Tyler Davis Comic Reviews

A Quiet Place: Storm Warning #1is a worthy continuation of the cinematic franchise in comic book form. While it may not live up to the atmospheric tension of the first film, it does a great job immediately ingratiating readers into a family drama that is anything but quiet.

Absolute Flash #3 is continuously solid as it struggles to balance its pace with substance. While this issue may tie together the loose abstracts of a character for Wally, there's still a distinct lack of meat behind this reinterpretation that has it falling behind its counterparts.

While it may not be as visually genius or loud as the first three issues,Absolute Flash #4is a much needed pacesetter that better sets apart the Wally West of this world and the Wally West of the core DCU. The new status quo functions as a strong story engine as well that promises to blend new ideas with the core concept of reinvention for the Flash mythos.

Absolute Superman #3 is the full-tilt into truth that this series has played around with since the first issue that readers have been waiting for. It finally establishes exactly what kind of world this Superman is hailing from, and one that finally allows us to get closer to not just Aaron's 'Absolute Superman', but his Kal-El as well.

Phillip Kennedy Johnson continues to execute emotionally grounded, action packed, and well-constructed Superman stories of heroism, pain, and family in near perfection.Action Comics #1052 is another fantastic step forward for the Dawn of DC, living up to the promise of new stories reminiscent of the old, but a step forward into a DC Universe with new interpretations and fresh ways of telling stories.

ACTION COMICS #1053is representative of what the best superhero comics in the modern day can be. Its narrative, a blend of plot decompression and precise character storytelling, is rife with deep themes that lay just under the surface of beautiful art and bombastic superhero action.

Action Comics continues to be a top shelf book, what more could one say? Action, emotional stakes, great art, and even greater characters. Check it out!

All-New Spider-Gwen: Ghost-Spider #1 may not be a perfect starting point for new readers, but it is one with particularly sharp hooks as we dive head forward into tense character drama and looming tragedy as we find Gwen rooted once more in the main Marvel Universe.

All-New Spider-Gwen: Ghost Spider #2is lean and mean in a way that actively detracts from what the team is trying to do with such an angst-riddled launch to this new volume for Gwen. There ain't much to love here if you can't find solace in the concept, aside from a great cover and solid art.

The Amazing Spider-Man Annual #1features solid enough characterization, but fails to have any sort of impact both in its narrative, art, or any form of character work. It serves its purpose as filler entertainment, but it has nothing going for it outside of that aside from the development of more weird and uninteresting plot lines for Mary Jane.

This issue is boring, poorly thought out, and beyond contrived. Even in Spidey's worst publication periods, at least something exciting, whether it be grand reveals or true storytelling was at least happening. Maybe the stories were offensively bad at times, but at least they were stories. Here, you're paying 3.99 for a bag of air that contains everything you already knew.

THE AMAZING SPIDER-MAN #24is far from a good comic, but it's moving the plot along enough, with fine character moments and well-paced visual storytelling, that it's difficult to completely kick the book down. It's the definition of a mixed bag.

The Amazing Spider-Man#25isn't offensive because of its story decisions, but because of how plain and boring it is. The Spidey team has nothing to say with this story, leaving it as just a poorly paced history lesson to explain why the team wanted to circumvent the previous status quo to tell the same old stories we've been seeing for years.

The Amazing Spider-Manis a yawning man's comic, a mixed bag of setups and wrap ups that ultimately makes for a reading expressed only with a shrug. This could be fine, or it could be more of the same mechanically broken storytelling.

The Amazing Spider-Man #28is a step towards the light, delivering an unproblematic but wholly vapid story that is sure to be building towards something, but as of right now is simple surface level 'fun'.

With Ed McGuinness and Marcio Manyz delivering their strongest work thus far on the series, The Amazing Spider-Man #29is an undeniably fun issue that plants some interesting and potentially exciting seeds for the title.

The Amazing Spider-Man #30is just another Spider-Man story, scrambling strong story setup and the potential for a small scale and psychology personal story for Peter Parker in exchange for goofs, gaffs, and unearned emotional resonance that held little to no other prior importance.

The Amazing Spider-Man #31has a lot going on, and as a set of stories don't offer much interms of satisfying themes, but continues to make shortsighted promises that may turn into something great, but as the record shows, promises from this title will unlikely become anything worthwhile.

The Amazing Spider-Man #32is the beginning of something extremely compelling, kicking off the next big arc in this series with a bang. Gleason brings the necessary amount of tonal finesse visually that Wells' has desperately needed since the end of his work onThe Amazing Spider-Man: Beyond. They're a match made for one another, and this issue is proof of how some comics live and die by the symbiosis of their creators' respective roles.

The Amazing Spider-Man #34is a great comic book, displaying sound writing and intense artwork to craft a story that's both incredibly entertaining yet thematically rich with a more-nuanced than usual take on redemption within the pages of this title.

It's more of the same from this run at a technical level, and no matter how fun and well-written Rek-Rap is, can't distract from the fact that this series is spiraling down a drain of disjointed and unsubstantiated storytelling that can't focus on a theme, tie up an arc, or tell a story that feels natural.

The Amazing Spider-Man#39 falls further into feeling like a cheap grab for cash, it's story riddled with so many odd holes and lackluster moments of character writing that it's a shame something this unfinished is being billed as a top event for Marvel.

The Amazing Spider-Man#40 is a surprising glimmer of light in the dark, one that manages to maintain the momentum ofGang Warand even give it the stakes, no matter how schlocky they may be, that the event was missing at it's start.

With Justina Ireland at the helm, it truly seems like the future is bright for Peter Parker once more. This issue was filled with a vindicating amount of character maturity, depth, and struggle that never once felt forced, elevating the main story of 8 Deaths to a place where the stakes have grown more troubling for Peter on a personal level. With even better art in tow, this is this issue that proves the worth of this story and cements it as a genuine pace-changer for the title.

As an individual issue, The Amazing Spider-Man #64 was a perfect distillation of what makes the Peter Parker side of this title so engaging, but was missing the high-flying fantasy of Spider-Man. It further proves how disjointed this story feels as one could describe Kelly's initial two issues in an almost polar opposite manner. That being said, this was the best writing for Peter on this run in a long time, grounding the overall conflict of '8 Deaths' in something deeply personal for our web-headed hero.

The Amazing Spider-Man #66 is a unconvincing attempt at telling an emotionally intriguing story with Peter that doesn't get the necessary space to fulfill its greater potential. While Ireland still remains a top tier voice for the title, but a round-a-bout return to Felicia Hardy and a disregard for the power of continuity left this issue a disappointing turn in an otherwise strong arc thus far.

The Amazing Spider-Man #67 would be entirely skippable if not for the major story reveal of a threat greater than Cyttorak itself, the overall arc of 'Eight Deaths' dragging its feet as a brand-new volume of the title awaits us on the horizon.

The Amazing Spider-Man #68.DEATHSis largely disposable but momentarily fun as a bonus chapter in this ongoing Spider-Man saga that will be more satisfying for those invested in the current status quo of everyone's favorite wrecking ball, the Juggernaut, or those with a deeper love for Mark Buckingham's classic penciling work.

The strong, thematic threads of 'Eight Deaths' are frankly unraveling as the story arc stumbles towards a contrived and seemingly predictable finale. Its everything readers expect with none of the time devoted to the juicy melodrama of the Spider-Man character.

The Amazing Spider-Man #69is an uncanny first half to the conclusion ofEight Deaths of Spider-Man. It's packed with frankly gorgeous art and resolutions that are written better than the build-up to this point deserves. Even with a baited cliffhanger, Joe Kelly paints a better future for the title with a final thesis on the character that's more hopeful than we've seen in the last couple of years. I may not particularly love this arc for what it is, but I do think the train is now on the right tracks.

The Amazing Spider-Man #70 is a stronger finale than the sum of its parts should have allowed the issue to be. Joe Kelly ends this volume of the title with a theme that inspires nothing but confidence in the web-head's future, even after such a shaky story arc. Ed McGuinness turns in the performance of a career here on art, instilling an even deeper sense of a high-flying direction for the title that should hopefully continue to pull it out of its recent misery.

The Amazing Spider-Man Gang War: First Strike#1 is weightless. It falls into comic shops with the velocity of feather on the wind, it's lack of proper story and character set up reeking of an editorialized idea meant to nickel and dime stores, readers, and creatives out of their souls as yet another nostalgia play infests the publishing line. While there's a chance that the creatives on this event can salvage what's here, it seems thatGang Waris simply dead on arrival.

The Amazing Spider-Man 2026 Annual #1is yet another fine but superflous annual that doesn't have much to stand on as its own piece storytelling, nor does it have any real importance to the current run. What it does have going for it is a pretty fun popcorn story for Rapid that still has me scratching my head as to what it is the Spider-Office is planning for this character.

Overall,The Amazing Spider-Man #1 is promising. With strong art and core restoration of the title's stability, there's nothing but excitement swirling in my bones with what Kelly, Larraz, and Romita do going forward.

The Amazing Spider-Man #2 is an even better insight into the tempo that readers can expect from Joe Kelly's run on the title. This issue is one continuous blast of momentum that makes room for both epic Larraz illustrated action as well as small check-ins with the wider life of Peter Parker. Most of all, it is focused and fun.

The Amazing Spider-Man #3 keeps the relaunchs hot streak going with an issue packed to the brim with greatness. From the art to the writing, the early days of this volume continue to get better and brighter with each sequential issue.

The Amazing Spider-Man #4is filled with heart, as the joyous highs and lows of Peter Parker's life resurrect him from the edge of collapse, both metaphorically and literally. Kelly and Larraz leave their stamp on the character with each issue, things only getting better as we blaze forward towards the end of their first arc.

The final chapter of Joe Kelly & Pepe Larraz's electric start toThe Amazing Spider-Manhas come and gone in a blazing flash of glory. From action laced with adrenaline t0 the neat tying of bows, the team has left nothing untouched as they usher the title into a new era that prioritizes the feels as much as the fun of Spider-Man.

One swing forward, two more back is the best way to describe the overall impact thatThe Amazing Spider-Man #6 has on the title after last issue's delicious finale. There's a lot of good, mixed up with a lot of baggage that treads overtop of ground long covered, and long matured from as the titles continues to fear romantic commitment with last minute feints of an 'adult reality' that's is rich in maturity from the perspective of a teenager. Not a bad start to the new arc, but one certainly weighed down by the baggage of long running mischaracterization.

The Amazing Spider-Man #7 is yet another stumble, filled with strong concepts that get tied up amongst themselves, slowing down the pace of a book that somehow still flies by in the blink of an eye. While not the worst tale to grace the pages of this title, it is disappointing with just how much potential is left on the kitchen table.

While some dents are buffed out of this arc by the developments withinThe Amazing Spider-Man #8, this story is still racing to put tracks in front of train as it barrels past them. Thematic developments, while greatly appreciated and conceptually strong, are potential squandered by the mess of pacing that led up to this issue's final moment.

The Amazing Spider-Man #9 is a bizarre pivot from the tone of Joe Kelly's run thus far, flowing in a broken stream from the previous issue with an all too familiar sense of self-pity that has been the subject of this title for years on end. That being said, the script's strange nature is also to the issue's benefit, crafting a much more intriguing tone and story than the arc had previously laid out.

The Amazing Spider-Man #10 is a definitive wheel-spinner, one that utilizes its purposeful delay before the next anniversary issue to layer in a sincere sense of unease as the series gears up to launch Peter Parker into strange, uncharted territory. With Michael Dowlings moody pencils and a taste for alienating brutality, Kelly's run on the webslinger is taking a decisive turn into the unexpected.

A meaty issue in its own-right,The Amazing Spider-Man #11is a dense setup for the title's future full of interesting promises, dilemmas, and character work that makes the last few issues of strangeness all the more worthwhile. The road toThe Amazing Spider-Man #1000is one paved with the ghosts of a recent past, Kelly working to spin gold out of character changes that once shocked fans into submission.

The Amazing Spider-Man #12 may showcase a continued struggle with pacing, but is overall still a pure popcorn book full of interesting ideas and simply brilliant superhero art. Norman Osborn is proving quite the interesting replacement for Spider-Man on Earth with some pathos for Ben Reilly sprinkled in.

The Amazing Spider-Man #13 continues the surprising hot-streak of Joe Kelly & Pepe Larraz's new 'Galactic Spider-Man' saga with some fantastic writing for Spider-Man that reminded me succinctly why this is a character worth looking up to.

While a pleasant space to live in,The Amazing Spider-Man #14continues to spin the wheel on both Norman and Ben Reily's respective character progressions as they live out the life of a man who both built, and destroyed, their lives. Although incredibly interesting at its core, there's only so much surface level teasing one can take before their interest slips into boredom.

The Amazing Spider-Man #15 continues the galactic status quo with an exciting mix of action and moral quandary that builds upon Peter's internal struggle, alongside a growing complexity in his relationships with the cosmic side cast that promises more rich stories to come.

The Amazing Spider-Man #16 spins a repetitive web that I can't help but still find a reason to enjoy, regardless of the lethargic pacing that is holding back an arc choked with potential.

The Amazing Spider-Man #17 marks a major stepin Peter's emotional reconciliation with his defeat at the hands of Hellgate, and was a powerful one that continues to cement this run as one of my favorites on the title since Dan Slott wrapped up Superior Spider-Manover a decade ago.

The Amazing Spider-Man#18 is Norman's best issue yet, working to capstone his development throughout these last few issues in a satisfying, albeit predictable, way. With Rodrick Kingsley back on the prowl some solid John Romita Jr. art to back it all up, the issue felt like a classic issue ripped right out of the 2000's, just with a focus on Norman Osborn instead of Peter.

The Amazing Spider-Man #19is yet another emotionally epic chapter of Joe Kelly's 'Galactic Spider-Man Saga', and stands to be the best thus far with its showcase of character growth, deepening complexity, and gripping action that has me waiting at the edge of my longbox for the next chapter.

The Amazing Spider-Man #20 leaves readers hanging with a rather disappointing climax to both Ben and Norman's time filling in for Peter. The separation of these two, and a hollow reliance on the extended Spider-Family, pales in comparison to both the start of this arc and its space-bound sister story.

The Amazing Spider-Man #21leaves so much hanging in the air that it can be hard to accept it as a finale to anything at all really, but what it does for the character of Norman Osborn in the modern day is beyond exceptional. Paired with some really great from every artist involved, and it shakes out to a pretty strong issue that clears the way for the start of something new.

In the end, Spider-Man: Torn #1 is a bold but uneven return for J. Michael Straczynski. It is a story rich with introspection, carried by a deep understanding of Peter Parkers emotional architecture, yet undermined by a sluggish pace and inconsistent visual delivery. For all its missteps, however, it remains a work of genuine intentone that seeks not to glorify the past, but to dissect it. Whether that dissection resonates will depend entirely on the readers willingness to confront the same uneasy truths that have always defined Spider-Man himself.

The Amazing Spider-Man: Torn #2 retreats from the weighted melodrama of the first issue into a weightless new villain, with art that fails to make an understated script sing.

Overall,ARCADE KINGS #1is an explosive blast of energy that will surely make for this year's standout summer read. With heavy arcade and eastern influences, everything in this book radiates off the page with infectious, positive vibes.

Avengers Inc.#5 is a safe, warm, and satisfying finale that will be sure to grow smiles on the faces of those longing for the forgotten pits of Avengers history to become relevant once more. However, outside of pleasing those with aforementioned connections to the material that inspired this series, I can't sayAvengers Inc.has much impact or value with its lack of emotional or thematic resonance.

Avengers Twilight #1 is familiar yet grand, a perfect example of how pristine craftsmanship in both writing and art can be a little undeserved by a lack of conceptual boldness. However, what is setup is promising, the overall power of this story laying in the hands of what's to come as opposed to what's on display here.

Overall,Avengers: Twilight#2 is moving forward at an underwhelming pace with just enough alternate universe spunk to keep the title interesting as it begins to drown under its heavy but underserved thematic core.

Batman #158 is a perfect encapsulation of the Caped Crusaders greatest struggle in the last few years as even one of the most influential writers on the character cannot escape the shadow of history. Pair that with technically sound but seemingly rushed visuals, and you have a sequel to one of DC's highest selling graphic novels that fails to live up to anything other than short-term sales numbers.

As continuity and the chance for something fresh shatters,Batman #159 leaves the much anticipated Hushsequel in a place more intelligible, but somehow even less interesting, than the first issue had. Overall, Jim Lee carries the book artistically enough to warrant a short perusal through the issue, but that is all.

Batman #160 leans into to the schlock inherent to the sequel, making for the first chapter thus far to cohesively exhibit anything in the realm of entertaining. Lee's work was genuinely flooring here as the tale begins to take shape around his more explosive strengths.

Batman #161breaks past the series' publishing delays with non-stop motion, the book spiraling through its action set pieces with poor planning and sauceless execution. At this point, DC might as well kickstart the book's next era as a this team sluggishly begins to cross the finish line at a pace of pure leisure.

Batman #162 continues HUSH 2 after months of delay, which must have been due to Jim Lee's artwork because the script reads as the microwaved remains of a editorial checklist.

Batman #1 has a ton of promise, but this big relaunch stumbles in the execution of its story. With art that barely fits the ton and a narrative structure that solves itself before the seeds of anything interesting are laid, only time will tell whether or not Fraction's time on the title will prove worthwhile.

Batman #2takes all the promise of the first issue and makes good on it, delivering an issue that is simultaneously small in its character focus and grand in its setup of the run's larger goals. That being said, the ongoing conflict it establishes is one we've gotten off and on over the last few years that the excellence of Fraction's scripting pales in comparison to a worryingly stale plot.

After three issues, I cannot say that Matt Fraction'sBatman relaunch has me excited for the future. While it has many things to love, its a mess of overlapping tones and ideas that have potential on paper, but have thus far lacked the teeth needed to hook readers in.

Batman: Dark Patterns #1 is a horrific blast of classic pulp-noir Batman drenched in a kind of dread that only the most human of horror stories can achieve. While a bit rocky on dialogue, the rest of the book is a warm yet chilling look at an era of Batman that's always returned to with nostalgia but never the same authenticity that the team has achieved by daring to try something new upon tired grounds.

Batman Off-Worldisn't just an entertaining and atmospheric comic, it's one that clearly understands the necessity of pulpy science fiction in an age of where corporate art is becoming extremely homogenous. With the edge of Rocksteady's Arkham Batman and a ferocious commitment to its science fiction ideas, Jason Aaron and Doug Mahnke have crafted a comic well worth checking out.

Batman: Off-World #3 is a lesson in character-driven plot momentum, the penultimate chapter in this mini-series rich with detailed art and a healthy tonal mix. Whether or not the series will have been set-up for a perfect landing we shall wait to find out.

Black Cat #2 may not be G. Willow Wilson's deepest work in the last few years, but it is still a fun place of comfort for Spider-Man readers and Black Cat fans who've been searching for a voice on Felicia that understands her playfulness beyond the objectification.

Black Panther #3 is all buildup with very little payoff, laying the groundwork for an explosive follow up in the next issue with Deathlok, political consequences, and exciting action. However, what is here drags significantly, and as its own issue doesn't stand well on its own. Even as the piece of a larger puzzle, this issue is boring at its worst, and plot-driven at best.

BLOOD TREE #2continues to grow as high-tier pulp fiction. The plot moves at a quick pace balanced out by character exploration done neatly. While it may feel a little basic and bare in its execution, it's a classical serial killer mystery that is sure to tickle fans of the genre's fancy.

Blood Tree remains a consistently well-made series of pulp mystery fiction, pacing itself out with this issue being the one straddled with moving the needle forward. Still good, but missing some of the character themes and work within the last two issues.

Buy this comic or perish! ...I kid, but not by much. The creative team behind thisBring on the Bad Guysinstallment have crafted a comic far better than the sum of its parts!

Brynmore #1is surprisingly light on plot or details, the promise of its ominous narrative lying within its vague ideas, stunning art, and the trust many readers will have in Steve Niles due to his past work.

Captain Marvel#1 blips by at a rockets pace, kicking off Carol's new run with an exciting yet shallow story that excels in action, but leaves room to be desired when it comes to world and character building. However, there is a lot of headroom for those latter narrative weaknesses to become stronger as Wong and Bazaldua's run continues. Longtime fans of not just Carol, but Genis-Vell will get something extra out of this debut issue that shows how the team plans to play with the titles long history.

CASTLE FULL OF BLACKBIRDSis a grab bag of well-mixed ideas executed in a page count too small for what it needed. While not offensively bad, I can recommend it only to Hellboy Universe completionists, as to anyone else it'll lack the substance or atmosphere many come to narrative fiction for.

Christmas 365 #1 is a delicious blend of familial Christmas classics and the strife of middle-aged life that makes the book fresher than it has any right to be. Way and Rivera have set up a genius premise with characters that are instantly recognizable within their archetypes but are given a greater sense of individuality due to their more realistic edges. This is a Christmas story to its core when it comes to themes, but one that has been structured to take place on a timeline that spans multiple months outside of December.

With great characterization, solid heart, and natural connection to the DCU,City Boy #1is the start of something really great. Thus, with the debut of this issue, DC'sWe Are Legendsimprint goes three for three with their titles in terms of quality.

While rushed, City Boy #2takes all the character setup from last issue and pushes forward on the the plot to root book deeper within the DC Comics mythos, expanding the series' scope far beyond what many expected it to be.

City Boy #3 is plagued by pacing issues but counter-balanced by raw character ideas and moments of excellent character writing.

Its safe to say thatCLEAR #1is nothing short of excellent, a story that not only nails style with its visual flair and writing choices, but brings something new to the table with an overarching them of expatriation.

Clear stands as a monument to the emotional and artistic power of comics. In many ways, it is both Scott Snyder and Francis Manapul's best work.

If you're a lapsed Marvel reader, or just looking for a simple book that manages both beautiful art and brilliant simplicity with it's storytelling, I couldn't recommend this issue more.

Visually astounding and intelligently plotted, CLOBBERIN' TIME #2 follows up on the perfection of the last issue with the same level of quality, but with more focus on building an overarching story.

COSMIC GHOST RIDER #1is a promising start to a new Marvel ongoing that promises mystery and the ever enticing setting of a 'Western Space Opera'. However, it is skimpy on character history details that may be difficult for any new readers jumping into the character for the first time.

Crusader #1 is intelligently constructed and highly entertaining. This first issue kicks off with well-established character dynamics and grisly action all dressed up in an art style that manages to be both charmingly cartoonish and atmospheric.

Cult of Carnage: Misery #1is a great debut for Liz Allen's new status quo. While it may pose as a difficult jumping on point for readers unfamiliar with her history, that doesn't change the fact that this book has strong emotional and genre themes coupled by great art and greater action.

Cult of Carnage: Misery #2is another solid, character focused entry into this mini-series that is way better than it has any right being. Marvel's Symbiotic stories have never been stronger, and Misery is right up there alongside Red Goblin as yet another sleeper hit for the company.

Daredevil / Punisher: The Devil's Trigger #1may not be spectacular, but it is a well-rounded return to the classic dilemma of morality that has defined the relationship between these two Marvel Knights for years now.

Daredevil: Gang War#1 is a strong tie-in that doubles as an equally strong Elektra story. Erica Schultz impresses here with her interpretation of Elektra, this series filling the gap between the current main Daredevil run and the role of Hell's Kitchen withinGang Warwith grace. Strong, character-driven storytelling overall wins this issue a glowing reccomendation, even if you aren't following the main event. I hope Schultz gets to continue on writing Elektra after this event, as Marvel may have just found the character's next great stewardess.

Daredevil: Gang War #2 is not as strong as the first issue from a character standpoint, but it's titillating action and robust combination of 90's flair with a modern approach to pacing keeps the book moving and a continually engaging pace. This book continues to stand out as the shining gem of Gang War, and while it begins to tie more heavily into the event in this issue, it does so in a way that keeps the story at hand still a solid enough solo story for Elektra.

There's a brave and methodical slowness toGood Deeds #1that gives the book so much time to develop it's characters, plot, and tension in a way that never allows the reader to disengage from the narrative. Tempting and terror-ridden, this is a great indie horror comic that's striving to put its character's first and foremost.

Good Deeds #2 sows the seeds of horror, softly laying a growing tension through human action and reaction in an all too believable horror tale about small-town life.

Dark X-Men #2is written with such richness that it's disappointing to see the evidently passionate work of Steve Foxe& Jonas Scharfbe constrained to a mini-series within the Fall of X. Both beautiful and thrilling, there isn't a Marvel team book quite like out right now.

Dark X-Men#4 is filled with tension, atmosphere, and delicate character writing that brings a sharp edge to the themes and story of this series without bloating out its very limited page count with filler. Foxe and Scharf deserve to see this team grow beyond just a mini-series within the Fall of X.

Dark X-Men#5 is a relatively weak finale to an otherwise brilliant story. With an underlying acceptance on the repeated cycles of human nature, the uneasy and solemn final pages of this series seem out of character for what the book had been ramping up to say, but maybe that's just the nature of things. Regardless, I'm very excited to see where Madelyne Pryor goes next, hopefully with Steve Foxe still at the helm.

Deadpool / Wolverine #1 is a perfectly comfortable romp sure to please those looking for a tonal continuation of what Percy was doing with his runs on Wolverineand X-Force. However, those looking for a fresh jumping on point for the characters will be a tad disappointed to find a tale that's more effective with the continuity of previous stories floating around in the back of ones mind. Still, there's a lot of fun hero action to be had with some really great art.

If youre someone who wants to round out their pulls this week with something light and inoffensive then it won't hurt to pick this up. That being said, I think this is one destined to be a cult-classic dollar-bin book, the kind of story you discover without any expectations that you read and forget about but is always worth the pick-up at the price point.

Detective Comics #1094 is another strong issue from this team, one that steadily builds upon the rhythms of classic character relationships with fun story scenarios and a mystery that grows less and less predictable as it once seemed.

"Mercy of the Father" proved to be a worthwhile first arc from Taylor and Janin, one that rocks both on its own right and as a launching ground for story threads that look to layer the entire arc with a never-ending source of intrigue.

Detective Comics #1097 is as much its own tale as it is a brilliant continuation of the threads left open from the last arc. With art that rivals Mikel Janin and a strong voice for the wider Batman universe, it appears that Taylor will continue forward on this title with a unforeseen pacing restraint that allows his brilliance to shine past his decompressive tendencies.

For all of its momentary 'coolness',Detective Comics #1099 still falls shorts it attempts to pivot the series towards a new, yet still Elixir-laced path. This is a still a solid issue, one that keeps me encouraged to continue reading month to month, but perhaps another story should have been placed here if the looming shadow of next month's supersized anniversary issue forced the team into a hard place with regards to the story's issue count and pacing.

Dichotomy #1is an incredibly mixed bag, whose notably big swing as an independent debut may be as much of a detractor as it is a notable compliment for this issue. Where the issue lacks in art or storytelling finesse, it makes up for in its conceptual roots.

Dusk County Chronicles: Nightfall #3features some sure-fire and satisfying conclusions to many of the threads that have ran through this series since the first issue, however, the execution at times can be truncated and messy. However, the journey from issue one to here is well worth the ride for those who've been around since the first chapter.

Overall, this year's annual Spider-Man teaser falls a bit flat. Nothing in it particular does anything outside of the norm except for a single, four-page teaser at the end that is only as exciting as it is because of the seemingly never-ending identity crisis of the Spider-Man line. Pick it up if you can, but this a FCBD issue worth tracking down after the fact.

In The Blink of an Eyeis a solid taste of Dan Slott's upcomingSuperman Unlimited. While the art may not have me sold, the seminal Marvel author showcases a strong understanding of both Clark Kent's character and the meaning of his world.

Fishflies #1is beautifully illustrated and well-realized, but is better fit for a trade paperback than it is as work of serialized fiction. Those who like Lemire's work will know this and enjoy it for what it is, but many will overlook the genuine craftsmanship on display due to its wonky pacing.

Ghost Rider #17 is a great second chapter to this infernal crossover between Blaze and Logan, backed up by incredibly well-realized paneling and art that simply slaps. With only two issues left in the story however, the story is on shaky ground as to whether or not it will be paced well enough on what the story has set up.

Giant Robot Hellboy#1 doesn't feel like the start of something serialized, but instead the first chunk of something that will sit better with reader's once it can be read in its totality. That being said, this issue is still worth ago in a monthly format, the beautiful designed interiors, cover art, and flow of intrigue Mignola brings to the plot is more than enough to guarantee a great time.

Giant-Size Spider-Man#1 is anything but giant-sized, unless you count the price which fails to accurately reflect the book's actual value. With half of the issue being a reprint of material that's readily available in so many forms, then the totally average-sized main story needed to have more of impact, whether in plot or artistry, than it does for this issue to be a hard recommendation for anyone other than completionists.

The opening issue to Williamson's Green Arrow run sets up an intriguing plot line, wasting no time in setting up a legacy-rich status quo. However, in that rush, the book loses its hooks and impact. It's not a Green Arrow book built off of a bonafide Green Arrow story, but instead one directly intertwined with the future of DC. It's the beginning of a run that lacks anything deeper at a plot level than fan service and plot promise, but nonetheless, with time it could go somewhere very interesting. With time, this first issue rush could be rectified, but as it stands now, this book is a jumbled mess.

Green Arrow #8 is a classic example of clever writing serving nothing but a boring plot as a subversion of expectation, while executed with grace, leads the book down a road that is monumentally less compelling than the potential of what was subverted.

Green Lantern: War Journal #5 continues the first arc with some lumpy pacing that, for the most part, doesn't take away from the building climax this issue has setup. With what seems to be an excellent finale on the horizon with so much left in store for the series down the line, Johnson's writing continues to excel technically even the overall 'fit for trade' plotting could use some compression.

Gods Against Groo #3 is a smart slice of comedic social commentary that struggles to find a character or plot worth caring for. Whether this be a victim of its Sunday strip tone or the nature of Groo as a character, there is still a lot to be enjoyed about this series. For fans who desire an older, newstrip style book, this might be the closest you'll get on the spinner rack.

With the introduction of Grootfall that only raises more questions and a new, hard-boiled tone, I've never been more interested in what was going to happen next for the Guardians of the Galaxy. This is also a good jumping on point, so check it out if space-westerns are your thing.

Guardians of the Galaxy #2has a lot more to do and say than the first issue, making it a potentially stronger hook for those teetering after a good, albeit thin, first issue. Without the need for the setup, the writing duo has the ability to enrich and flesh out the team, giving them a few more shades of required depth under this creative team.

Guardians of the Galaxy #3is the runs first clunker, the team attempting to say something socially whilst forgetting that doing so poignantly would require an actual story to unfold. This issue isn't awful, and will read better when done so in a binge-like fashion, but it's unforgivably boring.

Haunt You To The End #1is a great beginning to a series with the potential to truly satisfy on the sensations of fear and deeply human character work the best of the genre can offer. All the pieces are here wrapped up beautifully with the book's visuals, but only time will tell whether this book will manage to amaze.

Hellboy and The B.P.R.D.: 1957 - Fearful Symmetry #1 is a painfully boring and visually drab comic book that's existence can't even be justified by originality, as it lacks any notion of inspiration or artistic care.

Like those before me at Comic Watch have said, it's become increasingly difficult to take any critical shot at our boy in red. Hellboy in Love is a good series for readers old and new alike. This issue was a blast to read, and an absolute recommendation for all.

HELLBOY IN LOVE #4 offers up the best representation of what this universe of stories can be. It's an entertaining read that utilizes the medium to its strengths with some fantastic art and coloring. If you haven't already dove into this mini-series, now is the time as its first two acts have been completed, leaving you awaiting what is hopefully a tight finish.

Hellboy in Love #5 sputters to an end with a tight but very anti-climatic conclusion to a series that shows more promise as an ongoing than it does a mini-series. Overall, the series was very strong and this lackluster ending doesn't take away from the near-perfection seen in other issues.

I AM IRON MAN #1is the earnest start to honest celebration of Tony Stark that isn't attempting to appropriate and regurgitate stories of the past. With their own narrative stepped deeply within the eras of Tony and an art style that idealizes the character, its a validating showcase of why Iron Man has room to still be a compelling hero in 2023.

I AM IRON MAN #2is an unconventional yet magical approach to understanding, dissecting, and exploring Tony Stark and his mythos. Managing both whimsy and philosophical seriousness, I cannot recommend this book to Shellhead fans more than I already have.

I Am Iron Mancontinues to be an excellent and loving anthology series rife with both celebrations and vivid explorations of the Iron Man mythos. This issue stands out as the most story rich, but not necessarily the most thematically deep. However, that trade off makes for an issue with more relatable emotional impact.

I Am Iron Man #4makes a bold choice in how it reflects and celebrates the 2000's era of Tony Stark, but it's a choice that pays off. The team here explores every facet of Tony, whether or not those facets are pretty or ugly, and does so with an expertise understanding as to how one should explore a character's darker corners while avoiding outright vilification.

If you have extra room for new books this week, this is a definite pick up.

With a little bit of humanity and a splash of one's twisted, depressed imagination,Ice Cream Man #35 makes for a tale that on first go is engaging and thought provoking, but on a second will have you stopping to consider its well-laid themes of near disturbing importance.

While a total blender of ideas that fit with a puzzling degree of force,Immortal Legend Batman #1is still an incredibly fun ride that lives and dies by the rule of cool. Erica D'Urso steals the show with her pencils and Igor Monti breathes living colors into pages, a duo whose work creates an unrivaled sense of life in this genre-confused take on the Batman mythos.

Imperial War: Black Panther #1 works quite well as both connective tissue for the main Imperialtitle as well as a first taste at the upcomingBlack Panther: Intergalactic title spinning out of Johnathan Hickman's relaunch of Marvel Cosmic. LaValle and Cafu are a match made in heaven, balancing the weight of T'Challa's blend of science/fantasy fiction with strong characterization.

Imperial War: Planet She-Hulk #1 is a disappointing chapter in Marvel's growing Imperial saga that some may have fun with, but shoots itself in the foot with a 'shaggy dog' narrative and traditional She-Hulk tone that misses the appeal of seeing Jennifer in a setting ripe with world-building potential and weight.

The Incredible Hulk #1isn't a perfect comic book but in it's best moments, of which there are many, it's an exciting and horrific start to the Hulk's next great foray into the world of Marvel Horror.

The Incredible Hulk #2is a moody next step for what continues to be an inspired and atmospheric return to form for Earth's angriest monster. The team continues to deliver on their promise of horror and grit, grounding the series in a rich sense of loneliness, tension, and desperation.

This tale is one written with not only great skill, but a darkness so outside the normal realm of mainstream horror comics that its not hard to be enraptured by it's near sickening illustrations and a quick endearment to character you'd otherwise cut out of paper. It's available in digital only on the authors itch.io page, and is worth every chance you give it.

The Invincible Iron Man #8is a really great comic, tying into the wider Marvel Universe in ways that signify the book's importance, while not losing it's main star amidst a slow but well done integration into the "Fall of X." Overall, this continues to be Duggan's strongest Marvel title on the stands with high flying action and great art.

The Invincible Iron Man #9is an engrossing read. With such an epic story building, it's astonishing that Gerry Duggan and Juan Frigeri have kept up this building momentum in such a calculated and engaging way. This is a definite must read for Iron Man fans, as well as those swept up in the Fall of X.

Invincible Universe: Battle Beast #1is just as great a book for new readers as it is for fans of the franchise. Kirkman and Ottley are back doing what they do best on a monthly basis, their expertise elevating what should be science fiction slop into one of the hottest books of the month.

Iron Man #1takes off at an electric pace, leaving no room for boredom as the new team launches into a story rife with intrigue, charm, and high-octane thrills. Williamson's return to Marvel is a welcome one, as he brings the same unapologetic love for these characters that he's exemplified with his storied career at DC Comics.

Overall, KAYA #7 continues the series with a really strong foot forward. While the previous arc had been visually astounding with a really strong sense of character archetype, design, and immersion within its world, it lacked in both narrative and character depth. However, due to the plot setup this new arc presents, the series holds with it the potential to marry its visual storytelling expertise with plotting and character work of equal strength.

Kaya #8proves to be another solid chapter in a series that reads much better in chunks than it does issue by issue. Overall series pacing aside, the book is still as artisan as it could possibly be, Craig putting out a masterclass in fantasy comic storytelling that's perfect for people of all ages.

Kaya #9 is an excellent middle chapter, utilizing strong pacing and natural narrative twists in order to continue the momentum of this massive second arc, not a second becoming dull or overdrawn.

Kaya #10 is penultimate bridge issue that introduces and builds up last minute yet needed ideas into this arc in order to bring its conclusion to a satisfying and explosive finish. With some of the best art and panelling this series has seen to date, this issue does not disappoint.

Kidpool & Spider-Boy #1 was shockingly endearing. It's not for everyone but it is definitely a great story for younger readers looking to get into the craziness of Deadpool without the Hard-R material. For older readers, the dumb fun of a story like this makes for a tight yet breezy read that'll take them back to a time when superhero stories were able to be a bit simpler.

Kill Your Darlings #1is shocking on the first read, intriguing on the second, and desperately human from cover to cover. Alongside industry veteran Robert Quinn, Ethan S. Parker & Griffin Sheridan have debuted their first comics work on one of the biggest independent stages possible with roaring success.

Kill Your Darlings#2 zigs were one would expect it to zag, moving the plot forward in such a way that's both natural for the book's pace yet still unexpected and surprising. Bob Quinn's art grows more impressive with each issue of this series released, a sharp yet hyper expressive flow to the characters elevating an already rich story.

Kill Your Darlings #3 is joyous yet emotionally raw. So much character is packed into one book that it's a miracle it isn't an overstuffed mess, but instead a dare I say perfect comic with pacing, writing, and art deserving of award.

Knight Terrors: Angel Breaker #1is and was always going to be the odd man out in terms of Knight Terrorstie-ins. It ties together some minor DC stories from the past year, working to help pepper the growing legacy of the relatively new Angel Breaker with some more stories to call her own. However, it has to play things safe and sound, leaving the overall book seem needless in the grand scheme of both this event and the ongoingDawn of DC, something this creative team should've been integral to from the get go.

Knight Terrors: Green Lantern #2 is a perfectly entertaining and fun comic, filled with some interesting character beats and great art that works well to holdover readers as they await the main Green Lantern series to kick back up again after the line wide Knight Terrors event.

While KOSHCHEI IN HELL#3 might be a Hellboy Universe book following up on and wrapping up plot lines from previous series, it itself still has a lot to say about the nature of a mythological figure and their unending life of pain and battle. Excellently written with outstanding artwork, Mignola and his team continue to be one of the best in comics to date.

LADY BALTIMORE: THE DREAM OF IKELOS #1is a poster child for near perfection in comic book construction. While the plot may be somewhat underwhelming due to its length, the team still manages to pen a narrative with enough narrative substance and weighted themes to craft a story still worth reading.

Local Man has set itself up with a main character under the lens of earnest exploration with a murder mystery brewing in the background that has left me hungering for what comes next. Fans of what Image once was and fans of what Image have become will both find something to love within the pages of this brand new series.

At its core, Local Man has been growing into a deeply human series that explores identity in the fly over states by way of 90's superhero tropes, an unexpected yet completely genius premise.

Overall, Local Man #3 is a densely rich issue with a lot to say about its main character, but doesn't stop the book's momentum as each instance of conversation, comedy, or characterization manages to still progress the story forward. Masterful, but and happily slow in its execution, this series has been one of the biggest source of consistent quality on the stands this year.

Local Manis one of the best superhero books on the market, hands down. This issue really cements that, utilizing superhero actions and thematic character philosophy to craft a truly deep, engaging, and rich reading experience.

With an origin story now solidified for our Local Man, the future has never been brighter for this series to tackle even more exciting stories and really human conundrums that promise to continue the series' unconventional approach to superheroes.

Local Man#6 marks a creative shift for the series that really, really works. It builds upon the cultural ideas explored through heroism within small-town America by re-framing the series' current arc into one about superstitions and the disruption seen within Farmington when the dominoes of conspiracy begin to fall. This brings about rising drama, juicy tensions, and a continued sense of realism that is more honest than it is edgy.

Local Man#7 continues "The Dry Season" story with a creative yet tad over extended second chapter that feels as though the team is letting loose on the side of fun without forgetting it's grounded tone. The back up in this issue is especially great, helping to enrich Farmington and Inga's backstories all the more.

Local Man: Goldhas all the hallmarks of a great comics' story, leaning a little more into the 'fun' and boldness of it's inspirations for an special that's way more comedic and focused on entertainment than the main series has been thus far. It's definitely worth a read, even if you haven't been keeping up with the series.

Lunar Lodge#1 may not have enough going for it in its first issue to be a solidified must read, but what is here is promising. The book will at the very least get by on atmosphere and tone as its most engaging aspects all rely on the silent trust between writer and artist.

While the book looks, and sounds hopelessly miserable, it uses all of that to generate a story of hope and growth. There's a very strong side cast here that epitomizes and helps shine a light into the dreary world of powers, Tokio himself a positive person struggling to push through both the physical and emotional antagonists he faces down in every chapter. The book, as of its first two volumes, has a lot to explore with Ishida's well-paced world building that introduces new ideas that flesh the book's greater lore out exactly when the plot demands. There is a school and organization in place to ensure those with powers are well equipped to handle themselves, and while they play a central role in the story, aren't the reason for the story. They play a role as they naturally would, but the story isn't about Tokio being wrapped up in this organization, which is a nice change of pace from genere-standards. The book also builds in some innate and well-executed instances of camp that adds t

Spider-Man vs. The Sinister Sixteenis JMS at his sharpest, penning a fluffy yet character rich evening for the Marvel Universe that caps off this series of crossovers poignantly, the comedic beats of an issue entrenched in its visual language executed with perfection by Phil Noto.

Marvel Unleashed #1is one of many reoccurring attempts at bringing back the animal-driven narrative trope made popular eons ago, and may just be one of the best. With incredibly comedic writing and a great showing of comic book technique in both the writing and art, this debut issue is a great debut for both young and new readers alike.

Creative Team Writer:Saladin Ahmed Artist:German Peralta Colorist:Jesus Aburtov Letterer:Clayton Cowles Designer: Jay Bowen Cover Artists:John Romita Jr., Scott Hanna, & Marcio Menyz Variant Cover Artists: Peach Momoko; Ben Harvey Editor:Devin Lewis Associate Editor:Tom Groneman Cover Price/Page Count: $4.99/28 PagesDaredevil #4 hits stores shelves this Wednsday, December 6th, 2023!

MILES MORALES: SPIDER-MAN #4is a well-done setup chapter for what's to come in the finale forTrial By Spider. Ziglar and Vicenti continue to deliver exciting and plot-rich superhero comics that are bolstering up Miles and his world.

This issue is the epitome of what Superhero comics should be at a base line. Exciting action. great character work, and bombastic art have all fused together to create a hard-hitting debut arc for Cody Ziglar's run on Miles Morales.

Not even a crossover can grind Cody Ziglar and Frederico Vicentini to halt. Because the book is allowed to remain a smaller story with true weight for our characters and not a tie-in/variant farm,Miles Morales: Spider-Man #6works as both the next chapter in Miles' story and a story with the effort of an event.

Miles Morales #7is the best kind of popcorn action comic. It's got big action and big heart, peppering its quick pace with illustrations drenched in adrenaline. While the stories gone on a little too long,Carnage Reignshas served to be a great visit upon the best of 90's extremism, and Miles getting his time to shine with it has been nothing short of fun.

Miles Morales: Spider-Man #8is a nice change of pace for the title, giving more room to Miles' life outside of Spider-Man after two arcs back to back arcs of blistering intensity. It's nice to see Hobgoblin finding a place where he can be interesting again, as well as Ziglar's voice for the villain. Overall, Miles continues to soar as the top Spider-Man book.

Miles Morales: Spider-Man #9 walks a tightrope in terms of narrative balancing, and does so with grace. This issue further cements Miles Morales' book as Marvel's most premier and highest-quality title with a Spider to grace its cover.

Miles Morales: Spider-Man#12 is a fine close to an out of place, if servicable fun story that reads as a filling stop gap to get the book's publishing schedule in line for this month's upcoming Gang Warevent. Hopefully the book finds itself in a place of substance after this, as the book's recent five month lull has taken a signifgant amount of energy out of the title.

Regardless of some reductive characterizations, Miles Morales: Spider-Man#13 continues to prove how versatile Ziglar and Vicentini are as events continue to plague their run. With beyond exhilarating visuals and writing that manages to balance the book's core story with the event's necessary threads, as far as I'm concerned, this is still the best Spidey book on the stands right now.

With a laser focus, Miles Morales: Spider-Man #15 manages to feel like the thrilling climax to Ziglar's entire run thus far without even trying to. It's exciting, tying up loose emotional ends whilst elevating the weakest part of the run thus far by playing all of those recent discordant notes together in a pure symphony of exciting superhero drama. It's a book that oozes classic Marvel style whilst maintaining a cutting modern voice.

Miles Morales: Spider-Man#16 is action-packed and pureblooded fun, Ziglar's writing just strong enough allow Frederico Vincentini's art to steal the show.

With strong writing and visual storytelling, Miss Truesdale and the Fall of Hyperboreais another solid hit for the Hellboy team.

Overall, this issue doesn't re-contextualize the rest of the mini-series in a way that would have me yelling from my soapbox to go back and pickup the previous two issues. However, for fans of Monica Rambeau who may have been hesitant about picking up this book, I can strongly recommend it on the character front alone. Whatever I may find disengaging about the story's structure, Ewing does have such an excellent way of presenting Monica and her struggles that I will continue reading the book until its end.

Monomyth #1 has the craft, premise, and characters behind it to take off sprinting as one of this year's most well-made fantasy comics. The team exercises so much skillful and mechanical artistry alongside a very creative blending of worlds that demands nothing but praise. There's a true symbiosis between writer and artist at hand here that happens rarely, and I cannot recommend this book more.

THE NEIGHBORS #1is a promising start to what may wind up being one of the most haunting horror comics this year from Boom Studios. With a folk-horror hook and its contemporary themes, this issue is just the right mix of uneasy and endearing needed to enrapture readers everywhere.

Overall, this run continues to rock. It's blend of the past and present makes for an exciting yet thought provoking story that isn't exactly setting sights on the future as the team bridges the gap between the previous run to this one.

Nightwing #122 is the partial origin-issue for Olive Pearce, one that peels back the motivations of our new threat without doing much to move the overall story forward. Instead, it's a moment to breath with all that's transpired and truly get to understand the difficult sensitivity of one's own moral mission muddying up the waters of an already corrupt system of order.

While not particularly extravagant at first glance,Nightwing #123is a rare single issue slow burn that sets up the crescendo of this story arc with a satisfying twisted turn of the knife in the gut of Bludhaven's future.

Nightwing #125is caught between a rock and a hard place. While its core is quite promising, the sudden shift in perspective and pace is a rough transition out of such an explosive opening salvo. The art, while not bad, doesn't quite fit the narrative energy of the title either. Otherwise, this is a conceptually stellar issue that continues to layer Bludhaven's history with a fresh sense of supernatural otherness.

Nightwing #126 may introduce some fantastic wrinkles into the overall fold of Watters' run on the character, but it struggles to leave an impact of its own as a standalone two-parter. Even with the improved art and stronger plotting, the issue still has me waiting for things to pick back up next month.

While NOCTERRA #12 undercuts its potential character drama for the sake of plot, everything turns out solid in the end as Scott Snyder continues to prove himself as a master of momentous and exciting narratives that fall nowhere short of pulse-pounding.

Nocterra #13 is a necessary read for fans of this series, and is wholly entrenched in it's mythos. What it doesn't have in story here, it makes up for in grand reveals.

Panya: The Mummy's Curse #1has a solid setting and okay arc, but fails to draw readers into it's world thanks to a generic take on mythology and main character who's too passive and lacking in personality to carry the rest of the book.

Great for both young and ageing readers,SPIDER-MEN: DOUBLE TROUBLE#4 makes for a consistent wrap up to this well-illustrated series. For those wishing superhero comics were a little more whimsical, and that their Spider-Man comics were a little more classic, than trying out this series might be the break if fresh air you've been looking for.

If you have followed the exploits of Ben Percy's ongoing crossover saga, then you will have already read Predator Kills the Marvel Universe #1 at least three times before. Hollowed out by repetition across increasingly bland crossovers, it seems that the over reliance on shock has drained a title like this of its appeal even when divorced from the clear cut continuity of its predecessors. Much like every series released in the last decade with the 'Kills the Marvel Universe' branding, this one is all snore and bore.

Spider-Man vs. Predator #1 is like getting a really well-made fast food burger. It's exactly what you ordered and comes with exactly with what you would expect, but something about it just hits. Percy and Ferreira may distill everything readers know from the title properties to a cartoonish degree, but its in that timeless representation the joy of such a crossover can be found.

Spider-Man vs. Predator #4 is a bucket-toss finale to a series that struggled to be anything other than a bland, sell-able title. There is no wrong done by Percy and the team, but in equal spades major risks are never taken to stand beyond the house style expectations of either property.

It is one of the best books the Spider-Man world has to offer right now, and deserves every morsel of attention and praise it receives.

This series only continues to get better, and is Marvel's most underrated title on the stands. Every month it brings with it narrative and character quality over anything else. It uses the symbiote gimmick for both strong introspection and over-top, heart-pounding violence. Don't miss out on this book.

As an epilogue to Normie's first stint as the Red Goblin, this issue succeeds in defining the marching orders going forward for Normie as a hero. While light on plot both for this story and the stories to come, it's a nice bow on the end of a strong first arc that will come to forever define the character.

Narrative dysfunction, while super prominent and somewhat disruptive of the main narrative at hand, isn't enough to take away from Pakndel's skill as a writer. While this issue doesn't hit the highs of those that came before, as piece in a larger puzzle, it keeps up the momentum of both Carnage ReignsandRed Goblinenough to keep either from faltering fully in the face of a crossover.

Red Goblin #6 is the setup towards an arc of growth for Normie, as he comes to understand exactly how and his demons affect those around him, especially Rascal. While it may not be the most exciting issue of this series so far in terms of massive developments, it lays the groundwork for well for heights that could possibly reach higher than the books stellar first arc.

Red Goblin#7 continues to mix forgotten parts of the Spider-Man mythos with a new, youthful main protagonist that is effortlessly plotted with depth, tension, and impressive character work backed up by strong art.

While it isn't the most satisfying series finale,Red Goblin#10 is still a pretty strong ending to the title, one that provides an open-ended promise that this isn't the last we will see of Normie in the modern day. While niche and underserved, this series has been one of Marvel's best this year and something all superhero comics should strive to be: Engaging, exciting, and driven by human character.

Overall, Red Hood: The Hill#0 lacks a sense of excitement or thematic weight in the current comic book climate, not offering much interms of artistic relevancy but what it does do is establish the potential greatness of what's to come from Shawn Martinbrough and company going into the rest of the upcoming mini-series.

LaVelle, as a writer, had struggled in previous issues to balance out all the characters within this book, but as we cross the finish line, he's found his footing. An excellent job has been done balancing entertainment with commentary, and we've been set up for a stellar conclusion. Not only is issue #4 the best so far, but it has me looking forward to the next in a way I hadn't before.

SABRETOOTH & THE EXILES #5is a lukewarm finale that, given its previous issues, finds its footing with an unsatisfying barrage of convenience and future setup. At the very least, the series is competently written and well-drawn, so it's far from the worst comic in existence, but does hang its hat on some of the worst modern comic finale tropes.

Savage Squad 6 #1 isn't particularly interesting, but it's not particularly bad either. It's a pretty bland setup issue that lays the groundwork for a tight and compelling story to potential out sprout from the book's all too generic seeds.

Marvel's been on their A game as of late when it comes to the magical side of their universe, andScarlet Witchis no exception. Head back to issue one and do some catch up, as this issue is the beautiful cocktail magic of comics in a nutshell. Popcorn excitement, human themes, and beautiful writing have all come together to deliver a book that never fails to impress.

Sirens of the City #1is brash, dingy, and beautiful, wearing its thematic heart on its sleeve with honesty. With a healthy mix of character driven writing and plot heavy world-building, this issue manages to both tell an entertaining, atmospheric, and message heavy story all on the first go.

Sonic The Hedgehog #62isn't going to blow anyone's socks off, but it's light and loose storytelling fun makes it a good book to pick up whether or not your a fan of the source material. With a promising 'B' building in the background, this works as a good base for the rest of this mini-arc to build off of.

Spider-Boy#1 lacks enough oomph or voice to truly sparkle as a brand-new Marvel title, however, those in its target audience will surely find Slott's mix of classical pulp-horror and young reader tropes charming enough to continue reading.

Is it yet another retread of the Spider-Clone concept? Sure, but I think the style and tone being brought to the table gives SPIDER-GWEN: SHADOW CLONES #1just enough oomph to remain an enjoyable and light read.

Spider-Man '94 #1is a gift of nostalgia granted to those who don't squint too hard, the advertising pitch incongruent with the book's true narrative soul. As much as this does return us to the world of the classic animated series, this sings with the mid-to-late nineties voice of a J.M. DeMatteis who is still as sharp as he always has been. While a visual let done, there is nonetheless still much to appreciate as the team blends the Spider-Man lore of today into the semi-natural next steps of yesterday.

While the ride for this story has been entertaining and without any major contradictions, its existence and lack of anything meaningful to say seriously drags it down. SPIDER-MAN #6 at the very least brings the ride towards the finish line in a way that is completely fine, but offers nothing of note or particular excitement to be yet another book that won't matter in a few months.

Spider-Man #7is exactly what one should expect it to be. Dan Slott has brought his epic to an exhaustive, bland, to an end as Mark Bagley's pencils gasp for air underneath all the clutter of superfluous spider-people and heartless action. From here, the title can only go up, and for everyone's sake, it desperately has to.

Spider-Man #8may have well been the true start to this secondary Spidey title. It's full of classical Marvel heart and fun that keeps a human heart directly at its center. Its restraint in penning a simple story make it such a quality comic, characters and themes matter more than shock and nostalgia.

Spider-Man #9 is a continued return to familarity, but not quite form. Hidden within the nostalgic writing and visual stylings of Dan Slott and Mark Bagley is a fun, down to earth Spidey tale that hits on well-missed characters notes in a particularly strong and conceited way.

IfSpider-Man #1ohad been focused more on telling a tense story in the moment rather than working to squeeze Marvel's latest obtuse and lazy legacy rebranding, it could have been a relatively strong Spidey story. Instead what you'll read here is something fun but wasteful.

Spider-Man #11is an average superhero comic, with strong sequencing and character writing. However, it's better aspects relying on one's interest in Spider-Boy to have any vested reason to read the finale to this somewhat needless Spider-Man title.

Spider-Man & Wolverine #1is a visually bold yet viscerally familiar adventure that plays nice with the history that inspired it. Guggenheim's writing of the title characters, and Andrew's truly unique visuals, elevate what would otherwise be the start to a seemingly standard Marvel team up title.

Spider-Man & Wolverine #3continues to be the best at what it's trying to be, at the sacrifice of greater potential. That being said, the strong voice for Logan from Guggenheim coupled by the creative intensity of Kaare Andrews' keeps this title moving at an exhilarating and entertaining pace.

Spider-Man & Wolverine #4 is pure sensory overload, working overtime to not only deliver continuous action but also push the plot forward by any means necessary. With no room to breathe even when it may have been needed, the story finds itself forced into a place of compaction as its character continue to dance like action figures in the discount bin of your local geek shop.

Spider-Man & Wolverine #5wastes no time over-complicating itself with a moral high ground it can't possibly reach. Buzzing with too much to do and not enough pages, there isn't a single part of this issue that feels as though it has the room to be the best it could, from reveals to art. That being said, the kitschy charm of this book's love for the 90's remains intact.

Spider-Man & Wolverine #6 is a exhausted epilogue to the initial first five issues of this title, giving its last minute themes time to breathe and not much else. It's a sad drop off point for a series that opened as strong as it did, but it still has some pretty strong art going for it.

With more focus, Orlando could potentially turn his love for 2099 into something a little more organized, exciting, and better written. Bringing in more 2099 versions of fan favorite characters is a promising reason to keep reading.

There isn't much to dig into withSpider-Man 2099: Dark Genesis #2is fun to look at and conceptually interesting enough to read through. It feels as though Orlando really wants to be writing a Midnight Suns 2099 book, and the book suffers for it. Lacking a central character to follow and feel the thematic importance of the story through is necessary for crafting something that's more then just pulp, and that's the best way to describe this series. Fun, needless, science fiction pulp.

Spider-Man Noir #1 will not be the book every fan wanted for this cult-classic character, but it is still a ride in of itself, the creative team doing what they do best in a way that harmonizes with one another strengths.

Spider-Man: Fake Redis powerful, earnest, and a true to form Spider-Man tale that has so much to say about the power of superheroes as symbols for anyone in the world who may be facing any sort of struggle. Whether it's a personal sense of aimlessness or a fear of being one's true self, this expertly penned tale reminds use of what Spider-Man truly represents for readers, something that's been somewhat lost in the fluff of modern day nihilism.

SPIDER-MAN: THE LOST HUNT #5is a solid trip down memory lane that does some interesting things with its characters with a thematic plot that, sadly, holds zero weight on it's own thanks to it's instantaneous invalidation by future stories.

Spider-Verse vs. Venomverse #1 is a good time, one that does just enough to straggle the line between advertisement and Saturday morning joy. Capturing the magic of the original Spider-Verse is nearly impossible, but the quick simplicity of Higgins, Groom, & Vecchios work here is close as we will ever get.

Final Order Cut Off for this book is September 9th, 2023, with an expected release date of October 18th, 2023!

Supergirl #1 feels designed for an audience different than your regularly scheduled Wednesday Warriors, but that does not hold it back from being a good time. Campbell's blending of modern comic book mechanics and Silver Age concepts leaves the book sitting in a strange, yet compelling place.

SUPERMAN #3is a masterclass in pacing and compressed comics writing, fitting so much in without the book feeling rushed. While rife with teases, the book never loses focus of the story it's in. Williamson continues his excellent characterization of Superman's world as Jamal Campbell only grows even stronger as a premier Superman artist. This issue asks to take a leap of faith with Clark into this new era of Superman that is both familiar and completely alien to the readership, and it's a jump worth taking.

Excellent in every way,Superman #4is proof that Joshua Williamson & Jamal Campbell's work on this title isn't just a happy accident. It's concrete excellence.

Superman #11 us a rush job paving the way towards The House of Braniac, a sad but rare issue in this run that sacrifices quality for the sake of speed and schedule.

Swan Songs #1is beautifully realized in a painterly style, combining simple writing with an environmentally atmospheric setting to create a comic book that goes above and beyond what its 24 pages should be capable of.

Tales of Syzpense #1is an interesting anthology, combining classical comic book stories and abstract sequential storytelling. It is definite recommendation if there's room on the pull list for it, but it certainly isn't a book for everyone. However, the people who would enjoy it will really enjoy it, as it in many ways is an artistic masterclass in its attempted oddity.

While it misses out on effectively continuing the setup of last issues cliffhanger, Teenage Mutant NinjaTurtles #141is still a solid issue in it's own right, effectively moving the story forward while shining a more specific light on the Turtles growing divide.

Overall,Teenage Mutant Ninja Turtles #142 is the same amount of grit and quality but at an expedited pace, lessening the impact and satisfaction of multiple story beats which is a shame as many of the ideas on display would have otherwise been excellent.

This year's Teenage Mutant Ninja Turtles Annual is a light and overpriced read. While not a poor book, it overall lacks a story with enough depth or craftsmanship to justify its $3.00 price jump. All things considered however, the character it introduces here lays the groundwork for something interesting to come.

It's two birds with one stone, but whether or not Marvel learns the right lesson from this remains to be seen. What follows could either be a slew of cash-in mini-series, but this time with full focus on the 90s, or a continued focus on revitalizing the publisher's darkest history with a shot of modern energy. I, for one, simply hope we get more of the latter than the former, and that Chichester gets continued chances to prove how much his abilities as a storyteller have evolved in the decades since his first crack at Daredevil.

Finders/Keepers #1 is as sound a 'prologue one-shot' can be, given the nature of its format and page count. Not only is it a promising look into a promising series down the line but an engaging origin story in of itself with stellar art decisions and a main character grappling with something that runs greater than themselves yet still reads as deeply personal.

The Last Barbarians #2is good ol' fashioned sword & sorcery fun. In a comics market devoid of classical fantasy comics, it does scratch, but fails to stand out with this issue. It's a fine read, but nothing you haven't seen before.

The Oddly Pedestrian Life of Christopher Chaos #1 stands tall as an engaging opening to a story rife with whimsy and charm. It contains enough narrative richness within its moments of open table setting to act as both an excellent standalone tale, as well as the first chapter in an expectedly great series.

This book is not for everyone, but in its niche kernels of genius is something that'll satisfy readers of old school indie comics. While definitely rough at the finer seams, it's overall a relatively fun and breezy book.

The Savage Strength of Starstorm #3is a mixed bag of fun and flatness. When Craig is focused on building out his characters, the book is wondrous. When that crosses paths with the larger epic building silently in the background, the book's lack of balance can feel omnipresent and diminishing.

The Schlub #1is a blast of fresh air into the superhero comics scene that it oh so desperately needs. With fantastic art and moments of genuine comedy, readers are in store for a exciting ride.

The Spectacular Spider-Men #1 is a fluffy and warm blanket that fills a vacancy in the current landscape of Spider-Man by simply trying to do nothing more than tell a grounded Spider-Man set in the 616 without any need for forced melodrama or shock-tactic writing. In many ways, it feels like Marvel has an answer to DC's World's Finest, the future of this title shining bright as one that can offer both comforting and challenging Spider-Man stories for years to come.

Thor #35was up against a set of unfair circumstances, and didn't manage to rise above them and be something worthwhile.

Ultimate Black Panther#1 is the familiar yet fresh take T'Challa and the Kingdom of Wakanda have been in desperate need of for the last three years. With so much potential brimming on the book's future, this is a must-read for anyone even considering jumping into Marvel's new Ultimate Universe.

Ultimate Spider-Man #19 is a penultimate calm, taking the last steps it can to rocket certain characters forward in their growth, making good on common complaints for the series whilst doing so.

Ultimate Spider-Man #20 is filled with the scraps of threads left boiling on the cutting room floor, the genius of mirroring issue four lost within Hickman's inability to build his characters with true detail against the decompression of this series.

Ultimate Spider-Man #21continues on with the series' hallmark of delivering a brilliant issue that significantly breaks the pace of serialization that elevates this medium. While the origin for this new Mr. Negative may be enthralling, any hope for the character is doomed by the continued pattern of poor developmental pacing.

Ultimate Spider-Man #23 is a pretty solid penultimate chapter, given the conditions of the series' unfortunate cancellation. It focuses on the plot threads that will be most immediate to next month's final issue, with some really solid imagery throughout that keeps the thrills high, whilst burying the rather shallow plotting that has held this book back for the last year.

While Ultimate X-Men would maybe be more well-suited for the title Ultimate New Mutants, it is in that bold declaration of difference the book shines as an honest yet still spiritually faithful reinvention of Marvel's mutant world.

Tim Seeley has put his Marvel chops on display,CAPTAIN AMERICA: UNFORGIVEN #1a treasure trove of fantastic characterization and continuity. While it's plot may lose steam, there's still a lot here to be appreciated.

Overall, this issue is just a plain ol' action-horror romp that plays well with Marvel history and genre tropes to craft a fine, inoffensive story sure to tickle the fancy of genre fans. The team has a strong understanding as to how a story like this needs to be devised, keeping the narrative fixed, tight, and true to the voices of every character.

VANISH #5 is the return of Ryan Stegman & Donny Cates' new age superhero fantasy, continuing the story that started in issue #1 more so than paving the way forward with a new arc. However, this issue is the best so far with a gripping pace and narrative that concludes sharply with a worthwhile cliffhanger.

Vanish #6 is a fantastically well-done issue that is both important to the overall series, as well as pretty damn good in its own right. Everyone is bringing straight heat on this title, delivering one of the best marriages between superheros and dark fantasy ever seen.

All in all,Vanish #7is just more. More plot, more great art, and more of the same great story that is building ever closer to its moment of climax.

Vanish #8is a surprisingly quiet ending to the first major story arc from this title. Dark and concerning,this book was completely unafraid to revel in and condemn its at times messy representations of trauma, addiction, and human cowardice when facing those things down. The at times lopsided messaging can be concerning at times, but thanks to the strong plotting, character writing, and brilliant artwork, the book manages to end off with excitement and promise.

Overall, Venom: Black, White & Blood #1is a dense start to yet another Marvel anthology that kicks the door down with deep and delicate stories across the board from creators both new and old the symbiote mythos. This is a can't miss for modern and classic Venom fans alike, but does cater considerably to the latter.

At the end of the day, this book is a schlocky mess of fun action, well-written dialogue, and some piss poor narrative work.Going forward, VENOM: LETHAL PROTECTORhas a lot of work ahead of itself if it wants to keep readers onboard.

All in all,WASP #3offers an interesting insight into what a modern day Wasp should be viewed as, tying up some loose story lines just before the final chapter begins. It's a perfectly safe series for Wasp fans, and if you aren't onboard yet you definitely should be now.

The final story, Spider-Toy, is a cute homage to the cartooning works of Bill Watterson by Chris Eliopoulos, but it's nothing more than a fun addition to the main package, which overall isn't worth your time on its own. There are some great samples of stories that, if they were given full issues to be explored, would have hit much harder than the previous two Spider-Verse anthologies had. In that sense, it did its job in getting me, as a reader, way more interested in these characters, but that's done in a way somehow less substantial than an FCBD special would be.

While it only has 36 pages to explore its ideas, there is something engaging about the ideas on display in What If...? Dark: Venom #1,even if they are mired in an over the top edginess that fails to deliver on the poignancy of themes that could have otherwise been really strong.

While it doesn't grind to halt, Wolverine #33 suffers from the overdrawn plotting of this massive Beast Agenda story arc quite a bit. While the book still wears some of Percy's finer hallmarks with the character, you can feel just how tired this book has become.

Wolverine #34is the victim of its own pacing. Overall, theBeast Agenda/Weapons of Xmega arc has taken every possible step it could to drag out its story, whether it be in writing style or general plotting. While it doesn't hurt the moment to moment reading of this story, it has created a sense of repetition and fatigue within the pages of it's own story, this issue suffering the most as it's entire plot becomes one big circle that keeps the characters at the exact same point they started this book in. Are the moment to moment writing beats good? Sure, but the overall package comes down to being simple trade filler.

Wonder Woman #29is a light excursion from the recent deluge of misery that has gone on to define this volume of the title, and while your mileage may very with a story like this, what it may lose in being 'filler' it gains in giving a bit of fun color to the introduction of Lizzie to Thymiscira and the wider legacy of Diana's heroism.

X-Men #27is a stepping stone issue that progresses little details down the pipeline, sampling some fun character dynamics and setting up bigger plot beats to come. In that regard, it's a standard chapter in a larger saga that will prove essential to the logistics of whatever 'Fall of X' culminates with, but on its own is just fine. However, it's held back significantly by the art's lack of visually interesting paneling or strong line work. This is a still a fun read, but one that lacks the visual oomph needed to elevate it.

X-Men#28 is full of plot and enough character work to keep the ongoing 'Fall of X' interesting within the main title, but the book's role as a tentpole servicer of 'things happening' is enough to bloat it's readability as a work of narrative fiction into something that feels less creative, and more mandatory. While the likes ofUncanny Spider-ManandDark X-Menget to explore the interesting themes and ideas this line wide event asks, the main title gets to be nothing more than a documentation of things needed to push the event along without being a true story itself.

X-Treme X-Men #4is classical X-Men suspense done right. Choked with action and great character moments, this issue rectifies some of the pacing shenanigans in previous issues for an all around great time.

Xino #1 is a super fun and visually engaging anthology series with a ton of varied tales that really characterize and explore the capabilities of science fiction in a punk rock fashion.