DC #1
ARKHAM CITY: THE ORDER OF THE WORLD #5
From beginning to end, every panel of this installment of The Order of the World is as unsettling and mesmerizing as the one that came before it. Dan Watters’ script flashes back and forth between two key chains of events, all of which build to a fascinating head for the upcoming finale issue. And Dani’s art consistently manages to subvert any and all aesthetic expectations, while still keeping the bizarre humanity of the issue’s ragtag group front and center. The Order of the World manages to be a one-of-a-kind book in DC’s arsenal, and I’m incredibly excited to see what the finale has in store. — Jenna Anderson
Rating: 4.5 out of 5
BATMAN #120
Batman #120 is a really solid issue. First and foremost, it is a gorgeous issue. The art in Batman #120 is top notch and there are some panels in the issue that are incredibly photorealistic and gives a completely different dimension to the book. The colors are also great and both of those things work really well with how solid this installment of the “Abyss” arc is. We see a Batman who is definitely off his game, who is vulnerable but doesn’t seem to be able to accept this. We also discover just how much power Abyss has and while the issue isn’t perfect, there’s a lot of twists and development here that just work. The bar wasn’t terribly high, but Batman #120 as an issue is wildly better than anything in the previous run and the “Abyss” arc just keeps getting better. — Nicole Drum
Rating: 4 out of 5
DARK KNIGHTS OF STEEL #4
Dark Knights of Steel #4 provides a bit of backstory as to how the House of El came to power, as well as the identity of the mysterious Green Man. While the previous issues have focused on the brewing war between the Kingdom of Storms and the House of El, this issue helped bridge the gap between the opening pages of the book and the present day. While there aren’t as many shocks like the previous episodes, I did like the creepy take on the Green Man and felt that it provides a fresh take on a pair of classic DC villains. — Christian Hoffer
Rating: 4.5 out of 5
DETECTIVE COMICS #1051
The house of cards that is Arkham Tower begins to fall in Detective Comics #1051. After revealing that Psycho-Pirate is behind the successful rehabilitation of a number of former Arkham Asylum patients, this issue explains how he got wrapped into a pretty bold (and frankly guaranteed to fail) scam job. Obviously, readers know that Arkham Tower is destined for failure, but Psycho Pirate’s inclusion remains a big wild card as to how the Bat-Family will deal with this brewing disaster. This is mostly a setup issue that fills in some crucial gaps. Although not as exciting, I think this sort of issue was necessary to explain how the story got to the point and tease where it’s going from here. — Christian Hoffer
Rating: 3.5 out of 5
JUSTICE LEAGUE INCARNATE #4
Justice League Incarnate #4 spends the first half of its issue recapping the biggest events of DC’s history, from Crisis on Infinite Earths all the way up through Doomsday Clock, then comes to the realization that Darkseid is actually the best chance the multiverse’s survival. It’s fine if you don’t mind the massive exposition dump. — Connor Casey
Rating: 3 out of 5
MONKEY PRINCE #1
Overall, Monkey Prince #1 is a very good comic. It combines the familiar with a lore and mythology that is, for many less familiar to deliver something fresh and new. The only real hiccup is that the pacing and some of the characterization feels somewhat off or unrefined in places. Even with that, the art makes the entire read worthwhile and sets up Monkey Prince as a story you won’t want to miss. — Nicole Drum
Rating: 4 out of 5
ONE-STAR SQUADRON #3
Office politics deliver some unexpected twists in One-Star Squadron #3, but there’s not much interest to be found in the proceedings. While the plot clearly aims to satirize the mindless waste of much American office work and the cruelties of capitalism, it isn’t stating anything original or even notable. All of the laughs in this issue emerge from sight gags, including multiple items in the Dollar Major. These background bits buy some levity and the portrayal of the characters at the office buys some sympathy with excellent expressions and top-notch body language, but it’s not enough to make One-Star Squadron read with any immediacy. There’s too little depth to these characters and too much familiarity to the mockery. — Chase Magnett
Rating: 2.5 out of 5
SUICIDE SQUAD #12
I have grown to truly despise Amanda Waller… and not in the like, you love to hate them way. No, no, loathe the character at this point, which is why Suicide Squad works so well for me. Writers Robbie Thompson and Dennis Hopeless have slowly evolved this villainous cast into a squad of anti-heroes that you can’t help but root for, and Waller has stepped into the primary antagonist role. Well, along with Major Force, but everybody hates that guy so that’s par for the course. All along we’ve been waiting for Jack Flag’s team or the main Squad to take her down, and unfortunately, that celebration will have to wait a bit longer, which is the biggest disappointment in regards to the issue. That said, it seems like there’s a larger plan and story to tell here, so as long as that delivers I’ll be fine with waiting just a while longer, and the dominoes are being put in position here to make that final confrontation even more chaotic. The journey is exciting though, and artists Eduardo Pansica, Julio Ferreira, Dexter Soy, Marcelo Maiolo, and Matt Herms deliver a stellar slugfest and a welcome payoff in lieu of the one we’re all waiting for. Also, it’s just nice to see Waller lose every so often, so while this isn’t the Waller takedown we were hoping for just yet, it’s a very important (and thoroughly entertaining) step towards the goal. Oh, and we definitely need more Blood Pouch… just saying. — Matthew Aguilar
Rating: 4 out of 5
WORLD OF KRYPTON #3
In its middle phase, World of Krypton leans heavily on the most familiar elements of Kryptonian lore. Zod is totalitarian and obviously villainous in his behavior; the planet is dying and Jor-El is the only person ready to confront the problem; there is a puppy named Krypto. Most of these beats are drawn with plenty of style, especially Zod’s rampaging crackdown on protestors, but they all seem to strike a single note with minimal shading or intersections to make this quite familiar section of superhero history new again. It doesn’t manage to deliver the same highs as earlier issues, but the elevation of Jor-El and a cliffhanger suggest there’s still gas in the tank as World of Krypton continues. — Chase Magnett
Rating: 3.5 out of 5
Marvel #1
ALIEN #9
After a 3-month wait readers return to Euridice and things are dismal, in multiple senses of that sentence. As the religious colony debates evacuating or defending their planet, increasing numbers of Xenomorphs appear around their compound. This plays out in a series of lackluster sequences in which readers witness regular changes to scale, alterations in style within the same panel, and flat compositions that never evoke the horror they intend. The action in Alien has rarely managed to achieve its ends, but the mediocre storyboards for a scary concept here are more disappointing than typical. Events are plotted on a familiar course with characters quickly arriving at their clearly signaled ends, while the core group of survivors meant to carry this story for another 3 issues are saved with relative ease using shotguns. With less-than-terrifying Xenomorphs rampaging through a story that’s been told many times before, it’s difficult to find a reason this hiatus shouldn’t have been made permanent. — Chase Magnett
Rating: 1 out of 5
THE AMAZING SPIDER-MAN #88
Following last issue’s twist, readers begin unpacking just how nasty the Beyond Corporation really is. Each new development in The Amazing Spider-Man #88 makes perfect sense but still reads as shocking given the suggested intent of Maxine Danger – the ultimate CEO villain of 2022. While the introduction of a new goblin doesn’t offer the most inspiring costume design, it’s certainly an upgrade on Menace and their suggested origin provides some terrifying subtext. It’s the final few pages that will leave fans talking for the next two weeks, though, and the build to them in this issue and across the story so far have been masterful. The climax of the current Ben Reilly era of Amazing Spider-Man promises to go out with a bang readers won’t soon forget. — Chase Magnett
Rating: 4 out of 5
BLACK PANTHER: LEGENDS #3
The current issue of this spin-off series taking us back to the earlier days of T’Challa is the best of the mini so far, mostly thanks to the Tournament setting as well as giving characters’ actions doing the work of talking for them. It’s an interesting time in T’Challa’s life as he approaches the five-year event where anyone can challenge the Black Panther for the crown of Wakanda. Hunter’s role in this series is one that mostly feels unnecessary, padding out the villain role and taking time away from T’Challa’s journey as a result. There’s a lot to like here but there are certainly a number of edges that could have used some shaving if this wanted to go down as one of the best Black Panther stories. — Evan Valentine
Rating: 3.5 out of 5
DAREDEVIL: WOMAN WITHOUT FEAR #2
The second issue of Elektra’s own mini-series as Hell’s Kitchen’s new protector manages to ride on the momentum of the premiere installment, as the former assassin of Hand stares down Kraven The Hunter. Zdarsky clearly has a good understanding of Elektra as a character, taking readers into her mind as she struggles with her new role, while throwing in a few twists that some might not expect coming from a former assassin who can be shrouded in secrecy. The final cliffhanger might be a tad predictable but its one that works while also upping the stakes for the new Woman Without Fear. — Evan Valentine
Rating: 4 out of 5
FANTASTIC FOUR: LIFE STORY #6
The final chapter in Fantastic Four: Life Story fails to address its large scale themes as metaphors for humanity’s ongoing, self-induced crises are given a pat, superhero conclusion, although one that nods the need for superheroes is itself a failure. There’s no way to effectively address global cataclysm within this genre’s bounds and so Life Story simply does not. What it accomplishes far more effectively is a consideration of the flawed and often unheroic characters first introduced in Fantastic Four #1. That was the gift Marvel’s first family brought to readers – imperfect heroes. And here in Life Story #6, those imperfect heroes are allowed to find one conclusion. The biggest climaxes in the issue do not center on the action surrounding Doom, but the emotional conclusions found at the end of lives that were generally well lived. It allows Reed and his closest companions to acknowledge their successes, failings, and the hard-earned wisdom that comes with a life that must end as the world keeps spinning. This emotional conclusion finds its conclusion brilliantly and offers Fantastic Four readers a story well worth their careful consideration. — Chase Magnett
Rating: 4.5 out of 5
FANTASTIC FOUR: RECKONING WAR ALPHA #1
Reckoning War Alpha #1 is a solid comic book, and utilizing multiple art styles feels necessary when juggling the different stories. In spite of that quality, the issue has moments where Reckoning War already starts to feel like a bit of a chore. The first issue does a good job with the narrative balancing act, keeping you invested from page to page. The key to a great event kickoff book, though, is its ability to excite you about what’s to come, to get you hooked into the promise of an epic tale. Reckoning War‘s debut issue doesn’t fully accomplish that. — Charlie Ridgely
Rating: 3.5 out of 5
KA-ZAR: LORD OF THE SAVAGE LAND #5
Ka-Zar is an example of a comic that just got better as it went along, with this final issue being the strongest of the series by miles. This last entry into the Savage Land reboot doubles down on the themes of colonization and conservation that it dealt with so wonderfully throughout the series, while also cranking the eco/body horror up to 11. There is some gnarly stuff going on here, and my only complaint is that we didn’t see more of it in the previous four issues. There is officially a new standard for Ka-Zar. Here’s to hoping his next adventure follows in this series’ footsteps. — Charlie Ridgely
Rating: 5 out of 5
Marvel #2
THE MARVELS #8
I continue to like The Marvels overall, but I’m beginning to wonder about where this series is ultimately heading. While the start of The Marvels introduced a storytelling format that involved a lot of jumping around within a single timeline, that pattern has since stopped in recent issues. In fact, issue #8 spends a large amount of time fleshing out yet another character’s backstory. While is fine with me in a general sense, The Marvels has been doing more of these backstory dumps in recent issues than I would like. Essentially, this series needs to start introducing some larger narrative hooks sooner rather than later to keep me more interested in its long-term viability. — Logan Moore
Rating: 3 out of 5
SABRETOOTH #1
The fate of Sabretooth in House of X #6 struck some as excessively cruel, even for the notorious Victor Creed, as the villain was bound below Krakoa in The Pit – alive and aware, but immobile and unable to act. Years after he descended, Sabretooth #1 picks up inside The Pit and fills readers in on Creed’s imprisonment. The issue relishes the metaphor as it presents a story of imprisonment, even including a text page questioning the role of prisoners in any “civilized” society. The black background and firm grids of panels—only broken by Sabretooth’s violent fantasies played out in splashes—reinforce the sense of imprisonment. It becomes possible to sympathize for the plight of this sociopathic villain given the extremity of treatment he endures and that by itself is an impressive feat. While some of the other metaphors in Victor’s mental prison may get mixed, Sabretooth #1 delivers a devilishly intriguing debut with loads of potential wherever The Pit may lead it. — Chase Magnett
Rating: 4 out of 5
SAVAGE SPIDER-MAN #1
This faux reboot of Non-Stop Spider-Man picks up exactly where that series left off, and doesn’t really do much to propel the story forward. The comic here hinges on a character design that’s as symbiotic as possible without using a symbiote and in some panels, it’s a wonder if you’re seeing Spider-Man or a familiar villain like Venom or Carnage. While some mysteries are set up, this one issue is largely based on a single fight sequence which is a slog to get through. Sandoval’s lineart is fair enough for the story at hand, reminiscent of some high-octane blockbuster or a cheesy orange-hued action movie. — Adam Barnhardt
Rating: 2.5 out of 5
SHANG-CHI #8
Shang-Chi #8 continues to flesh out the backstory of Shang and his family in the pursuit of setting up the next arc in this series. The storytelling here continues to be solid overall, but this definitely feels like a transition chapter in the grand scheme of things. That doesn’t mean that this issue is boring by any means, though, as much of the writing and key moments continue to be quite engaging. Still, much of the intrigue with this new issue centers around how Shang-Chi will build off of this arc in the long run. — Logan Moore
Rating: 3.5 out of 5
SPIDER-WOMAN #19
Spider-Woman #18 dropped a bombshell when one of Jessica’s greatest foes made her long-awaited return to the fold, and Spider-Woman #19 delivers a thrilling and action-packed payoff. Spider-Woman vs Veranke is a battle we’ve wanted to see since Secret Invasion, and writer Karla Pacheco expertly weaves in all the baggage the two have and how much of a scar that’s all left on Jessica while never losing focus on the character Jess has become in the years since. This issue wouldn’t be nearly as captivating though without Gerry’s involvement and expressions, brought to life by the brilliant artwork of Pere Perez and Frank D’Armata. Perez, D’Armata, and Travis Lanham once again create an edge-of-your-seat high-speed chase with fight sequences that lean into the physicality, and that’s why you feel every single KRNCH, SLAMM, and ZAP-ZAPPED throughout. It doesn’t hurt that it leaves a cliffhanger that’s been building since the beginning, resulting in an issue and a series that has hit its stride and shows no signs of slowing down anytime soon. Spider-Woman has never been better. — Matthew Aguilar
Rating: 4.5 out of 5
STAR WARS: CRIMSON REIGN #2
Qi’ra’s grand scheme against the Galactic Empire requires Ochi of Bestoon and Deathstick to embark on their own missions, each with their own goals. While one could cause some serious damage to the Empire, the other is a retrieval mission whose ultimate goal is currently unknown. For fans of bounty hunters and assassins, you’ll like appreciate seeing two underutilized characters who aren’t often featured in other mediums getting their time to shine, using their respective methods to achieve their deadly goals. If you’re not particularly a fan of them, however, this issue largely feels like it’s just planting seeds for a bigger story without being especially engaging in its own right, resulting in a somewhat frustrating experience. Given that we rarely see the Empire earn setbacks, there are some interesting perspectives of witnessing their weaknesses be exploited at the hands of the Crimson Dawn, but outside of that, this chapter leaves us wanting more insight into the relevance of this event. — Patrick Cavanaugh
Rating: 2 out of 5
Marvel #3
STAR WARS: THE HALCYON LEGACY #1
As guests board the Halcyon seemingly for a leisurely cruise, they are regaled by a droid about the ship’s history, specifically a time in which Jedi head to defend the vessel from an infiltration attempt by the Nihil. Set during The High Republic era, the story feels like a reader’s worst fear of the title’s goal is: to make the Halcyon seem relevant ahead of the opening of Star Wars: Galactic Starcruiser. There’s nothing particularly bad about the issue, rather it just feels like an ambiguous and vague collection of jargon that’s arbitrarily collected into this issue to add relevance to the upcoming Walt Disney World Resort attraction. Given how little we know about the hotel, it’s possible this adventure would have been retroactively entertaining as it would allow readers to learn the significance of their surroundings. As it stands, it’s a harmless and uninteresting blend of forgettable Star Wars elements. — Patrick Cavanaugh
Rating: 2 out of 5
STAR WARS: THE HIGH REPUBLIC #14
The High Republic era’s approach to the complexities of the Jedi continues to be its strength. That applies to both its stories and its art. These Jedi are endlessly complicated and flawed, making them some of the most relatable and human depictions of the Knights in the franchise to-date. It certainly helps that Ario Anindito can draw the hell out of a lightsaber swing. — Charlie Ridgely
Rating: 4 out of 5
THE THING #4
This title may have found its groove, because The Thing #4 is the best issue to the series yet. Taking Grimm back to his Silver Age cosmic roots, Walter Mosley’s script clips along at a brisk pace as these characters get teleported to the stars. When there’s action, Reilly’s artwork is exceptionally done. Once the book goes to space, it quickly becomes a love letter to Kirby, Starlin, and the other cosmic godfathers from the Marvel family. Everything’s all wrapped up in a nice little bow, and for the first time in four issues, I’m extremely excited to see where it heads next. — Adam Barnhardt
Rating: 4.5 out of 5
X LIVES OF WOLVERINE #2
When telling a story about time travel, moving back and forth in the “present day” portion of the narrative is risky, and X Lives of Wolverine #2 is evidence of that. The first issue hit the ground running, with Omega Red already making his move. The second issue spends two pages of full text to supply some context to Omega Red’s action, along with a flashback to “the recent past” about halfway through the issue. But we’re dealing with a story where Wolverine travels back in time to various moments in his life to fight a time-traveling Omega Red. This flashback includes both Logan and Red. It ends up being an unnecessarily convoluted and confusing moment in the narrative, even acknowledging the sepia-toned-gutters on pages depicting the more distant past. Joshua Cassara’s stunning artwork helps elevate the issue, providing exquisitely grisly violence and a splash page showing a rare moment of complete, heart-wrenching vulnerability from Logan. But choosing to follow Logan across three different periods at once, along with backfilling actions in the present, make the issue feel both busy and slow. It’s okay, but a little focus would go a long way. — Jamie Lovett
Rating: 3 out of 5
X-CELLENT #1
Fans of X-Statix in all of its many iterations since Peter Milligan and Mike Allred made their debut in X-Force #116 roughly 20 years ago will immediately recognize and appreciate what they find in the pages of X-Cellent #1. The characters are, of course, familiar with the return of longstanding members like Orphan, Doop, and Vivisector alongside legacy members and fresh additions like Mike Alicar, (the newly minted) Gone Gal, and Rosa. Their powers are as strange and strangely deployed as ever in fights with abundant violence and similarly bizarre antagonists. It’s the tone that is most recognizable with an elevated sense of reality surrounding the reality-tv-turned-livestream focus and dialogue that doesn’t hesitate to diagnose satirical targets. There are new targets and topics at play, but the core formula for this series’ success hasn’t varied much in the past few decades. That includes the appearances of some long-gone faces and one of the first and most familiar storytelling tropes that will keep fans on their toes as this new spin on the team proceeds. — Chase Magnett
Rating: 4 out of 5
X-MEN: LEGENDS #11
Louise and Walt Simonson return to X-Men: Legends for another throwback issue. Like their previous, X-Factor-themed issue, it features Apocalypse, but this time focuses on the New Mutants as the issue’s heroes. The opening page is a little rough. The New Mutants—dressed fully in their most questionable costumes—scold Warlock for drawing attention, and Dani and Roberto share an awkward exchange. However, once that’s out of the way, the issue offers a familiar storytelling style that’s operatic and soap opera in equal parts. Modern coloring techniques sap some of the primal energy from Walt’s artwork. Still, Egar Delgado manages to get it right during crucial, dramatic moments, filling the panels with vibrant yellows and oranges, with John Workman’s bold, powerful effects lettering adding a key, impactful finishing touch. Ultimately, the story feels of its intended era (though the issue can’t seem to decide whether it comes before or after New Mutants #77), its characters expressing their feelings in purple prose as they struggle with the broadest moral dualities. The style may seem dated to newer readers, but anyone who knows the tone and style and maintains a taste for it will enjoy this slice of nostalgia. — Jamie Lovett
Rating: 3 out of 5
Other Publishers #1
BASILISK #7
The Chimera are dropping like flies in the series from Bunn and Scharf, but unfortunately, the latest issue is hamstrung by some clunky dialogue and territory that was already explored via flashback. On the positive side, this issue is perhaps one of the most terrifying of the series, giving us an idea of just how horrific the powers of the Chimera can be. There are certainly some big steps forward that the series took in terms of its story, but it needed to readjust some of its story beats to be a strong example of what this horror series brings to the table. — Evan Valentine
Rating: 2.5 out of 5
BUCKHEAD #3
After two issues of setting up the mystery and tone at the center of Buckhead, this issue finally begins to provide some much-needed context for the conflict at hand. Outside of a few scenes coming across as a little clunky, and some of the supporting cast still feeling a little one-dimensional those elements of exposition are presented in a compelling and intriguing way. The series’ blend of ancient magic, modern science, and a scrappy Stand By Me-esque roster of young characters is a sight to behold, especially as George Kambadais’ art gets to explore some of the more fantastical elements of it. I’m hoping that, now that the stakes of Buckhead have started to be better defined, the series as a whole will have an opportunity to flourish. — Jenna Anderson
Rating: 3.5 out of 5
BUFFY THE VAMPIRE SLAYER #34
Boom Studios’ first Buffy the Vampire Slayer ends true to form: underwhelming and difficult to follow. Buffy the Vampire Slayer #34 wants to be an epic climax, with Slayers from across the multiverse teaming to take on Silas. It fumbles at every turn. Jeremy Lambert’s scripts have failed to build up Silas as a threat, and here he’s reduced to an unworthy opponent. The issue has almost no room for the multiverse Slayers, and readers may even forget they’re there. Marianna Ignazzi’s two-page spread depicting the coordinated assault on Silas can barely communicate what’s happening and is entirely incapable of conveying any sense of scale. Raúl Angulo’s coloring uses the increasingly popular palette of neon-tinged reds, greens, and purples, but without the same vibrancy seen in other comics of the same style. Angulo switches the palette to a classic horror black, white, and red during Buffy’s scenes trapped in Silas’ memory hole. Unfortunately, as those scenes amount to nothing in Lambert’s script, the coloring feels arbitrary and gimmicky rather than thematically resonant. Buffy the Vampire Slayer has needed a refresh for a while now. The best thing about this issue is that the opportunity has finally come. — Jamie Lovett
Rating: 1.5 out of 5
CHICKEN DEVIL #4
Aftershock truly has found a gem with Chicken Devil, which continues its bloody affair, exploring the amazing twist ending in the issue that preceded number four. Presented with a new, extremely unexpected reason for living, Mitchell is attempting to put to bed his current grudge while giving readers some more of the ultra-violence with a dash of hilarity along the way. Chicken Devil is an unexpected crime thriller that is one of the best to hit the world of comic books as of late, and I can’t wait to see what other twists and turns that series has up its sleeve. — Evan Valentine
Rating: 4.5 out of 5
CROSSOVER #11
The entirety of Crossover is not just a love letter to storytelling, but also a complicated examination of a writer’s relationship to their own creations. Donny Cates finally takes that as literally as he can, writing himself into the book and bringing his on-page ego face-to-face with his newest hero. Donny has never been one to mince words when talking about himself or his flaws, so it should come as no surprise that the issue focused on his own character is the harshest. There’s an earnestness to his vision of himself that I’m not sure I expected to see in this series, but it’s one I’m glad we got. Despite the ultra-meta narrative spiraling out of control, Cates’ character work is as fascinating as ever. — Charlie Ridgely
Rating: 4 out of 5
DARK RED: WHERE ROADS LEAD #1
Writer Tim Seeley and artist Corin Howell’s vampire odyssey continues in this new one-shot, one that doesn’t hold your hand if you’ve not already read the entire canon but which still offers an interesting narrative for newcomers. Infusing a vampire tale with a deep lore of hell, plus war stories and voodoo, there’s something here for everyone with a taste for horror. Howell’s art, with colors by Mark Englert, evokes a plethora of moods throughout which elevates the already solid storytelling to a new level. You may be lost at a certain point reading this but it’ll give you that… taste… for more. — Spencer Perry
Rating: 4 out of 5
ECHOLANDS #6
The latest installment of Echolands feels remarkably short, as the comic shifts genres from Kirby-esque sci-fi to black and white horror. JH Williams once again shows that he can excel in just about whatever genre he’s given, although I feel like the panel compositions lack some of the creativity seen in past issues. Echolands is still a joy to look at, but something felt a bit less satisfying here. — Christian Hoffer
Rating: 3 out of 5
GEIGER 80-PAGE GIANT #1
Though the Geiger series itself had its fair share of ups and downs, the 80-page-giant seems like it should have been the first thing out of the gate for this new universe from Geoff Johns. The writer returns with a host of other creators for various short-stories set in this landscape, parts of which continue to feel more like Fallout fan-fiction than something new, but it offers enough new pieces of material to think about that it brightens the entire tableau of the franchise. One piece by Sterling Gates and Kelley Jones might be its strongest, but the opening storyline by Johns and artist Bryan Hitch is so hair-brained it could end up being the wildest comic of all, or something very ill advised. — Spencer Perry
Rating: 4 out of 5
Other Publishers #2
HELL SONJA #2
The narrative of Hell Sonja #2 both offers a self-contained plot of the Sonjas taking down a threat, but it begins to shed more light on the specifics of their predicament, albeit in a way that is a little disjointed and confusing to casual readers. The biggest highlight, by far, is the excellent art from Pasquale Qualano, which not only takes some fun creative leaps with the Sonjas themselves, but beautifully renders the extraterrestrial threat they’ve found themselves in. I’m still not completely sold on every single element of Hell Sonja, but after this second issue, I definitely like what I see. — Jenna Anderson
Rating: 3 out of 5
MANOR BLACK: FIRE IN THE BLOOD #1
Manor Black returns for its second miniseries, and while it doesn’t spend much time trying to fill in new readers on what’s previously happened, it’s fairly easy to get the gist of the story (an outsider learning about a dysfunctional family). Some interesting visuals are sprinkled throughout, but it still seems more interested in teasing out different mysteries. — Connor Casey
Rating: 3 out of 5
NEW MASTERS #1
New Masters sets out to introduce a new world in New Masters #1, and its opening installment is a good first step in the right direction. Brothers Shobo and Shof Coker merge their creative backgrounds together to reveal a new take on West Africa after an alien race called the Jovians landed on Earth, and their culture slowly merged with ours. New Masters #1 pulls off its opening while keeping enough intrigue on the backburner to keep readers coming back for more. — Tim Adams
Rating: 4 out of 5
NEWBURN #3
Newburn delivers another satisfying mystery in the span of fewer than two dozen pages; it’s an impressive feat in any comic, but especially one that can pull the trick off on a monthly basis. This month’s installment reads like a story stretched across weeks, but smartly zooms into key moments with no fat permitted in this story’s pacing. That isn’t to say the issue doesn’t bring idiosyncratic flavors. The worldbuilding, specifically in the setting of the Black Castle, is immersive and further hints at Newburn’s past paint an increasingly intriguing portrait. There’s a lot to like in this issue, even as it centers around a relatively straightforward murder mystery, and there’s no sense that Newburn is running out of excellent single-issue mysteries anytime soon. — Chase Magnett
Rating: 4 out of 5
NITA HAWES’ NIGHTMARE BLOG #4
Nita Hawes Nightmare Blog #4 is an exquisite issue. Not only does it deliver some much-needed exposition explaining the big twists of the previous issue and the larger backstory of how we’ve ended up with what is essentially a demon on the loose in Baltimore, but it neatly connects the book to Killadelphia, and delivers a devastating blow to the main character while setting up for a truly insane twist that will have readers wonder what the heck just happened and what it means for the rest of the story. It honestly doesn’t get better than this. Well executed storytelling, tight, well-paced writing, thoughtful planning, and all of it married to really well-done art. This issue is a high octane one, but it gets everything right even if it’s taking Nita and readers right to hell. — Nicole Drum
Rating: 5 out of 5
NOCTERRA #7
In an issue that opens with some truly cool creature designs by Tony S. Daniel, Scott Snyder does a great job of recapping enough to get readers back up to speed, without losing any kind of momentum as he interrupts your expository bliss with loud, bright moments of violence. In terms of that brightness, colorist Marcelo Maiolo continues to turn out inspired work that both complements and elevates Daniel’s pencils (and his inks with Sandu Floreau). This is a book that needs to be visually stunning in order to sell its premise, and Maiolo is key to delivering on that promise. While the first arc gave fans a real sense for Val Riggs, this new arc seems poised to expand the world by giving the people around her more personality, and by showing parts of the world dedicated to things other than just surviving. That’s a welcome change of pace, as even the best survival horror stories need other kinds of drama tossed in sometimes. — Russ Burlingame
Rating: 4.5 out of 5
PRIMOS #1
I’m not sure what to make of Primos after this first issue. The series is written from the perspective of the main protagonist, Ricky, who is a teenager. As such, the writing does a good job of reflecting his age and uses his adolescent voice to add an aloof tone to the series. When it comes to the actual plot, though, this is where I still have a lot of reservations. Primos dumps a lot of backstory and lore on the reader in this opening issue, so much so that it’s hard to know what to make of any of it. It remains to be seen if Primos evolves into something engaging in the future, but I’m not sold either way after issue #1. — Logan Moore
Rating: 2.5 out of 5
RED SONJA VALENTINE’S DAY SPECIAL 2022 #1
Red Sonja steps out with a Valentine’s Day special this week, and it explores the power of true love. Our heroine finds herself on a mission to save a village overrun by demonic cherubs, and she is joined by a determined wife eager to save her husband. The colorful chapter pulls at heartstrings while somehow reminding fans of romance in between its action sequences. And by the end, Red Sonja and her criminal cupid get up close with the heart’s inner workings. — Megan Peters
Rating: 4 out of 5
Other Publishers #4
SAGA #55
Saga #55 draws quickly draws readers back into its orbit with one of the series’ signature splash pages. Brian K. Vaughn and Fiona Staples sprinkle a few such pages into this extra-long return issue, and each is impeccably constructed. Even in a two-page splash, the composition is careful not to fill all of that extra space with extraneous distractions, allowing it to instead speak to the scale and impact of the splash’s singular, clear focus. Back too is Fonografiks’ scrawled lettering, like something out of a diary, for Hazel’s narration from the future, making this space opera personal by reminding us that we’re essentially reading someone’s memoirs. Through this narration, Vaughn again entangles collaborative creation with birthing and raising a child, reflecting on how both must change and grow to survive. Part of Saga‘s magic is its heady blend of contrasting moods. That remains here, as the issue swings from a tender scene shared by Hazel and her brother involving a crucial coming of age moment to a prolonged sequence of performative sexual exploits done in the spirit of an endzone touchdown dance, but where the spiked ball is a rival’s skull. It’s wild, adventurous, unbridled, funny, touching, and beautifully crafted. It’s Saga. It’s back. Enjoy. — Jamie Lovett
Rating: 5 out of 5
THE SCUMBAG #12
The Scumbag #12 turns its sense of humor to America in the 1950s, but its cultural references run wild with bizarre (and sometimes vaguely homophobic) visions from Happy Days, Mad Men, Archie, Forrest Gump, and more. The jokes delivered with each homage are the most obvious and appalling ones available resulting in an issue that reads like a poor spec script for Family Guy. There’s not even a laugh to be found in Boschi’s flat renderings of these familiar faces plastered broadly across an era that clearly holds no interest for anyone involved in this comic’s creation. — Chase Magnett
Rating: 1 out of 5
SPAWN #326
Spawn #326 marks the first issue in a while that Todd McFarlane didn’t pen and by the end I was ready for him to return. Rory McConville wrote this month’s issue which is the largest possible exposition dump for a series that’s as overtly silly as Spawn. Regular artist Carlo Barberi continues to be the big reason that even makes this one worth looking at but at a certain point even he has trouble making a static, talking Spawn an interesting thing to behold. God help anyone that this was their first Spawn issue, it does a lot of talking without saying much. — Spencer Perry
Rating: 2 out of 5
STAR TREK: THE MIRROR WAR #4
As Star Trek: The Mirror War reaches its halfway point, it finally leans into the “war” aspect of the title. The main event of this issue is the skirmish between the ISS Enterprise and Regent Worf’s Klingon-Cardassian Alliance flagship. Scott & David Tipton are Star Trek comics veterans known for their fidelity to the source material. Here they create a dynamic on the Enterprise’s bridge that feels like an episode of The Next Generation seen through a mirror darkly. Gavin Smith’s artwork emphasizes that darkness. Characters rarely speak when screaming is an option, and Smith’s starchy linework appears drawn with charcoal. Charlie Kirchoff’s colors accent this style nicely, accenting heavy blacks with lighter hues to keep the visuals from becoming oppressive. Neil Uyetake’s lettering during the ship battle adds a dynamic sense of motion via sound effects streaking across alongside the phasers and disrupters. What might be most remarkable is that, by packing pages with seven panels and plenty of dialogue, the issue covers three significant plot points that could have been issues unto themselves without ever feeling rushed, cluttered, dull, or confusing. That’s what happens when every member of a comics’ creative team puts out stellar work. — Jamie Lovett
Rating: 3.5 out of 5
SWEET PAPRIKA #7
Sweet Paprika seems to somehow get better each and every week, but hands down, Sweet Paprika #7 is my favorite issue of the series thus far. Writer and artist Mirka Andolofo, colorist Simon Tessuto, and letterer Fabio Amelia have truly created something wholly unique and fabulously charming, and with every page one cannot help but become more invested in the ever-evolving love story between Paprika and Dill. Sure it’s a world populated by demons and angels and the sex is cranked to 11 at times, but at the heart of this story are two people unsure of themselves and looking for someone who understands them, and you can’t help but come away from this issue seeing that connection and how much they are already affecting one another’s lives. Both Paprika and Dill have evolved quite a bit since the series started, but no more so than here, and the gorgeous artwork only heightens each character’s internal insecurities and their affection for one another. I’m not just invested in this love story, I’m absolutely hooked, and that’s why Sweet Paprika #7 is already one of the best books of 2022. — Matthew Aguilar
Rating: 5 out of 5
A THING CALLED TRUTH #4
There’s a bigger mystery at play in A Thing Called Truth, and we’re getting a few little tidbits at a time. In a lesser series, it would be agitating to wait for the overall picture to unfurl at this pace, but Truth has delivered such enjoyable characters in its two leads that spending time with them on the road is more than enough to pass the time. These are delightful people brought to life with art that feels like animation on a screen. I’m so much less concerned with where this is going than the journey it takes to get there, so it’s nice to see the series take time to stop and smell the lavender. — Charlie Ridgely
Rating: 4 out of 5
TRANSFORMERS: KING GRIMLOCK #5
The end of Transformers: King Grimlock #5 is a bit of a mess, visually, and a bit predictable, narratively. Padilla’s art is extremely frenetic and while there’s something to be said about showing rather than telling, the back and forth with the action taking up much of the book, a lot of it in similar color tones, and in many cases some of the defining aspects of the action and who is dealing it makes it hard to follow. Orlando’s story goes pretty much where you expect it to and while it’s not badly written, there’s just something off-putting about the way Grimlock speaks that, after a few utterances is just hard to follow. If either the art or the writing had been just a bit cleaner, this would have been a pretty good issue. As is, it’s just okay. — Nicole Drum
Rating: 2.5 out of 5
