, the finished product hardly feels like a fully formed vision of what might have been.

The pacing is a little off on the issue as it spends much of its time delving into the dark fantasies of each character, and the artwork is a bit stiff and almost overbearing in the darkness of the sewers and the lightning effects wreathing many of the layouts.

In Wild's End #4, INJ Culbard puts on a masterclass in using various layouts, panel shapes, and compositions to achieve the desired effects.

It feels like there's a disconnect between the story the creators think they're telling and the story that appears on the page, and I'm not entirely sure they envisioned the same one to begin with.

Despite the wrinkles, it all rings a little too familiar to be genuinely exciting, and the busy artwork makes it hard to connect with the characters. However, it at least feels like a story built on firmer ground than some of the Buffy comics that preceded it.

It's a version of the old "built on a native burial ground" trope, but Good Deeds treats the idea with more respect, nuance, and detail than usually afforded by shlocky horror stories.

It's a newcomer-friendly issue as it goes out of its way to present a full crew roll call over multiple pages. While the sci-fi elements may be toned down, the story still operates on a larger-than-usual scale, involving a political assassination that could affect the whole galaxy.

It's two fronts of the war for Eden, fought amongst the fallen, and if this is going to be Krakoa's last act, that's a hell of a note to go out on.

With its slow pace, X-Men makes Fall of X feel less like it has anything to say and more like another awkward holding pattern for Marvel's mutants.

The Sandman Universe: Nightmare Country The Glass House #4 feels like a turning point issue, a quiet before the climactic storm of the story's final two issues.

Despite the return of Thor's classic Jack Kirby-designed costume, fans of Ewing's Marvel work know better than to expect a retrograde "back to basics" approach. Instead, this opening chapter offers something more foundational, elemental, and compelling.

Indigo Children's ending lands with an empty thud befitting the entire run.

Frankly, if Boom and its creative talents aren't taking this kind of book seriously enough to commit to the bit, I don't see why anyone else should.

Star Trek #11 is one jaw-dropping moment after another.

The Scorpius Run has a fun premise and the right vibe to make Star Trek: Strange New Worlds fans feel at home.

Storm's story feels like it's getting away from itself.

The Hollywood Special #1 does some fantastic character work with grounded stakes for well-realized characters. That should be enough to get readers to come back for more.

Even if the reader doesn't recognize or appreciate the issue's subtext, this is an enjoyable superhero book for anyone attracted to the darker side of the genre.

It's a maddening slog that transcends the traditional definition of a vanity project while wasting Kudranski's artistic talents.

This is another stellar issue of TMNT that will leave fans feeling as eager and anxious as the characters themselves do as they anticipate what comes next.

More comics should have a fraction of the storytelling confidence found in Wild's End.

Gillen and company have interpreted the Fall of X to be in the same vein as the Fall of Man, and that's a gripping direction to take the series.

If Star Trek meat and potatoes are what you're after, then Echoes is serving it up piping hot.

The Madness #1 feels like a comic that's been in hiding for 20 years. Like many of AWA's comics, ACO affects a Bryan Hitch-like "widescreen comics" style.

Those who demand those answers might be disappointed, but the issue is a game-changing conclusion that promises a very different type of story when the series returns.

Altogether, it's a stellar start to this version of Buffy's future.

Visually, the issue still feels like it walks the line between realistic and supernatural, but the pacing is tripping up the story.

In the end, The Dog of War may have been balancing a few two many subplots, but it's hard to complain about a competently crafted adventure where the Deep Space 9 crew set out to save a good boy and happen to help out the rest of the quadrant in the process.

The story told here hardly feels essential to The Last Ronin saga, and while it's hardly a terrible read, most will probably be better served by waiting for the proper sequel, Re-Evolution, to tell the story of the next generation of Ninja Turtles.

The Sandman Universe Special: Thessaly #1 is an issue that holds up perfectly well by itself, yet by the end, the full consequences of Thessaly's transaction with Tommi remain uncertain, and that's a story readers will likely have a great desire to follow.

The issue raises some questions about what exactly happened during the Hellfire Gala (If Professor X marched practically all mutants through the gates, then who is it Orchis is deporting to Mars?), but is a stellar enough start to mutantkind's dark days.

Even for a relative neophyte to Bond's canon, King and Country has enough attractive flair to make it an enjoyable read and energetic reading experience.

Indigo Children continues to be a case of style over substance, essentially a prolonged action movie sequence in search of even a shred of emotional resonance and reconfigured into comic book form.

While it's easy to appreciate what its creators are attempting to do with Storm, something still feels not quite right with this throwback to 1980s era X-Men.

The battles between WhereWhen's robotic minions and the assembled parties of the Turtles and Usagi Yojimbo and his allies could have taken up the entire issue. Instead, Sakai keeps the combat relatively brief and straightforward, emphasizing the sacrifice involved in defeating WhereWhen over the spectacle of the conflict itself.

The plot reads like a spec script for an action movie, specifically the part where the protagonist fills us in on the minimum backstory required to justify the fight scenes. The artwork remains strong but offers fewer opportunities for Bermejo to play with different styles, making it less exciting than the previous issue, if not any less skillfully done.

New Mutants: Lethal Legion concludes with the same blend of therapy speech and cheesy humor that's defined the series throughout.

Star Trek: Day of Blood #1 puts that concern to rest by punctuating the arc Sisko has been on since returning from the Celestial Temple in Star Trek #1, gradually shedding the trappings of divinity and rediscovering his humanity. Star Trek fans are in for something special.

There is an unexpected amount of post-9/11 nostalgia wrapped up in the book's reverie for New York City that feels misplaced. Yet, the many artists working on the book each pull their weight, including a few quiet but captivating pages where Kevin Eastman inks over Freddie E. Williams II linework.

The Vampire Slayer was an uneven attempt to start the Buffy the Vampire Slayer mythology over anew, proving too familiar at times and pointlessly different at others but it had its high points as well. This finale is not one of them.

Brutal and beautiful in equal parts, Wild's End #2 extends the stellar start to this successor series.

Marvel has been teasing the "Fall of X" for a while now, playing with the idea that it may be the end of the Krakoan era or a play on words as the X-Men line heads into autumn. Kieron Gillen writes that ambiguity into Immortal X-Men #13, the final issue of the series before the 2023 Hellfire Gala special, Krakoa's leaves falling from its branches.

Rogue & Gambit's final issue contains several high points for the series. The rest of the issue wraps up a run-of-the-mill superhero story in predictable and familiar ways, except for Rogue's dealings with Destiny.

There are technical skills on display herethe framing of the dream conversation nicely mirrors the real-life conversation, and the red glow of sunset speaks to the ending of the mother's lifebut that's not much to recommend.

It's thrilling, unexpected, and everything that Star Trek fans might hope it could be.

It isn't exactly new ground, but it's written well enough to be compelling and has some character depth to an otherwise action-heavy plot, while making the best case for this story being set within The Motion Picture's narrative orbit.

Despite claiming victory in The Armageddon Game, the Teenage Mutant Ninja Turtles seem more fractured than ever in this new era.

Star Trek: Deep Space Nine The Dog of War #4 is a fine Deep Space Nine comic that suffers from some of the same tonal dissonances that plagued the previous issue of the series.

In the end, the creative team behind The Armageddon Game promised something epic, and they certainly delivered in that respect.

At least the story looks great, with Joshua Cassara and Frank Martin synergizing into something that brings out the best in the linework, and there are enough stellar action beats to be worth reading for fans of the series, but some of the scenes are confounding.

It's a stellar issue that does well at building the tension for the coming Fall of X.

Dark Spaces: Good Deeds #2 keeps the Vertigo vibes established in the first issue but still hasn't firmly differentiated itself from other stories in the genre, ultimately repeating the same narrative bits.

The artwork is a little looser in spots here, but it is unlikely to change anyone's mind about the series, which continues to be a dry and unmemorable read.

Space Job ends with some legitimate laughs.

The issue digs deeper into the conflicts and relationships surrounding Storm at a breakneck pace. At times, this means characters come off like one-note caricatures of themselvesKitty a petulant child, Rogue a thoughtless bruiser, Wolverine a possessive and rage-fueled admirerwith even Storm seeming to be in an unusual hurry to bring this man she's known for about a day home to meet the found family.

Sakai shows he's as capable of bringing out emotion from his characters as he is at choreographing their sword strikes. Teenage Mutant Ninja Turtles/Usagi Yojimbo: WhereWhen #4 may be the best issue yet of a brilliant action/adventure comic.

The Lost Years remains a for-the-fans series, one meant to appeal to those most enthused by the original The Last Ronin miniseries, but it serves them well enough.

The issue ends feeling flat, both in its characterizations and its execution.

Wild's End #1 is more than worthy of reader attention, and they should settle in somewhere cozy for the long haul.

Both stories feature a few too many scenes of characters standing around talking about things that have happened already or elsewhere, but they're otherwise enjoyable affairs.

Rogue & Gambit might bring satisfaction to the die-hard fans of these characters, but it does little to stand out from its peers within the genre.

Perhaps those internal monologues that read like essays will become more relevant as Something Epic reveals more about the rules and secrets of the imaginary world and Danny's increasingly dangerous relationship with it, making them more than curious, if at least refreshingly personal, sidetracks.

Mike Feehan and Manuel Bracchi acquit themselves well, with one moment in particular of Sisko awaiting Cardassian judgment bringing the weight of the moment to bear on both character and reader with appreciable scale. It's a compelling read that should delight Star Trek fans.

With energetic artwork that prioritizes dynamism over recreating the cinematic experience, Star Trek: Echoes #2 is a fun and engaging read.

It's fantastic storytelling, and the new era of TMNT seems set to be as exciting as what's come before.

Gillen leverages Colossus' Russian heritage to play into parallels with Russian literary tragedies to clever effect, and the idea that fear of terrible things happening is what causes those things rings true throughout multiple subplots.

Star Trek: Deep Space Nine The Dog of War continues offering a decent Star Trek story, even if it's torn between two focuses.

The series still feels like it's in a holding pattern as it waits for Fall of X to begin, but it's a stellar issue in its own right.

The issue lacks urgency, but it makes up for that with thoughtfulness and fine craftsmanship.

It still reads like a lesser version of other comics, particularly the 2012 Harbinger relaunch, but this installment reads smoothly, at least.

New Mutants: Lethal Legion #3 has a clear message that it wants to impart, and that's commendable. However, the message is almost too clear, as one character verbalizes it point-blank to another in the middle of this issue.

Storm #1 is a throwback to the X-Men of the 1980s, and writer Ann Nocenti leans hard into the melodrama that defined the series during that era, with interpersonal conflict around every corner.

It's unpretentious but no less masterful storytelling that even those unfamiliar with these characters should be able to appreciate.

Book of Evil continues to defy categorization as a comic book, veering increasingly into illustrated story territory.

What comes next as Dark Space: Good Deeds continues will ultimately determine whether this introduction is worthwhile, but the chances seem good that'll only get more interesting from here.

Star Trek #8 feels even more like a direct successor to Star Trek: Deep Space Nine than any of the issues preceding it.

There's solid footing here, but Echoes needs to find ways to distinguish itself from other similar narratives if it wants to leave a lasting impression.

It feels like an issue that's standing still, and then awkwardly chooses to have characters dump their emotions all at once during what should be times of urgency.

The issue is competently crafted, but largely feels like it's waiting for another story to start.

As with past issues, there are too many moments that seem meant to be significant but don't quite land because the reader lacks all the requisite contextual information to understand its impact.

This installment is more about nudging the plot forward than the previous couple and thus feels less revelatory. But that is, admittedly, a high bar, and one can still appreciate Mark Buckingham's delicate linework and Jordie Bellaire's humanizing colors.

Rogue & Gambit continues to deliver straightforward superheroics in its third issue while adding some texture to the tension between the lead characters.

Something Epic has a strong premise and great artwork, but all the hand-wringing over the burden of creativity gets in the way of any semblance of plot, which makes it a nebulous read.

Despite its flaws and inconsistencies, it does fulfill the brief of giving readers time with the ur-versions of these characters, and they feel authentic here. That'll be enough for some fans.

Gillen's depiction of Storm at her righteous best and self-righteous worst is beautiful character work that, combined with Werneck's excellent artwork and wrapped in layers upon layers of intrigue, makes this one of Immortal X-Men's best issues yet.

It's a solid outing with plenty of appeal for Star Trek: Deep Space Nine fans.

The whole thing feels hollow, a style in search of a purpose, and a mystery imploring readers to place unearned trust in the book as it unravels.

Collin Kelly and Jackson Lanzing have the voices of these characters down perfectly to the point that readers may find themselves reading dialog in the voices of the actors who played them, from Avery Brooks' jazz-like line deliveries as Sisko to Gates McFadden's playful bemusement at Quark's advances as Beverly Crusher.

The central idea may be on the clunky side, but the execution of the issue is top-notch.

The issue is one page after another of solidly drawn action that should keep Turtles fans on the edge of their seats.

It feels like the middle act of a movie one might watch on Tubi on a Saturday afternoon. That's not bad if you're into that kind of thing, but it doesn't live up to what the original The Last Ronin series offered. Hopefully, this doesn't turn into a series of diminishing returns.

It's mostly inoffensive, but the issue ultimately feels like it swings and misses.

Teenage Mutant Ninja Turtles: The Armageddon Game The Alliance #6 finally brings the group together for a mission that isn't the thrilling team-up some may have hoped.

The status quo is familiar, but the dynamics are different enough to keep things interesting. The dialog is recognizably Buffy, with subtle adjustments to delivery to account for it being read rather than heard. Lastly, the teases of a couple of familiar faces and locales are likely enough to keep readers hooked.

Even fans of the original X-Treme X-Men run will struggle to find what's essential in this revisitation.

The issue's ending promises answers, but the current lack of them remains a pain point distracting from the mystery at the series' heart.

Kroma stuck the landing as a moving, evergreen fable.

As with previous issues, anyone who sees the appeal of The Office meets Star Trek elevator pitch will likely enjoy Space Job. Any who doesn't won't.

Alternately epic and intimate, it's pretty much everything that Star Trek should be.

As the weather warms up, Teenage Mutant Ninja Turtles/Usagi Yojimbo: WhereWhen #1 may be the perfect comic for readers to lose themselves in after finding a shady outdoor spot.

There's no shortage of drama in X-Men #21, and it's a shame the artwork can't quite channel it.

Immoral X-Men leaves its Star Trek homage behind to go grimdark with X-Men by way of Warhammer 40,000.

It's all anticlimactic and underwhelming and like the ghost of a better story.

None of it feels very cohesive and ultimately the issue feels thin as a result and run of the mill as a result.

I wish the book had a slightly stronger hook, especially regarding why the dog, but it's not a bad start.

Indigo Children #1 doesn't deliver enough. It's derivative, ineffective at the basic tenets of the genre it's trying to play in, and the execution of its simple plot is rough around the edges.

From start to finish, Sabretooth and the Exiles proved as thoughtful, compelling, and unpredictable as the creative team's first Sabretooth series. Bring on the "Sabretooth War" and whatever else comes next.

Star Trek: Strange New Worlds The Illyrian Enigma #4 closes out the Star Trek: Discovery spinoff's first comic book adventure by keeping up the stellar quality of the previous issues. That perfectly-balanced blend of seriousness and lightheartedness is intact, best exemplified by Captain Pike's dialogue, equal measures passionate and playful.

Milestone 30th Anniversary Special #1 is a lovingly crafted celebration of the Milestone legacy with something to offer fans of any version or era of these beloved characters.

Fero Pe's artwork is sharp as hell. While mentioned before, it bears repeating as Teenage Mutant Ninja Turtles #138 again shows Pe's linework, paired with Ronda Pattison's colors, creating the perfect look for a cartoony action comic.

X-Treme X-Men #4 is fueld by familiar Chris Claremont tropes. Characters lose their powers only to show how formidable they are without them, and the power of teamwork overcomes seemingly insurmountable odds.

Black Cloak's first arc is still unfolding, but one hopes Kelly Thompson isn't drawing comparisons they're unwilling to address head-on down the line. Further, this issue introduces some familiar police story tropes into its narrative, such as the cop with a newborn at home, and some of the ribbing between the partners, while providing some levity, clashes with the gravitas of a murder investigation, especially one that could have such devastating effects on the city.

As a Star Trek and X-Men fan, this issue has me squarely in its crosshairs, but regardless, it's compelling and well-crafted stuff.

There are twists and turns here that are legitimately surprising and set the stage for much bigger and more dramatic things to come, all while keeping up the high quality of artwork that has been typical of the comic thus far.

Nonsensical dialog, weak jokes, and disjointed artwork plague the story, yet it gives Sutherland an epic, if familiar, last hurrah while drawing some interesting parallels between Sutherland and Leah Brahms. This final installment, like the miniseries collectively, is uneven but not without some merit.

It may be beating a dead horse to say again that the flagship miniseries of "The Armageddon Game" taking a larger view of the story's events makes it feel a bit hectic and stuffed and unable to affect the more intimate storytelling tone as the other titles tying into the event, but it's true.

The Lost Years story might feel unambitious at times since it amounts to Michelangelo's quest to kill the guy he kills before going on the mission he goes on to kill a different guy. Yet, the stellar artwork from both artistic teams makes it worthwhile and does add some context to the original Last Ronin story.

The Vampire Slayer #12's resolution to the story doesn't quite match the scale of its threat, and the issue doesn't build the appropriate tension.

The issue's dialog is often pedantic, oscillating between speaking in inspirational memes and baldly verbalizing the themes.

It's a well-crafted book, even if some of its jokes aren't well-considered.

The issue offers a nice take on who April O'Neil is and moves the plot along capably, even if it isn't as ambitious as some of the miniseries' previous character spotlights.

The big battle should be the issue's setpiece, but it lacks the epic punch and vibrant grandeur of earlier installments of the series, feeling faded and by the numbers by comparison. A lot is going on here, and yet nothing stands out.

There's simply not much memorable to speak of in this muddled, middling issue.

Unfortunately, this first issue feels somewhat retrograde.

While the execution isn't what it should have been, there's still a stellar thematic core to the story that should appeal to fans.

Perhaps it's got to do with the series' double-sized debut, but Black Cloak #2 feels both overstuffed and truncated.

The plot is spread too thin, is so lacking in focus that it's a struggle even to enjoy it as a fictional history of a fascinating universe. It's almost literally a shadow of what spawned it.

This might as well be the next issue of Immortal X-Men. Which is still good, mind you. It simply feels less like an event.

Sabretooth & the Exiles continue to ground the mutant metaphor in real-world atrocities.

More and More, The Illyrian Enigma feels like essential and enjoyable reading for Star Trek: Strange New Worlds fans.

Star Trek: Resurgence #4 is a solid enough entry in the prequel series.

The issue trips over its breakneck pace slightly in the middle as the cavalry arrives with no warning, making their sudden appearance jarring. However, overall it's another stellar issue of this typically stellar series. "The Armageddon Game" is only getting better and more exciting as it ramps up while heading into its final phase.

Once again, the flagship maxiseries in "The Armageddon Game" event takes a macro view of what's happening and doing a lot of the heavy lifting, moving characters into place.

Gailey employs signature Buffy dialogue with enough restraint that it doesn't become obnoxious, and leans on Hannah Templer's ability to make the characters "act" to bring out all the emotion in the narrative. It's stellar stuff.

There's enough cool stuff in this issue of X-Men to keep anyone into its brand of super heroics hooked, even if the execution doesn't hit all of the marks.

X-Treme X-Men #3 is chock full of patented Chris Claremont dialogue, from the hammy "body and soul" style dialogue to the mutants losing their power beat. The issue feels scattered as Claremont, over the course of only two previous installments, established at least four subplots playing out simultaneously, making it hard to connect with any of them.

The cracks are forming in Miracleman's utopia, tracing along the same fractures that run through the superhero genre.

Since The Orville veered more into straight sci-fi as it progressed, Space Job feels like an alternate timeline where the show went in the opposite direction. It's one familiar premise crossed with another but executed well enough to hit the mark.

Campbell's ability to vacillate between kinetic action beats and softer but not less bold emotional moments is crucial to executing this story, which involves time travel, a deadlier threat beyond the Armageddon Game, and themes of finding self through transformation, both physical and those that come with existing in the flow of time.

For any X-Men fans who feel like they need a little insight into how Bishop became a member of the X-Men Gold Team after showing up through a time portal in a murderous rage, this will provide that. The issue offers no hook for anyone outside of that narrow demographic.

If you love Momoko's work or are interested in Japanese folklore, that's likely enough to make the issue worthwhile, but the storytelling leaves something to be desired.

This Cliffs Notes version of the epic metaplot isn't likely to compel the uninitiated. At some point, you have to trust that those who don't know and care enough to be curious know how to look things up on the internet and tell the story with the confidence that this issue is lacking.

This series keeps digging deep into Star Trek lore, finding new corners of the universe to explore and new lights to shine on these characters, and Star Trek fans could hardly ask for more.

Sabretooth & the Exiles continues to be a masterclass in grafting big, relevant ideas to traditional superhero narratives.

As far as spectacle goes, it's gorgeous if not perfect, and while there's little else to it, that might be enough.

Alternate timelines and dark futures are familiar tropes throughout X-Men history, dating back to "Days of Future Past." Yet, the setup here feels fresh and exciting in ways a jaded comics reader might not expect.

It's a satisfying snack for Star Trek fans awaiting their next full Strange New Worlds meal.

The flashback within a flashback framing is a bit disorienting at first, and things are just getting started, but The Lost Years is shaping up to be a worthy successor to The Last Ronin.

This final issue is a and fast read, little more than pure catharsis for everything the team has had to endure, but Leah Williams, Carlos Gomez, and Bryan Valenza know how to make that fun. Gomez brings pure joy to the characters' faces and body language.

This issue of Immortal X-Men is a bold one, tackling multiple complex ideas wrapped up in the X-Men mythology, from the flawed character of Professor X to the self-policing politics of the X-Men as a superhero team, to the limits of the mutant metaphor.

The story's shift in its pacing as Kroma makes her journey to her new destination feels unnatural given the flow of the story thus far, but it doesn't take much away from what remains a compelling and affecting tale.

There's an unusual conflict in this Star Trek: Resurgence prequel, in that the hero ship's captain, typically cast as the pinnacle of Starfleet values, is perhaps too close to another character, too invested in the research, to see the danger all around him clearly.

The issue loses a little focus as it sets up a major upcoming Armageddon Game battle by its end, but it's still a thrilling read

It's another satisfying chapter of this massive TMNT tale.

Willow reflects on each of her close friends, highlighting their strengths, flaws, and internal struggles. It's a narrative move that feels insecure as if double-checking to make sure readers have been paying attention, or that the point has come across effectively enough before moving on to the next act. The issue is thus left redundant, if not condescending, for any reader who has invested enough to stick with this iteration of the Buffy the Vampire Slayer universe for 10 issues.

Black Cloak #1 ticks the right boxes for sci-fi storytelling, hooking readers in to see its mystery unfold.

What illustration is here is up to Jock's usual quality, but readers should know that they're getting something that walks the line between a comic book and a chapter of a sparsely illustrated prose story.

Gerry Duggan's signature banter and humor are on display, and C.F. Villa and Matt Milla provide visuals in the style of, if not on the same level, as the X-line defining team of Pepe Larraz and Marte Gracia.

While reading Magic: The Gathering #22, I'm struck by how small Magic's supposedly infinite multiverse feels.

Comics fans and creators like to talk about how the medium is like television or film without budget restrictions. It's a flawed analogy, but Star Trek #3 is a near-perfect test case for it. The issue takes a tried and true Star Trek formula, the Q episode, and presents it in comic book form. What you get is all of the hijinks of a classic Q story, but with his omnipotence on display far beyond what television would ever have allowed.

The Alliance is turning into an all-star artistic showcase from the TMNT universe. Here's hoping future issues deliver more of the same.

Whilce Portacia returns to X-Menand his creation, Lucas Bishopin X-Men: Legends, teaming with writer Brian Haberlin and colorist Arif Prianto to tell the story of what happened to Bishop before he stepped through that time portal in Uncanny X-Men #282. The story is thematically complex.