Logan Mullins Comic Reviews

Beast of Borikén #1 earns its presence. It doesn’t use Puerto Rico as scenery for a monster story; it uses a monster story to talk about Puerto Rico.

Issue #2 slows its pace and sharpens its purpose. Anta trades the introductory scope of issue #1 for a tighter thematic focus, using the Chupacabra as a metaphor for modern colonialism.

Fall of the House of Slaughter #2 feels like the bare minimum. The comic does just enough to get by. However, it lacks any distinctive elements that make it worth reading. Fans of this series may find enough connective tissue to push forward, but any new or casual readers will have little reason to stay.

Fireborn captivated readers for a reason. It’s one of the hottest comics on shelves right now. However, the second issue fails to maintain the momentum, only expanding the plot and not the characters within it. Fireborn is beautifully boring: all style with no substance.

While not exactly what it is advertised as, Gehenna in Tokyo is a joyride through the world of Naked Aggression. Ferrari, Kindlon, and Yamamoto deliver a sharp, witty, and visually exciting comic that justifies a return visit to the Gehenna franchise.

The character writing and the artwork are the highlights of this comic, but the plot and bland supporting cast drag it down tremendously.

While a fun issue, Generation X-23 #6 is ultimately forgettable. It is worth the read for fans of this series, but it doesn’t provide much in terms of plot or character development.

Issue #8 stumbles with its overarching story due to the Generated’s lack of uniqueness. However, the comic is saved by the strong visuals and the scenes between the two Wolverines.

Houser trades plot momentum for character work in Generation X-23 #9, giving the Generated the defining traits they've long lacked. Renna and Arciniega work together to deliver some of the series' most kinetic combat yet.

Generation X-23 #10 closes the series with a whimper. Stiff combat art drains the energy from an issue built almost entirely around one long action set piece. The final panels offer a brief taste of classic X-Men charm, but they can’t save a series that never gave its found family room to clash, grow, and earn the bond it claims to have.

Godzilla #11 is a visual masterpiece that is held back by its plot. Characters and kaiju are memorable and stunning; the Kai-Sea Era continues to show ambition in its storytelling. However, ambition is a double-edged sword. New readers for Godzilla might be turned off by how unconventional the plotline is. For those who have been a fan of IDW’s most recent Godzilla work, this series is a must-read; for those trying to enter the medium, it can be skipped.

Inglorious X-Force is a comic that feels safe. While the character work with Archangel and Boom-Boom is interesting, this issue overall provides nothing of substance.

While Issue #6 isn’t perfect, it’s a dramatic improvement over the previous issues. Tim Seeley’s writing and Michael Sta. Maria’s art together gives this issue a charm that the series struggled to find.

While Domino, Daken, and Archangel are relegated to the wastebin of this story, Ms. Marvel shines as the team's heart, and the art continues to shine as the best part of this comic series.

Inglorious X-Force #8 continues to waste Kali's premise as a social-media-propaganda villain and reduces her to a generic antagonist. Meanwhile, the team's flat, conflict-free dynamic leaves characters underdeveloped.

Issue #9 corrects course from the series’ earlier miss

Inglorious X-Force #10 closes the series on a disappointing note. Seeley nails Kamala Khan’s voice, but the issue undercuts her with almost no growth and a twist that drains the finale of any tension or consequence. Sta. Maria’s generic, stiff artwork does the story no favors. Rather than deliver a satisfying conclusion, the issue mostly functions as a setup for Fugitive X-Force. Readers invested in this team may want to see where the story goes next, but this finale gives them little reason to.

Moonstar #3 gives the reader a deeper dive into the complexities of these characters that this series has neglected. Allen’s writing talent shines as the comic focuses on the why, not the what, of these characters

Issue #4 is the strongest issue of the series for what it doesn’t do: it resists the urge to escalate and instead sits with the characters. Audino’s art does more heavy lifting than ever, and the Dani-Kian dynamic is finally beginning to feel like the emotional core this series needs.

While the final issue is the best in the series, it ultimately serves to conclude an underwhelming, forgettable comic that fails to live up to the character on the cover.

Overall, Gailey and Haining have created an amazing, suspenseful comic with very few flaws. Artist and author work in tandem to craft a story that continually unravels with each panel, building a mystery that readers won’t want to miss.

While not as strong as the first two issues, Gailey and Haining continue to deliver a story that is thematically and visually compelling.

While the art continues to excel, the story has begun to slip. The plot has lost its luster as the story grows predictable.

Uncanny X-Men #37 trades the frenzy of "Wild Ride" for a quieter, character-first issue, and Gail Simone’s distinct voices for members of the X-Men make the slower pace worthwhile. Juan Frigeri and Matthew Wilson deliver gorgeous standalone panels, but that same polish stiffens the action. The long-awaited rematch between Wolverine and Sarah Gaunt favors conversation over combat and fails to reward thirty-four issues of buildup. As the launch of "Soul Deep," it feels more like a self-contained story than the start of a new arc.

Issue #38 of Uncanny X-Men is a story that follows a decent set of protagonists that is riddled with recycled material.One plotline follows Sarah Gaunt as she builds her own warped version of the X-Men. Gaunt acts as a twisted version of Professor X, acquiring her own version of the X-Mansion and flaunting her wealth. The other plotline continues Dazzler’s story from the previous issue, pairing her up with Rogue and Monet. Gaunt actively pushes her story forward; she acquires her house, she assembles her team, and she tracks down her target. Meanwhile, the X-Men act as reactionaries to the plot; events will occur, and they respond accordingly. This lack of inertia from the titular mutants ultimately makes the X-Men’s side of the plot feel a bit underwhelming.Unfortunately, the Scavenged are an incredibly unoriginal concept: rebellious teenage mutants who were experimented on by an organization related to Wolverine. Generation X-23 employed this same concept with the Generated; on

Universal Monsters: Blood of the Wolf Man #1 is a faithful re-imagining of the classic Wolf Man story more fit for a modern audience. The book takes elements from the classic film and places them in a new setting. Williamson and Leomacs have laid a strong foundation; whether this momentum can be maintained remains to be seen.

Issue two of Blood of the Wolf Man continues the series' trend of strong storytelling. With impressive art and engaging characters, this comic lives up to the cult classic film it draws inspiration from.

Witness Point opens with confidence. Fillion and Corson build a mystery worth solving, and Soo Lee's art carries the western tone without overreaching. Calhoon investigates a death in his town, but the story never asks what that means. That absence keeps a strong first issue from becoming a memorable one.

Issue #2 fixes what the first issue lacked by shifting to the point of view of Deputy Marshal Khabrani. The change gives the series its first real thematic footing, making this issue the clearest sign yet of what the series can be.

This comic storyline feels like a myth pulled straight from Greek mythology. The art alone makes this book worth picking up. The comic is at its best when it's quieter, more emotion-focused: these moments pair Ahmed’s character work with Coccolo’s art in a way that feels refreshing. Like the myths it emulates, the comic is more memorable for its heroes rather than its resolution.

While structurally another “Wolverine side quest,” the dynamic between Wolverine and Nightcrawler makes this comic a fun read. Ahmed’s writing is satisfying, and Ohta’s art, while not consistent with the rest of the series, delivers in style and substance.

This comic retreads a Wolverine plot-point that fans will roll their eyes at. However, Logan gets to interact with characters outside of his usual supporting cast, something that is always worth appreciating.

While the plot is incredibly dull and unoriginal, Ohta’s art and Ahmed’s Wolverine make this comic an entertaining if forgettable read.

While Cóccolo’s return to Wolverine reunites the author/writer duo that started this series, this issue is ultimately dragged down by a subpar villain and a formulaic plot.

While this story of Wolverine losing his healing factor added little to the overplayed trope, Cóccolo’s stunning art and Aburtov’s striking colors make this comic worthwhile on the visuals alone.

Ahmed and Ohta reunite to take Logan on a multiversal adventure. While the comic feels more in-line with something from Spider-Verse rather than classic Wolverine, that’s exactly what makes it refreshing.

While this issue does little to develop Wolverine as a character, the comic is simply an entertaining multiversal adventure. What this issue lacks in story complexity, Julius Ohta ensures that it entirely makes up for it in style.

While Marvel editorial spoiled the plot of this issue before it ever hit shelves, Saladin Ahmed and Martín Cóccolo team up to deliver a fun, albeit forgettable, Wolverine comic that harkens back to the character’s roots.

Wolverine #29 is an entertaining but unremarkable addition to Ahmed’s run. Despite the engaging visuals and the standout addition of Solem, the aimless and spoiled storyline diminishes this issue’s value.

Dan Panosian crafts a Wolverine story that echoes the era when the creator first entered the Marvel comic space: a comic that feels ripped out of the 1990s in the best way possible.

X-Men '97: Season Two #1 is an intentionally irrelevant story that serves to expand the world of X-Men ‘97. For diehard fans of the X-Men franchise, this is absolutely necessary; for those who just watch the shows and movies and read their favorite characters, it’s skippable.

The prequel comic to X-Men 97 Season 2 serves more as supplemental reading rather than a true prequel in Issue 2. While entertaining, the comic is visually and thematically rushed, making it worthwhile only to the most diehard X-Men fans.