Exciting things are happening in the world of Star Trek comics. IDW Publishing has been the home of Star Trek comics for over a decade and is currently releasing new titles that will continue to captivate Trekkies of all generations. If you want to capture new readers and generate some buzz around your next hot comic, it needs just the right hook. Or in the case of Star Trek: The Last Starship, you can have two hooks. That’s one of the great things that Star Trek: The Last Starship has going for it. The story tackles a legendary event from Star Trek lore, and also brings Captain James T. Kirk back from the dead. What more could you ask for out of a Star Trek comic?

I’ll admit up front that I’ve never been the biggest Star Trek fan. Whenever the “Star Trek vs. Star Wars” debates rise up, I’ve always sided with Star Wars. So with that in mind, I went into Star Trek: The Last Starship with an open mind that wasn’t already filled with Star Trek history, because I didn’t know much of it. However, this introductory issue is accessible for new readers. I’m sure you’ll get much more out of the reading experience if you’re already familiar with The Burn and the lore behind Captain Kirk being alive again, but it’s not necessary to enjoy the comic.

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The creative team does a great job of having Star Trek: The Last Starship #1 carry the same emotional weight as a feature film or TV series. The tense opening moments introduce readers to Captain Sato as he holds a tense negotiation that could impact the future of Starfleet and the Federation. Then, the calm of victory is quickly snatched away from us in the blink of an eye. Being able to convey the cost of death in a comic is no easy feat, but with Star Trek: The Last Starship, the fear and grief just oozes off the pages. And speaking of pages, there’s a neat data page that piggybacks off of the “cost of death” discussion that I rather enjoyed.

What can’t be overlooked is the work that the art team is putting in. You can feel the drama as the surviving Starfleet captains debate what their next move is going to be, especially when an unexpected outsider enters the discussion. There is a saying in comics that sometimes the writer needs to step aside and let the art do the talking, and that’s definitely the case in a couple of panels. The combination of art, colors, and shadows increases the level of suspense.

I won’t spoil how Captain Kirk is alive again, but the scenes leading up to that moment are sure to bring goosebumps to longtime Star Trek fans. Star Trek: The Last Starship #1 reads and feels like an event comic, and it’s only the first issue. I’ll take that as a good sign of things to come.

Rating: 5 out of 5

Star Trek: The Last Starship #1 goes on sale September 24th.

The post Star Trek: The Last Starship #1 Has All the Makings of the Next Great Star Trek Epic (Review) appeared first on ComicBook.com.

After two stellar crossover adventures, the Mighty Morphin Power Rangers are teaming up with the Teenage Mutant Ninja Turtles once more, and the two beloved franchises look to be just as magical a team the third time around. This combination has developed into its own universe at this point, and it leads to a more organic story that actually manages to deliver unexpected twists along the way because you’re already so invested. The crossover’s third entry is off to an excellent start, but after that ending, the next few issues could easily be even better.

As opposed to just one-off team-ups, writer Ryan Parrott has crafted a series of crossover adventures that build atop one another and continue to add new layers to both franchises along the way. The latest series picks things up with the story already in play, as the Power Rangers and Turtles work as a team to combat the newly formed alliance of Lord Zedd and Shredder, which is proving to be a formidable combination.

It’s a joy watching these characters interact with each other and discover similar souls throughout their journey. Pairings like Donatello and Billy and Leonardo and Tommy make all the sense in the world, but it’s also fun to see less expected combinations like Tommy and Raphael take the spotlight. The same goes for Lord Zedd and Shredder, who make quite the villainous pair and yet also seem primed to turn on each other at any moment. It’s a betrayal you know is coming, but that doesn’t make it any less compelling.

Illustrator Vincenzo Federici, colorist Raul Angulo, and letterer Ed Dukeshire bring the best out of both teams, and while there is an intensity and stakes to this adventure, the team knows when to have some fun and make something absurd pop off the page to keep things balanced. Case in point, every single scene involving Warbunny, who, despite his bunny-themed looks, still manages to pose a threat.

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Equally as impressive are the action sequences in the latter half of the issue, and the lettering work is especially phenomenal throughout these throwdowns. It’s a treat to see different combinations of Rangers and Turtles working in tandem against an army of foot soldiers and Putties, though the book saves one of its most shocking moments for last.

We’re not going to get into that here for spoiler reasons, but suffice it to say that this will leave a considerable lasting impact on both teams, just in different ways, and shifts the tone from the first two quite a bit. If the scene isn’t a red herring of some kind, it could really shake up the dynamic of the series moving forward, but it wouldn’t be anything but pure shock value if the last two entries hadn’t done such a fantastic job of fleshing out the world and the two beloved teams at the center of it.

Mighty Morphin Power Rangers/Teenage Mutant Ninja Turtles III is off to a wonderful start, but with how things are going, the potential for the series to get even better is through the roof.

Rating: 4.5 out of 5

What did you think of the Mighty Morphin Power Rangers/Teenage Mutant Ninja Turtles III? Let us know in the comments, and you can talk all things wrestling with me on Bluesky @knightofoa!

The post Mighty Morphin Power Rangers/Teenage Mutant Ninja Turtles III Could Be the Best Crossover in the Franchise (Review) appeared first on ComicBook.com.

Superman is having a banner year. Superman was a hit at the box office, but more importantly, it was a hit with the fans. DC Comics has been taking advantage of the publicity from the movie, introducing a new Superman ongoing and getting A-list creators to tell the best stories in every Superman comic. Superman: The Kryptonite Spectrum #1 is the latest Superman offering, a DC Black Label book from the Ice Cream Man team of W. Maxwell Prince and Martin Morazzo. Ice Cream Man is one of the most popular horror books out there, but Superman: The Kryptonite Spectrum #1 isn’t a horror story. What it is yet another amazing Superman offering from DC Comics, a great first issue that uses the nature of comic storytelling to its advantages.

The basics of the story is that Superman retrieves an asteroid with four new types of Kryptonite in it. Lex Luthor learns about the asteroid, and Superman gets Batman’s help to test the Kryptonite, Luthor hatches up a plan to distract Superman involving Solomon Grundy. Prince kicks off the book with a quick Superman history lesson, just in case you didn’t know his origin before jumping right into the story. The characterization and dialogue is on point throughout the book, and Prince keeps the book lively throughout. Longtime DC fans will recognize Professor Pyg, one of Batman’s creepiest villain, in a cool little cameo. Where it really gets interesting is in the Kryptonite testing. The book introduces the four new colors — Purple, Cobalt, Speckled, and Rainbow — but we only get to see Purple in action (although thanks to the nature of Purple, we do get a preview of what Cobalt can do). There’s a bit of a Silver Age feel to the story, but it still feels pretty modern, which is common among Superman books of recent years.

DC has been doing a lot with Kryptonite recently, and The Kryptonite Spectrum plays into that. Adding new colors is a cool idea, and Purple is one that could only work in a comic. It messes with Superman’s temporal awareness, causing him to lose his hold on the past, present, and future. It looks like there’s a limit — it mostly seems to be within the same day — and Prince uses this interestingly. Luthor gets Solomon Grundy to attack Metropolis to hurt Superman, and the story of the whole thing is told out of synch, jumping between the fight’s timeline. It can get a little confusing, but it’s the kind of thing that uses the comic panel’s way of showing time in the best way. We eventually get a page with all of the panels in the right order, but it’s kind of awesome to realize what’s happening and put it together on your own. Prince nails a very All-Star Superman-esque feel throughout the book, and it works.

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The art by Morazzo, and colorist Chris O’Halloran, also has an All-Star Superman feel. Morazzo’s art definitely looks like Frank Quitely’s, with some striking differences. Much Quitely, he gives Superman a Silver Age feel — this is a big Supeman, but not one of the more obviously musclebound ones. His character acting is very good, and you can tell that he and Prince have developed a good shorthand working together. Morazzo captures the feel of Prince’s script perfectly, and there are a lot of gorgeous panels in this book.

Morazzo is able to capture that Superman feel that the character needs. There’s a wonder to the character that art gets across, and he also captures Superman the savior and Superman the bruiser. His Batman is lanky, giving him a spooky, otherworldly feel. His Lex Luthor really shows off just how unhinged he can be. I think my favorite panels involve a dinner with Lois Lane. It’s a pretty heartbreaking scene, and Morazzo is able to sell that sadness wonderfully. This issue’s time gimmick wouldn’t work if it wasn’t for Morazzo’s wonderful art. O’Halloran’s colors help with the book’s old school Superman feel; this is a brightly colored book, and it feels like flipping through a book from decades ago. The art in this book is beautiful, and it really cements this first issue as a great one.

Superman: The Kryptonite Spectrum #1 starts out a little slow — I’m not sure if we needed the Superman origin recap over the span of a couple of pages — but it works for new readers. From there, the team is able to give readers an awesomely engrossing Superman story, using characters that everyone will recognize, whether they be a new or old reader. While it does get a little comic book-y with the Purple K sections, I think that will work for new readers as well. All in all, this is yet another great part of the Summer of Superman.

Rating: 4.5 out of 5

Supeman: The Kryptonite Spectrum #1 is on sale now.

The post Superman: The Kryptonite Spectrum #1 Is an Intriguing Beginning for New Fans and Old (Review) appeared first on ComicBook.com.

Trinity: Daughter of Wonder Woman has been a pretty wild ride so far. The book spins out of Tom King and Daniel Sampere’s Wonder Woman run, written by King, and focuses on Trinity, the daughter of Wonder Woman. Trinity starred in some back-up stories in the early issues of the run, and this book has given readers three times the Trinity goodness, as the Trinity of three different times are forced to team up to save time, as their meeting has somehow transformed the Jon Kent and Damian Wayne of three different times into corgis, who then get lost in time. So far, this book has been funny and poignant, something of a departure from King’s work, and the third issue plays into that, as the oldest Trinity is put into an impossible situation and gets hope from a most unlikely source.

The first issue took readers to Crisis on Infinite Earths, the second to the night before “A Death in the Family”, and this one goes back to what can be considered a defining Wonder Woman story — George Perez and Len Wein’s opening issues of Wonder Woman (Vol. 2), as Wonder Woman battles the machinations of Ares, this time in the form of Cerebrus. This issue is something of a comedy of errors — Trinity failing to save her mother and the Damian corgi multiple times and using her time machine to go back and try again numerous times — and King plays it for all of the laughs he can. The best part is the way that the two younger Trinitys react to their older self’s failures. Throughout the series so far, especially in the last issue, the oldest Trinity has played herself as the consummate superhero, so seeing her fail so many times is the punchline to a joke that has been building up for the last two issues.

On one of her trips back, Trinity meets her father Steve, who she’s never met before, and that’s where we find the heart of the book. Trinity: Daughter of Wonder Woman deals with Steve Trevor’s death and its affect on his daughter at different times in her life, and Steve showing up here after one of Trinity’s many failures is a heartwarming moment. King plays it perfectly — Trinity has never met her father, so she runs and hugs him — but he also captures that uniquely young adult feeling of inferiority — she doesn’t want the first time she met her father to be when she’s failed. King keeps up the sadness as the failures mount, but another visit from Steve and a story about the grandmother who raised him, inspiring her to try again, gives her the push she needs. Now, a complaint about the series, and King’s tenure writing Wonder Woman in general, is that he keeps using men as a focus of the story instead of the women, but there’s something about this that feels right for the kind of book this is.

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Belen Ortega’s art has defined who Trinity is for almost her entire existence, and this issue is honestly some of his best art. He captures the scale of Cerebrus, and is able to take a story where a corgi and Wonder Woman are killed multiple times and make it funny. His Cerebrus is both and big scary, but also just big puppy of sorts, so there’s a certain menace to him, as well as a touch of humor. A big part of that is the character acting. Ortega’s art has an exaggerated cartooniness to it, and that sells the humor in the reaction of Trinity in the moment, and the reactions of her younger selves to the story that she’s telling. It really helps King’s comedy of errors to work that much more. Ortega’s cartoon style has been key to this book’s humor, and that’s on full display in this issue.

The scenes between Trinity and Steve work very well. The first one get across Trinity’s surprise and happiness, as well as his surprise with the whole situation. The second one does a great job with Steve as a character, capturing the man that Wonder Woman fell in love with — the caring man underneath the soldier — and it really helps the scene. I will say I don’t really like his Wonder Woman; she’s much too small and seems about the same age as Trinity, which can’t be right. However, other than that, the art is great throughout.

Trinity: Daughter of Wonder Woman #3 is a fun comic with some cool heartwarming moments. It’s good book for younger readers, and if you enjoy King and Sampere’s Wonder Woman, you’ll like this comic. If you don’t, well, this one isn’t for you. I think this is a great book, and this issue is another great chapter.

Rating: 4 out of 5

Trinity: Daughter of Wonder Woman #3 is on sale now.

The post Trinity: Daughter of Wonder Woman #3 Is the Funny, Heartwarming Beacon of Hope We Need (Review) appeared first on ComicBook.com.

Grim, dark, and brutal are the best words to describe Predator Kills the Marvel Universe #1. Writer Benjamin Percy continues his bleak streak in the Marvel Predator mini-series with Predator Kills the Marvel Universe, except he’s now bringing the whole Predator race, aka the Yautja. While audiences generally watch a single Predator or a team of Predators combat the human heroes, Percy changes the formula and has the entire race invade the Marvel Earth. This is one few times that the Predator race actively invades another planet, as in nearly every other instance, the Predators hunt for sport.

Percy carries over all the major plot points from the previous Predator vs. series, shaping a Marvel Universe uniquely his own. The biggest issue with Percy’s Predator comics is that his characterization is pretty superficial. The writer clearly understands his Marvel history, yet he doesn’t offer deep introspection or complicated plots. In fairness to Percy, the Predator comics are meant to be some dumb fun. But even with that caveat, it’s hard to take any enjoyment in the first issue of Predator Kills the Marvel Universe when a good chunk of the comic presents the Predators brutally annihilating our favorite Marvel heroes.

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Is Predator Kills the Marvel Universe Too Dark for Its Own Good?

Percy wastes no time with his massacre of the Marvel Universe, with the Yautja and Kraven the Hunter setting a trap for the Guardians of the Galaxy. Right away, Percy’s writing for the Guardians feels too simplistic. He doesn’t nail any of the characters’ voices, even with his extended back-and-forth between Star-Lord and Rocket. It ultimately doesn’t matter as the Guardians are not in the comic for long, yet it’s the same issue Percy has with the Fantastic Four later on. There’s a stiffness and awkwardness in Percy’s dialogue that is either too on-the-nose or a little bit too silly. The shallowness wouldn’t be too much of a problem if the comic is a fun and light-hearted adventure. Nonetheless, it’s hard to smile through the issue when the Predators are killing so many heroes. Not one, but two iconic Marvel superheroes lose their heads within the first issue.

On one hand, the overall bleak tone makes the comic difficult to stomach. At times, it feels excessive only to be excessive. Yet, on the other hand, it’s always cool to see the Predators be efficient killing machines and slay the Marvel heroes with precision. To establish the Yautja as a worthy threat, the aliens need to be shown taking out some heroes at the start. Even though the Guardians were unfortunate fodder, targeting the Fantastic Four next was a deliberate attack at Marvel’s heart. This makes the Predators good adversaries to fight against the superheroes, with Vibranium and Kraven the Hunter on their side, they already have an advantage. It’s always a good storytelling decision to have the protagonists suffer from crushing defeat early on so that their ultimate rise would seem that much sweeter. However, since the Marvel Predator comics take place in an alternate universe, Percy may not have the same inclination to give this story a happy ending.

Sadly, the artwork is likely the worst part of the first issue. While pencilers Marcelo Ferreira and Daniel Picciotto deliver decent linework, the artwork feels very rushed. Many of the faces appear off and are inconsistent, rarely conveying much personality outside several shock faces. There’s also not a lot of detail in the artwork, but given that a big portion of the comic is gore, it’s probably good that the art doesn’t go into too much detail. Percy also focuses so much on setting up the conflict between the Predators and the Marvel World that the sudden switch to the Weapons Plus program is oddly paced in the comic. It’s a clear carryover from Percy’s Predator vs. Wolverine comic, and will have pay-off later, yet it just feels awkward in the first issue. The ending of the comic feels sudden, leaving the story when it was finally picking up.

Percy, Ferreria, and Picciotto do right for the Predators in Predator Kills the Marvel Universe. The infamous alien hunters are presented as cool, violent, and competent, everything you want from a Predator story. If you want to read a good comic starring the Predators, then Predator Kills the Marvel Universe is off to a worthy start. Nonetheless, the rushed artwork and awkward characterization of several Marvel heroes hold this issue down. Percy is clearly enjoying constructing and breaking his own version of the Marvel Universe, and that joy is palpable to an extent. You may love how Percy breaks all the toys, even if it isn’t the most sophisticated story on the stands.

Rating: 3 out of 5

What did you think of Benjamin Percy’s, Marcelo Ferreria’s, and Daniel Picciotto’s Predator Kills the Marvel Universe #1? Let us know in the comments!

The post Predator Kills the Marvel Universe #1 Is Brutal and Dark, Taking Away the Fun (Review) appeared first on ComicBook.com.

If you’ve been yearning for that good ol’ ’90s feeling, do I have the comic book for you. There is certainly interest in renewing older properties and finding the diamonds in the rough. Successes like Teenage Mutant Ninja Turtles, Gargoyles, and Captain Planet are finding more and more ways to revive themselves, and comics look to be the path to make that happen. You can now add Street Sharks to the former animated property that’s being brought back as a comic. The Bolton Brothers continue their feud with Dr. Paradigm and his legion of mutated foot soldiers. First issues have to fight for customers’ eyeballs, so the Street Sharks have their work cut out for them. Their brotherly bond and “jawsome” abilities should be up for the challenge.

One thing I like about Street Sharks #1 is that it doesn’t waste the reader’s time getting straight to the action. The Street Sharks face off against the Seaviates, Dr. Paradigm’s flunkies. I do have to admit that just the sight of the Streets Sharks’ fins poking through the asphalt as if it were ocean water did get a chuckle out of me. The Street Sharks just ooze the ’90s from the slang to clothing. You have to give the Street Sharks creative team credit for not running from it. They know why you’re here, so might as well give the people what they want. The art even depicts them as if they’ve been plucked right out of your TV sets.

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Street Sharks #1 does its best to distinguish its four leads, giving them ample time in the spotlight to let their personalities shine through. Whenever there are four lead characters, they tend to follow certain personality traits, and that’s the case with Street Sharks. Someone has to be the leader, and there is always a hothead who doesn’t think before they act. So far, there isn’t any infighting or drama amongst the foursome to worry about, but that’s always a possibility lurking in the background of these types of stories.

The most interesting storyline developments involve Dr. Paradigm evolving his work, and whether or not Fission City is better off with or without the Street Sharks. It’s rare to see comics address property damage and the safety of citizens when battles take place on public property. It’s an important question that doesn’t have an easy answer. It greatly depends on how you feel about the Street Sharks and what they’ve been doing to protect the city. If you have a positive opinion of them, then you’re fine with what they’re doing. But if your experience is negative, then you want the Street Sharks to go away. I’m curious to see where that storyline in particular goes.

Rating: 4 out of 5

Street Sharks #1 goes on sale Wednesday, September 17th.

The post Street Sharks #1 Is Innocent Fun That Pulls on ’90s Nostalgia (Review) appeared first on ComicBook.com.

With IDW Publishing’s relaunch of its Teenage Mutant Ninja Turtles ongoing series in full swing, it was only a matter of time before some of its supporting characters started getting the spotlight. One of the more popular characters in the TMNT franchise is Casey Jones. He’s been on the sidelines after being shot by the corrupt District Attorney Hieronymus Hale, but it’s hard to keep a hockey stick-wielding vigilante down. But where does Casey Jones stand in this new era of the Teenage Mutant Ninja Turtles? That’s a question his new series hopes to answer.

To no one’s surprise, Casey Jones dusts himself off to go back on the streets to beat down some bad guys in this first issue. If you haven’t been keeping up with the Teenage Mutant Ninja Turtles comics, Casey Jones does a decent job of giving enough background information that the reader can pick up what’s going on. The city is filled with other mutants besides the Turtles, and they have it pretty bad right now. Casey takes it upon himself to protect one mutant named Annabel, who is being picked on by a gang Casey is very familiar with. It’s an opportunity for the reader to see Casey in action, and he more than holds his own even with his injuries.

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This is where Casey Jones #1 offers up its first mystery. With all the mutants running around, someone appears to be trying to level the playing field for humans. It is a compelling mystery, one that hopefully has a satisfying answer at the end of it. The art overall is fine, but a lot of the more central characters come across as stiff at times, even though the character acting comes across well. Nothing to get too worked up about, which can be a good thing.

The most compelling part of Casey Jones #1 is the villain hunting mutants. They look physically intimidating, so it’s only a matter of time before they rumble with Casey Jones. The question is, will the Turtles be there to watch Casey’s back? And does he even want them babysitting him? Casey is a prideful fellow, so you know he only wants to do things his way, even at the risk of harming himself. Being so close to death can change a person. But does Casey even want to change?

It’s a fine opening issue, but only the most diehard Teenage Mutant Ninja Turtles fans will be rushing to pick it up. Readers get a feel for Casey Jones’ personality and what drives him. There are interactions with fan-favorite characters everyone will enjoy, and of course, some action sequences. Gotta have a hook for the new readers, right? I’m hoping that as the series progresses, the stakes are raised and Casey is pushed emotionally and physically. He needs to find his place in this new era of the Teenage Mutant Ninja Turtles. He should be more than just the Turtles’ sidekick. Let Casey carve out his own path. I’m sure that’s the goal of his limited series, so let’s see what happens.

Rating: 3 out of 5

Teenage Mutant Ninja Turtles: Casey Jones #1 goes on sale September 17th.

The post Casey Jones Fights to Find His Purpose in TMNT Solo Series (Review) appeared first on ComicBook.com.

There are certain types of stories that are classics for a reason. Among them are tales of survival, man versus environment style tales that pair the challenges of simply coming out alive with the pitfalls and complexities of human nature. Literature is full of them — Lord of the Flies is required reading in many schools for a reason — and even television has a fondness for the genre. Series like LOST and, more currently, Yellowjackets tap into that same energy. But what happens when you take those vibes, mix them up in a prestige-format comic series, and toss in a dash of social commentary? You get Endeavour. Hitting store shelves from DSTLRY in October and written by Stephanie Phillips with art by Mark Laming, Endeavour #1 sets readers sailing with a story of survival, mystery, and chaos on the high sea as social conventions collapse.

Straight out of the port, Endeavour #1’s story will feel very familiar. It is, in a very real sense, a modern take on the plot of Lord of the Flies by William Golding. That novel centers around a group of British school boys who find themselves stranded on an uninhabited island and follows their attempt at self-governance, attempts that quickly descend into brutality and savagery. While Endeavour #1 doesn’t quite go that far — this is the first issue in a series, after all — the groundwork is there. The issue follows a group of elites as they embark on a luxury adventure aboard an 18th century ship, the Endeavour. The group is made up of various adults — all with some measure of wealth and privilege — and kids, with the kids ranging in age from very young to pre-teens. The story is narrated by one of the pre-teens, Victoria “Via” Wright, who among those on board is the only one who seems to be genuinely interested in the history of the ship and everything it means.

It’s not giving anything away to reveal that what is supposed to be a trip of a lifetime turns into the stuff of nightmares very quickly. Just six days into the excursion, the adults are dead and the kids are left alone on the open sea now stuck with not only the crushing impact of grief and loss, but the challenge of survival. Now, the good news is that we can (probably) safely assume that someone survives this — Via is narrating the tale for us and gives us some clues that she’s recounting events years later. But what makes Endeavour #1 stand out beyond the sense that we are getting a survivor’s recollections is the way Phillips has structured the story. While the Lord of the Flies type tale is very common, what Phillips does here is give it a depth by incorporating the history of the Endeavour into the tale. Before we even get to our cast of characters in the modern day, we’re given a bit of an overview of the Endeavour’s dark history. And it’s further sprinkled throughout the story as well, a harbinger of what our characters will experience in the present day. This framing gives the story something of a unique sense. It feels, in a way, almost like a ghost story which certainly sets a unique tone.

Endeavour #1 also immediately begins to highlight the social dynamics that will come into play as the story continues. We learn pretty quickly some key things about Via and her family, as well as some basic information about the other children on board, that begin to shape ideas of potential conflicts that will no doubt drive the remainder of this journey. There are admittedly some stereotypes in this issue. The indulged son of a politician is particularly noticeable, but thanks to Phillips’ writing, you also get the sense that every single person in the issue is more than what they seem on the surface. Add to that the inciting incident that also feels like it is more than it seems and you’ve got an incredible start that is more than the genre it’s settled itself into.

Beyond the writing, Endeavour #1 is also a visual treat. Laming’s art does a fantastic job of marrying both the 18th century Endeavour ship with the more contemporary characters dealing with this current hell without ever losing the integrity of either era. Lee Loughridge’s colors are also very well done, particularly in the shift from pages and panels that are set in different times. The visual differentiation in this issue is smart and clean, allowing the reader to absorb the information without having to step too far out of the action to understand where they are in time. And, of course, there’s a final image on the deck of the ship with the surviving children bathed in moonlight and horror that is both stunning and chilling in equal measure.

Taking a familiar story concept and doing something new with it can be tricky, but when it comes to Endeavour #1, this is a case of doing it right. With its historical anchors, slightly haunted-feeling horror, complex characters, and a sense that nothing and no one is as they seem, Phillips has crafted something that not only feels like a fresh take on the themes best known from a literary classic, but a damn good story in its own right, too.

Rating: 5 out of 5

FOC for Endeavour #1 is August 18th.

The post Endeavour #1 Is an Intriguing and Chilling Spin on a Modern Lord of the Flies-esque Tale (Exclusive Early Review) appeared first on ComicBook.com.

Uncanny X-Men has been firing on all cylinders since nearly the beginning and Uncanny X-Men #19 is yet another example of why this is not only the best X-Men book by a wide margin, but also Marvel’s best team book. One of the problems with modern comics is the format; they’re written for collected editions, with blocks of four to six issue stories being the order of the day. However, Uncanny X-Men #19 jumps over this trend, giving readers an excellent one and done story that is perfect for readers who have been paying attention to Uncanny since the beginning as well as new readers. This is a perfect jumping on point, and gives us ’90s fans focus on a character that we’ve wanted more from since the beginning.

Uncanny X-Men has been amazing, and a big reason for that is Gail Simone channeling the greats. “From the Ashes” is all about regression; X-Men group editor Tom Brevoort is steering the X-Men back to the mansion and doing so by mining the X-Men’s past for ideas. Uncanny X-Men has sidestepped this, unlike MacKay’s X-Men which is “From the Rehashes” central. Simone isn’t copying any story from the past, instead channeling the spirit of past X-Men greats like Chris Claremont. Simone litters each issue with plot points that run in the background, and this issue is example of that, taking a seed she planted in last year’s Free Comic Book Day Uncanny issue — the mutant waitress Uva and Jubilee saving her from bigots — and letting it blossom in this issue. As she does that, she also introduces an important idea to the X-Men’s tenure in New Orleans, while also giving readers a taste of Deadpool (and Outlaw, who Simone created 23 years ago) goodness. This is a text book one and done.

As a Jubilee fan, I’ve felt she’s been the least used character in this book so far. Simone showed that she had a great handle on Jubilee in the FCBD book, but she’s played a background role so far. This book gives us Jubilee fans exactly what we want, as Deadpool warns the X-Men that he was paid by the rich bigots that Jubilee took out to distract the X-Men while they took revenge on Uva. Jubilee takes it upon herself to solve that problem, and Simone shows the growth of the character wonderfully. Back in the day, Jubilee would have wanted help, but this time she wants to show what she can do on her own. Simone is showing that Jubilee is more than the teen mutant she once was, but a skilled hero who can take care of herself. This is X-Men storytelling at its finest, showing the growth of an iconic X-Man. On top of that, she also continues her amazing development of the Outliers. Simone is so good because she can say much with a few dialogue bubbles, and that’s on display here. “From the Ashes” is trying to capture a classic X-Men feel by copying the past. Simone is doing it by telling X-Men stories in an old school way. That’s what makes Uncanny so great.

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Regular artist David Marquez is back for this issue, and does an amazing job. Marquez’s art does everything right in every issue he draws, and this issue is another example of that. His long shots are lacking a little bit of detail at times, but there’s something about his character acting that makes up for it. Body language is important to comics, and Marquez has shown that he’s a master of it. The mini-fight between Deadpool and Outlaw against the Outliers is such a nice scene. There’s that sense of motion that every action scene needs, with Marquez doing a fabulous job with each character in the fight. Deathdream is my favorite new mutant, and a big reason for that is the Marquez draws the character, capturing the goth boy exterior and the soft center, as well as just how cool his powers look in action. The character acting in every scene hits all the right points. I’m especially fond of his Gambit, who’s pride in Jubilee is apparent right when she says she wants to go it alone. Just gorgeous stuff.

Jubilee’s diner scene is the heart of the book. Simone sets up Jubilee’s growth, but Marquez nails it down in the art. He captures the kinetic energy that Jubilee has always had as a character, and the last panel — Jubilee’s smiling face — is wonderful. I hope Uva shows up again in this book because of the way that Marquez draws her. He captures the sheepishness of the character wonderfully; she seems so small and I want to see him draw her as she grows as a character. Marquez is the perfect artist for Simone’s deft character work, and I keep wanting more from him.

Uncanny X-Men #19 is a throwback in the best possible way. Simone sets up multiple plot points for the future (and also slyly talks about the X-Men fandom), and that’s before we even get to the Uncanny Village (you really need to read this one, folks). This is character based storytelling at its finest, and that’s all there is to it. Simone and Marquez are nailing it with every issue, and that’s really all there is to it.

Rating: 5 out of 5

Uncanny X-Men #19 is on sale now.

The post Uncanny X-Men #19 Is a One and Done With Everything You Could Want (Review) appeared first on ComicBook.com.

All-New Venom is one of Marvel’s more interesting books. Mary Jane as Venom was an idea that no one ever would have expected, and it’s led to some cool places. However, what’s really made All-New Venom so intriguing is the relationship between Mary Jane and Paul Rabin. Paul is one of Marvel’s most hated characters, and writer Al Ewing has showed a certain amount of disdain for the character, which has made everyone happy. Marvel has insisted on keeping Paul and MJ together, but all of that changes in All-New Venom #9. This book represents a major moment in the Spider-Man comics, one that was leaked already over the weekend. However, that’s not all this book has, as it’s also something of an action packed banger.

So, before we get to the big moment, let’s talk about this book’s beginning. It all kicks off in SCAR’s symbiote prison, as Venom is faced with one of Spider-Man’s greatest villains — Doctor Octopus. Venom versus Doctor Octopus is a great fight idea, and Ewing runs with it. Ewing nails Ock right off the bat — smart, resourceful, clever, dangerous — and watching him fight Venom and Sleeper is a treat. This opening action set piece is a lot of fun. Ewing keeps building the stakes of the fight as it goes on, showing why Ock is a such fun villain to use. There’s some great developments throughout this fight, as Agent Anti-Venom, Sleeper’s inside man at SCAR, shows up to help and makes a decision that could have big consequences down the line. There’s a wonderful flow to this fight, and it shows just how great that Ewing is at this sort of storytelling. He understands how to structure a fight scene, keeping it exciting throughout. The war against SCAR isn’t over, but the symbiotes have won an important battle. Now, on to the steak that everyone has been trying to order for a couple of years ago. Mary Jane and Paul’s relationship is finally over.

Marvel uses rage bait as an editorial mandate, and MJ and Paul’s relationship has always done that. Paul is a terrible character in every way, and fans just don’t like him at all. The break up scene itself is well-done, if a little insulting to MJ. Paul apologizes for his Jackpot power bracelet dooming Mary Jane, forcing her to bond with Venom, all to fix the problems with their relationship. Mary Jane, on the other hand, has decided that it’s time for the whole thing to end. I support this decision but somehow, it still feels kind of insulting to MJ as a character. She talks about her tendency to run away, yet another example of the regression that major Spider-Man characters go through, and talks about how even her relationship with Paul as running away despite her staying with him. There’s just something about her reasoning that feels like another example of Marvel insulting MJ as a character.

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The art by Carlos Gomez is gorgeous. The fight scene at the beginning of the book looks very, very cool. There’s a fluidity to the fight that gives it a great feel. Gomez’s Doc Ock is one of the best looking versions of the character ever. He capture the maniacal glee of Ock in the battle, and makes the old green costume — which always felt a little weird because of Ock’s body type — look sensational. Gomez really gets how to make symbiotes work as well, capturing the liquid feel that a lot of artists don’t really do well with. The panels can get a little busy — there’s a lot going on in the fight — but Gomez is able to make it all work. His detail is pretty great and figure work are great as well; nothing ever gets sketchy, which sometimes happens for other artists in panels like these.

Gomez does a pretty good job with the break up scene. The character acting really captures the feel of the scene, and Paul and MJ’s expressions and body language really help sell the moment wonderfully. I love the page where MJ finally breaks up with him. They’re standing in front of a window and the light is shining through, as if whatever god you believe is shining down upon this wonderful moment. Gomez’s art has constantly gotten better through this series, and this issue is yet another example of him taking everything the script throws at him and spinning it into gold.

All-New Venom #9 finally pulls the trigger on killing Marvel’s most hated relationship, and it does it beautifully. The fight at the beginning gets the blood pumping, a well-paced battle that looks gorgeous and builds up the main plot of the book. The end of the book isn’t perfect but it’s hard not to enjoy MJ completely shooting down Paul.

Rating: 4 out of 5

All-New Venom #9 is on sale now.

The post All-New Venom #9 Gives Fans Exactly What They’ve Been Wanting (Review) appeared first on ComicBook.com.

Cheetah & Cheshire Rob the Justice League #1 is one of those books that right when you heard about it, you knew that it would be great. Somehow, it’s even better than that. Greg Rucka is one of those rare male writers who does an amazing job of writing realistic superwomen, so there was no problem there. Nicola Scott is one of the best artists DC has, her wonderful figure work and unflagging detail (seriously, go read a Scott-drawn comic and the detail never, ever gets sketchy like it can with other artists), so we knew the book was going to look fantastic. Rucka and Scott together is one of those teams who could do no wrong, but Cheetah & Cheshire Rob the Justice League #1 takes all of your expectations and throws them into the stratosphere. This is, as the kids would say, peak.

We all knew Cheetah & Cheshire Rob the Justice League was going to be good, but Rucka kicks things off perfectly in a way you’d never have expected. Rucka wrote one of the best Wonder Woman runs of the 21st, so this a writer who knows Cheetah. Right away, he gives us exactly who Cheetah is, a beast who wants to be a woman; the opening sequence sets the tone for the book, and also asks a big question that you won’t understand until the end of the book. His Cheshire is just as great. Cheshire is a much lesser known villain than Cheetah; the best Cheshire appearances capture both her brutality and her playfulness, while also reminding readers that underneath all of the love of killing, this is mostly just a normal woman. There’s a joke in her introductory pages that is perfectly Cheshire. Rucka nails the characterization of both women in this book, and it makes reading it such a joy.

This is a testbook first chapter to an heist story, when a criminal comes to another with a wild idea, and Rucka nails it. There’s action and intrigue, but the centerpiece of the book for me is just Cheshire and Cheetah in a diner making small talk before Cheetah drops a massive bomb on the conversation — that she wants to rob the newly returned Justice League’s Watchtower. Cheetah and Cheshire are skilled and dangerous, but this is a job that is completely out of their league (pun intended). The Justice League is very dangerous to any villain, so Cheshire is obviously skeptical. Cheetah is able to get Cheshire to go along with it when she tells them the target and this is where that question I talked about earlier comes into play. Why does Cheetah want this particular thing? There’s an answer here, and Rucka lays out wonderfully. Of course, there’s the whole question of whether this thing actually exists or if Cheetah has another agenda, and that’s another part of the fun of the story Rucka is laying out. This is a heist story, but there’s more going on here than a heist story and I’m here for it.

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Scott’s art is sensational and that’s all there is to it. Every page is a feast for the eye. One of Scott’s greatest strengths has always been her character acting; you know exactly what each character is feeling on every page, through both expressions and body language. She does a tremendous job with Cheetah, showing the anguish of her existence in some impeccably drawn pages. Cheetah does not want to be what she is and Scott gets that across beautifully. Her Cheshire is one of the best versions of the character I’ve ever seen. To begin with, Scott’s Cheshire actually looks Vietnamese, which isn’t always the case with the character when other artists draw her. She’s able to capture the black humor of the character every time she’s one the page. There’s a liquidity to Cheshire that Scott nails.

The diner scene is the heart of the book, and it works so well because of Scott. The interplay between the women, the body language, and the expressions all make the scene work outside of the writer. You could subtract the dialogue from this scene and you’d still be able to tell what is happening in the conversation. There’s also an awesome fight scene between Cheshire and HIVE agents that Scott just kills. The art in this book does is flawless. The colors by Annette Kwok give the art a sumptuous feel that enhances Scott’s pencils. DC puts out some beautifully drawn books, but this one is probably the best one in a while.

Cheetah & Cheshire Rob the Justice League #1 is the perfect way to kick off a story. There’s so much going on in this first issue that it grabs you immediately. There’s no way to read this issue and not want to know what’s going to happen next. Rucka and Scott make an amazing team, and if the rest of this book can match the first issue, this will be an awesome series indeed.

Rating: 4.5 out of 5

Cheetah & Cheshire Rob the Justice League #1 is on sale now.

The post Cheetah & Cheshire Rob the Justice League #1 is a Delightful Heist Story With Depth (Review) appeared first on ComicBook.com.

Absolute Superman has shaken up Kryptonian mythology and the tethers Kal-El and his family had to that mythology immensely throughout the series, and while Krypton may be gone, the life lessons found there are more alive than ever. Those lessons are only magnified in the present, and as the world and everything he thinks he knows twists and turns around him, he will need to hold those lessons and memories ever closer, and with Absolute Superman #10’s latest shocking twist, that’s going to be even harder than expected.

While Absolute Superman continues to move the story forward, Kal-El’s formative years with his family are still having a sizable impact on the man he’s seeking to become. it’s a credit to how Jason Aaron has reshaped Kal’s connection to his original home and the family he grew up with that those connections are still as relevant as ever, and Aaron is masterful at utilizing that past to highlight Kal-El’s current state of mind and how he views the world without losing the focus on the here and now.

While that’s all happening internally over the course of the issue, you don’t actually see Superman in the flesh until over halfway through. That’s not to say you don’t feel the impact of his presence though, and this is largely due to the brilliant work of Carmine Di Giandomenico, colorist Ulises Arreola, and letterer Becca Carey. Throughout the early going, you only see Superman as a force of nature in the clouds, raining absolute destruction upon Ra’s Al Ghul and Brainiac’s forces. The reds, oranges, and yellows pierce the blues, whites, and purples of Ra’s chosen battlefield, and Superman’s every move is made to feel as if it’s shaking the world with Carey’s simply stunning lettering, which crushes the land under its feet at times.

That sets the table for Superman’s actual arrival, which is a page that feels ripped right out of ancient mythology, though what is important to note is that at no point does the reign of destruction overwhelm the internal conflict and battle for one’s soul that seems to be at the heart of this story. It always goes back to who Kal-El knows he has to be, the person he wants to be, and the person he feels he actually is, and that narrative is still front and center at every turn.

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That takes us to a twist that shatters everything you assumed you knew about the players in this battle, and while the shock factor of this twist is palpable, it’s the potential of this twist and what it means for the future of this story that has the most impact. It also crucially affects the other players on the board like Lois and Jimmy, and that’s in addition to how it upsets the balance within Ra’s own camp. I didn’t see this one coming, but I’m certainly intrigued by where it takes us next.

Absolute Superman #10 continues to meet the high bar the series has set from the very beginning, all while introducing new elements that twist your expectations and take the story in new and exciting directions, and I couldn’t recommend it more.

Rating: 5 out of 5

Absolute Superman #10 is in comic stores now.

What did you think of Absolute Superman #10? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Absolute Superman #10 Twists the Knife and Nothing Will Ever Be The Same (Review) appeared first on ComicBook.com.

It’s the Summer of Superman, and fans of the Man of Steel are getting an embarassment of riches. Superman is a hit, passing Man of Steel‘s domestic gross in two weeks. The Superman comic has become a major part of the current DC publishing line, moving forward the big story of DC All-In. Action Comics is giving readers an untold tale of Superboy, and Superman Treasury Edition 2025: Hero for All brought back the old Superman Treasury editions in an exciting, engaging story. DC is doing everything it can to get people to buy Superman comics, and it shows how different their approach is to Marvel’s when it comes to movie and comics. DC Kal-El-Fornia Love #1 is a part of this and it’s a fun anthology comic that has a little something for everyone.

DC’s anthology game has been on point in the last few years, and this comic is no exception. There are eight stories in this anthology and all of them are great little glimpses of the Superman family and why it’s so much fun. Right off the bat, you can feel how much this comic is connected to the movie, and it works. The humor in each of these stories is great, and each one has a little something that get you to laugh out loud. Superman has an amazing supporting cast, and this story shows that off, with stories that focus on Lois, Jimmy, Supergirl, Steel and his niece Tasha, Superboy and Jon Kent, Bizarro, and Power Girl. Readers also get appearances from Ice, John Stewart, and Guy Gardner, each of them getting a cool appearance in each of their stories.

It’s hard to pick a favorite in this book, because they’re all so good. The first story, “See Sport Fly”, stars Superman dealing with a kaiju that has swallowed Lois on their California vacation. It’s a cool little story that captures the feel of the kaiju fight in Superman, with the Man of Steel doing everything he can to save lives and make sure the beast itself, who fell from space, gets out of the situation alive. The next story is a Jimmy Olsen yarn called “The Gorilla Ex-Wife of Jimmy Olsen”, tying in to the wild old Jimmy Olsen comics. It plays off the lady’s man stylings of Jimmy in the comics, and sees Jimmy go up against Grodd instead of talk to Bruna, the gorilla he married in the Silver Age. Power Girl and Ice get a team-up in “Before Sunrise” — a name based on a classic ’90s movie that became a trilogy about a man and woman’s relationship — that sees the two heroines hang out and talk about their lives. Bizarro gets a touching story called “Against the Wind”; this one is probably my favorite because it shows that Bizarro is more than just the evil opposite Superman.

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Lois Lane shows off her journalistic chops in “Bite of the Apple”, as she deals with a podcast host calling her reporting into question. Steel and Natasha (who is also named Steel as a hero) star in “Across the Room” where Natasha meets a nice girl but superhero shenanigans get in the way. The Superboyz (the Z is from DC and not me) finally get to bond in “Who Do You Belong To” in another touching story about Conner and Jon finally getting time together. Finally, Supergirl has a team-up with John Constantine in “Something In the Water”.

Each of these stories is good, but several of them are great — “The Gorilla Ex-Wife of Jimmy Olsen”, “Before Sunrise”, “Against the Wind”, and “Who Do You Belong to” all use the characters, their lives, and the concept of love to tell nice character focused stories with great art. In fact, the art is great throughout. There’s a cartoony style to most of them, and the best of them is easily “Across the Room”, from Juni Ba, whose style is the most unique in the book. I wouldn’t exactly call the art gorgeous, and there’s a little bit of repetition in the threats — there are a lot of giant monsters in this book — but the art does a fantastic job of selling the emotions of the stories and giving readers some cool action scenes.

DC’s Kal-El-Fornia Love #1 is yet another example of DC’s anthology dominance. It’s exactly the kind of story that should come out after a movie like Superman; much like the movie, it shows off how great Superman’s supporting cast can be. It’s lighthearted and fun, but also captures the power and heroism of Superman and his friends. If you have a friend who saw Superman and wants to read a cool comic without being inundated with lore they don’t understand, this is the best comic to buy them.

Rating: 4.5 out of 5

DC’s Kal-EliFornia Love #1 is on sale now.

The post DC Kal-El-Fornia Love #1 Is a Fun Little Anthology with Connections to Superman (Review) appeared first on ComicBook.com.

DC delivered the first major event of the All In era with the time-traveling epic We Are Yesterday, but half the fun of an event is the chaotic world that it inevitably creates. The perfect embodiment of this DC’s new one-shot Justice League: Dark Tomorrow, which deals with the immediate fallout of We Are Yesterday but also sets the stage for a thrilling adventure through time with a delightfully unexpected cast. By the end of that adventure, the biggest question on one’s mind is when we will see them again, because in every sense of the phrase, this is the team we didn’t know we needed, and it would be heartbreaking not to see them again.

Writers Marc Guggenheim and Mark Waid pick up some key threads from We Are Yesterday and move the story forward while also tying into the even bigger story happening across DC’s world. A lot happened in We Are Yesterday, but Dark Tomorrow does an admirable job of getting you up to speed with the broad strokes and then shifts things into gear early on. All you need to really know is that Gorilla Grodd’s actions wreaked havoc on the timeline, leaving people stranded in times not their own, and the results are delightful.

That’s primarily due to an unexpected lineup of heroes attempting to keep DC’s time travelers alive after several are murdered, and it’s quite the eclectic group. Now, I also have to be upfront here and say that it also happens to feature two personal favorites, but even with that to the side, the “team” is still compelling. I did not have a team that included Batman Beyond, Huntress, Marilyn Moonlight, Jonah Hex, Amazing Man, Gold Beetle, Plastic Man, and Airwave on my bingo card, but it didn’t take long for them to win their way into my heart.

The team instantly captures your attention for its mix of eras and personalties, but it also allows Guggenheim and Waid to give some welcome spotlight to a few underutilized characters. That’s especially true of Moonlight and Jonah Hex, who can’t help but shine at various times, and that includes interacting with their mysterious leader, Legend, though they are dropping more than a few hints as to their identity along the way.

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Dark Tomorrow wouldn’t work without the outstanding artwork of artist Cian Tormey, colorist Romulo Fajardo Jr, and letterer Dave Sharpe, who take advantage of this team’s unique nature and well of abilities across the issue. Whether it’s Plastic Man turning into a massive mech, Hex being an absolute beast with twin pistols, or Airwave tapping into another gear of power, all of these sequences shine in their own distinct way. We also have to applaud the team’s creative use of visor reflections, which happen throughout the issue and look insanely cool each and every time.

Frankly, the biggest issue with the special is that it stops just as it really gets going, though there is something to be said for leaving you wanting more at the end of the day. That said, there’s also no clear path for this team’s continued existence, as the only indicators we get are that their story continues in Justice League Unlimited and DC K.O., but as of right now, it’s not known what that role will be in those other stories. This isn’t mandatory reading, mind you, and your mileage will likely vary a bit from mine depending on if any of these characters are personal favorites.

As it stands for me though, Justice League: Dark Tomorrow Special #1 is a wonderful showcase of potential and promise, and while there’s no clear next step at the moment, hopefully, there’s more in store for this delightful new crew in the months to come.

Rating: 4 out of 5

What did you think of the issue, and do you want to see this team stick around for more adventures? Let us know in the comments, and you can talk all things comics and DC with me on Bluesky @knightofoa!

The post Justice League: Dark Tomorrow Delivers the Dream Team We Didn’t Know We Needed (but Are They Sticking Around?) appeared first on ComicBook.com.

When Wolverine is being the reasonable one, maybe you’re the problem. Writer Marc Guggenheim and artist Kaare Andrews continue their ongoing Spider-Man & Wolverine comic on a trip to the Savage Land. Just like the second issue, the third issue does very little to move the needle in terms of plot. The whole trip to the Savage Land feels incredibly superficial and flimsy, with Guggenheim and Andrews putting the two heroes in the area just so that we can see Spider-Man and Wolverine fight dinosaurs. Fighting dinosaurs is always a fun time, and you could tell the creative duo are having a good time constructing the action in the story.

However, neither creator is delivering anything new or challenging with Spider-Man & Wolverine #3. We’ve seen Spider-Man and Wolverine fight dinosaurs and prehistoric animals beforehand, and Peter even has a famous meme confronting Sauron. There’s an emotional conflict between the two heroes that helps drive this comic beyond shallow entertainment. Andrews’ artwork, which can be divisive for some, has a particular manic energy that makes this issue beautiful to read at points. Spider-Man & Wolverine #3 is a passable comic, especially if you aren’t looking for anything too challenging, but it can be so much more.

Spider-Man & Wolverine #3 Is Silly, Fun Action

Spider-Man & Wolverine #3 continues where the second issue left off, when Wolverine stabbed Spidey in the stomach. Even though the issue attempts to justify Logan’s action, it’s still a hard pill to swallow that he would just potentially fatally stab another hero, even in the heat of the moment. Peter is still undergoing his angst throughout the issue, unsure whether he should continue working with Logan or even kill him. Although Peter’s actions in the first two issues were somewhat justified, as the revelation that Logan may have killed his parents was still fresh. However, his continued hesitation to trust Logan and even wanting to kill him feels very out of character for Spider-Man. Despite Guggenheim’s many years writing Spider-Man for Brand New Day, the writer continues to falter when portraying the iconic web-slinger.

Meanwhile, Logan is given more nuance, with Guggenheim highlighting the character’s ongoing growth in the last few decades. The hero comes across as more sincere and vulnerable than he traditionally does, showing that Wolverine is truly a changed man. Spider-Man & Wolverine #3 is also aware that readers wouldn’t fully believe Logan killed Peter’s parents, sharing potential theories on how Wolverine could be innocent of the crime. The theories make the reveal that Logan killed the Parkers lose some weight, yet at least the creators are fully conscious of what fans would think.

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From there, it is just an ongoing fight with some dinosaurs, Kraven the Hunter, and a new villain named Dreadshadow, who appears as if he stepped directly out of the 90s. Dreadshadow remained an enigma in the issue, only appearing to deliver some slices to the heroes. The villain isn’t presented with much personality, and he does not accomplish much in the comic. There’s still more story to tell with the character, but so far, he doesn’t make the strongest impression. With so many adversaries, the comic feels overcrowded and messy. The two main heroes remain left in the dark for most of the plot, meaning the whole story feels confusing. There’s no tangible connection between the events of the first two issues and the heroes’ adventures in the Savage Land, or how Dreadshadow is tied to everything. It feels more like a random detour, and given how quickly the heroes leave the area at the end of the issue, it highlights how unnecessary the Savage Land was.

Kaare Andrews’ pencils are dynamic and fluid, but feature some confusing panel arrangements. There’s a particular moment where Spider-Man unveils a hidden wall of web with dinosaurs behind it that is oddly structured. Nevertheless, I’ve always been a fan of Andrews’ odd body limbs and exaggerated body proportions. There’s an intentionality to Andrews’ artwork that elevates it from the ’90s trash art that plagued the decade. Andrews gives his drawings plenty of personality that overcomes any of the art’s shortcomings. Colorist Brian Reber keeps things pretty monotone and bland, shading the issue with warm colors like yellow. It works alright for the Savage Land setting, yet I wish Reber would use brighter colors to make everything pop.

The most frustrating thing about Spider-Man & Wolverine #3 is how safe it is. The comic doesn’t offer a challenging narrative about the heroes’ relationship and focuses more on delivering wild action. In fairness to the comic’s creator, it seems that Guggenheim and Andrews are upfront in what type of story they want to tell. It doesn’t seem as if they have great aspirations to make Spider-Man & Wolverine #3 any more than a fun action series with dinosaurs, which deserves some respect.

Rating: 3 out of 5

What did you think of Marc Guggenheim’s and Kaare Andrews’ Spider-Man & Wolverine #3? Let us know in the comments!

The post Spider-Man & Wolverine #3 is Action-Packed, But Lacks Meat on the Bones (Review) appeared first on ComicBook.com.

For decades, Jack Russell, the original Werewolf by Night, has been a foundational pillar of Marvel Comics’ horror universe. Since his debut in the 1970s, he has embodied the tragic archetype of the cursed hero, a man locked in a perpetual war with the beast inside. While a beloved figure for seasoned comic fans, he remained largely within that niche corner of the universe. That all changed with the release of the critically acclaimed Disney+ special, Werewolf by Night, which thrust the character into the mainstream spotlight. It is fitting, then, that the special’s director, Academy Award-winning composer Michael Giacchino, now makes his comic book writing debut with a new story starring the lycanthrope he so successfully introduced to a new generation. 

Unfortunately, Werewolf by Night: Blood Moon Rise #1 doesn’t know how to sustain its ambitions. Billed as a one-shot, the issue reads less like a self-contained story and more like a disjointed prologue to a larger event that is never defined, draining the project of its potential charm and leaving the reader with more questions than answers.

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The story of Blood Moon Rise begins with a strong horror premise. Jack Russell awakens in the cold dungeons of Dracula’s castle, where he learns the Lord of Vampires has been holding him captive and manipulating his mind for an unknown length of time. As Jack fights to break free, he pieces together fragments of a larger plot, realizing Dracula’s scheme extends beyond him to include other creatures of the night, who are being used as pawns in an unseen game. 

Giacchino’s script truly shines in these early moments, tapping directly into the moody, Universal Monsters-inspired energy that made his film so effective. On the first pages, the focus is squarely on Jack’s internal torment, the agonizing conflict between his desire to be a moral man and the feral impulses of the wolf wanting to be freed. This struggle has been the character’s most compelling trait for over fifty years, and by returning to these basics, Giacchino demonstrates a clear understanding of Jack Russell’s core psyche. The tragedy of his existence is palpable, and for a moment, Blood Moon Rise feels like the perfect comic book follow-up for Giacchino’s work at the Marvel Cinematic Universe.

However, the moment the story pivots from this internal struggle to the broader conflict with Dracula, it begins to unravel. The plot introduces another fan-favorite Marvel monster and a mysterious, unidentified werewolf creature, but provides no context for their presence, only teasing their place on Dracula’s masterplan. Unfortunately, by the end of the issue, Dracula’s true intentions remain frustratingly vague, and the nature of the larger threat this adventure is supposedly teasing is never explained.

The story feels untethered, existing in a strange narrative limbo. It could be interpreted as a prequel to the events of the MCU special or perhaps a lead-in to another comic series, like the recent Werewolf by Night: Red Band. Yet, without any explicit connection to anything, the story fails on all fronts. It is not a satisfying one-shot, nor is it an effective setup for a bigger project. As such, the final page’s ambiguous “The… End…?” feels less like a clever cliffhanger and more like an admission that Marvel Comics intends to continue this story elsewhere, a decision that renders this specific issue insufficient on its own merits.

Adding to the main story’s problems is the lettering, which often feels intrusive and distracting. There is a clear stylistic intention to emulate the classic Marvel horror comics of the 1970s, an era when large, bombastic sound effects were a prominent feature of the page. While a noble idea in theory, its execution clashes with modern artistic sensibilities. The artwork by David Messina is cinematic and detailed, but it is frequently crowded by oversized lettering that pulls focus from the illustrations. In an age where comic lettering has become more nuanced and SFX more subtly integrated, these space-consuming elements clutter the pages.

Ironically, what truly saves the issue is the five-page backup story by Jason Loo. Titled “A Howling Nightmare,” the short features Jack, his sister Lissa, and the new Werewolf by Night, Jake Gomez, trapped in a surreal dreamscape by the classic villain Nightmare. In a fraction of the page count of the main feature, Loo delivers a masterclass in economic storytelling. The plot is simple, the characters’ motivations are clear, and the conflict reaches a genuinely satisfying conclusion. It provides everything a newcomer needs to understand the stakes while serving as a treat for long-time fans. 

Most importantly, “A Howling Nightmare” also explores the internal conflict of its lycanthropic characters, making the comparison to the main story’s muddled execution all the more obvious. “A Howling Nightmare” proves that a compelling Werewolf by Night story is possible in a short format, and its success only highlights that Blood Moon Rise was conceived as part of something far too big for a single one-shot to contain.

Rating: 3 out of 5 

What did you think of Werewolf by Night: Blood Moon Rise #1? Was the backup story the best part for you, too? Join the discussion in the comments!

The post Werewolf by Night: Blood Moon Rise #1 Bites More Than it Can Chew (Review) appeared first on ComicBook.com.

Godzilla has been fighting with the likes of the Avengers and Justice League over at Marvel and DC Comics, but now it is time for the King of the Monsters to face his own dedicated superhero team in his comic series. The Godzilla franchise has always dabbled in superpowered humans, evident with Miki in the films, but more prominently in the comics. Yet writer Tim Seeley chose to go wild with the superpowers, introducing a new lead protagonist in IDW’s Godzilla #1 who can absorb Godzilla’s “Kai-Sei” energy. For once, there’s a human who physically matches Godzilla toe-to-toe.

Godzilla #1, at times, feels more like a superhero comic than a Godzilla one. That was likely Seeley’s intention, and it is something the Godzilla comics have experimented with. However, the new G-Force featured in the issue is not instantly engaging enough to carry a full series. In fairness, it’s only one issue (plus the Free Comic Book Day prologue), leaving plenty of room to grow, but most members feel oddly flat and a little annoying. Godzilla #1 also weirdly features very little Godzilla, which can be off-putting. Nonetheless, the comic features plenty of potential with tantalizing worldbuilding and an interesting cliffhanger that could potentially lead to a fascinating new antagonist.

Kaiju Fight Against Annoying People in Godzilla #1

The main protagonist, orphaned teenager Jacen, serves as our eyes on the ground for the comic, a proxy for the exposition. As for teen protagonists go, Jacen only makes a passable first impression. Despite his tragic background as an orphan, he is oddly arrogant in a way that doesn’t make him endearing. Nevertheless, he comes off far better than some of his co-workers. Riviera, the G-Force commander, and Incense, a pyrotechnics streamer, are the more exasperating characters in the book. Riviera’s very pro-American dialogue, constantly referencing the country’s current state and comparing everything to it, gets grating very quickly. Having a streamer be part of your team is never a good idea, unless they’re a sincere streamer, which isn’t the case with Incense.

The pyrotechnic streamer is an overconfident online personality who quickly develops a rivalry with Jacen. Whereas Jacen has some nobility, Incense doesn’t even have that. Jet Jaguar is also part of the G-Force team. It’s always fun to see the cyborg appear in comics, including in Godzilla vs. Avengers. But the robot only speaks through lyrics from his song, making him more of a gag character. Fortunately, the women in the group fare better, with Dr. Rumi Chiba serving as the team’s moral center. Nuki, the heavy munitions expert, doesn’t get much to do other than a potential flirtation with Jacen, yet she’s cool enough for how little we see her. Even though the men do have irritable personalities, Seeley has plenty of room to develop the characters and have them grow. There are windows of greatness with every team member, and hopefully, Seeley can turn these characters into new fan-favorites. Jacen sneaking off with Chiba on a boat because he was afraid to lose someone is one of the most sincere and enduring character moments in this debut issue, giving the character some depth.

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Godzilla #1 contains several kaiju action scenes, with the issue opening with a flashback of Jacen confronting Godzilla, and later, when the team fights against Angurius. Nikola Cizmesija’s pencils are loose and inconsistent, but are filled with plenty of energy. Cizmesiga’s artwork gives a lot impact to Jacen’s and the kaiju’s attacks, heightening the action. Francesco Segala’s colors are bright and eye-popping, yet strangely flat in many moments. Segala gives Godzilla’s atomic breath a bright green that makes it more alien, which doesn’t look as good as blue but works in the context of the story.

There’s not much that stands out in IDW’s new Godzilla #1. With so many other Godzilla comics on the stands, including crossovers with big brands, Godzilla #1 doesn’t do much new with the formula. Furthermore, Godzilla is barely in it, forcing readers to endure a mismatched group of humans who range from irritating to fine. Nonetheless, Seeley plants seeds that offer a tantalizing narrative that offers potential great stories down the line. The action is fun, and the characters have plenty of room to grow, some more than others. It may not be a knock-out, but Godzilla #1 is worth investing in if you’re curious what Seeley may bring to the table. Or if you’re a huge Jet Jaguar fan.

Rating: 3.5 out of 5

What did you think of Tim Seeley’s and Nikola Cizmesija’s Godzilla # 1 by IDW? Let us know in the comments!

The post Godzilla #1 Has Lots of Action But Needs More Kaiju appeared first on ComicBook.com.

The announcement of a new comic book written by Si Spurrier is always cause for attention. A prolific writer who has proven his talent for blending high-concept genre fiction with complex character work in titles like BOOM! Studios’ Coda and his celebrated runs on DC’s John Constantine: Hellblazer and The Dreaming, Spurrier consistently delivers stories that are both intelligent and emotionally resonant. Pairing him with artist Vanesa R. Del Rey, whose expressive work on books like Image’s Redlands and BOOM!’s Hit has made her a sought-after talent known for her command of mood and shadow, creates a high level of expectation. Their new Image Comics miniseries, The Voice Said Kill, not only meets those expectations but harnesses their combined strengths, producing a debut that is both visually stunning and narratively visceral, all delivered with an expert sense of pacing.

The Voice Said Kill #1 introduces us to Sergeant Burgau of the Corbeaumort Wildlife Refuge. Pregnant and just a month from her due date, Burgau is holding down the fort alone after severe food poisoning takes out her entire team. Her solitude is anything but peaceful, as she must contend with alligator poachers, the local moonshine matriarch, Mrs. Watters, and the news that Watters’ dangerously unstable son, Buck, is missing in the swamps after being released from prison.

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Spurrier’s script is phenomenal, immediately immersing the reader in the unique culture of the bayou. For instance, the dialogue is imprinted with the specific tones, accents, and mannerisms of the community. This authenticity makes the world of The Voice Said Kill feel lived-in and real, which in turn makes the encroaching danger feel all the more palpable. Plus, through the subtle interactions between characters, the narrative expertly weaves Burgau’s impending motherhood into the plot, creating a powerful tension between her vulnerability and her duty in a world that is hostile to both. Every decision she makes, every physical exertion, and every risk taken is amplified by the awareness of her pregnancy, painting her in an impossible situation where personal safety and professional obligation are constantly at odds.

The Voice Said Kill‘s script is elevated by Vanesa R. Del Rey’s breathtaking art. Working with an expanded 32-page count for the story alone, Del Rey uses the extra space to draw large environmental panels that help underline the geographical specificity of the Corbeaumort Wildlife Refuge. Her impressionistic style renders the Louisiana swamp as a living entity, an oppressive mass of tangled roots and murky water that envelops the characters with its undeniable presence. As such, wide landscape panels establish the swamp not just as a setting, but as an ever-present antagonist. 

Del Rey’s innovative approach to paneling in The Voice Said Kill is also a standout feature. She often uses elements from within the scene to break up the action, allowing the dark corners of the Louisiana swamps to break up the scenes.  In one specific sequence, the panels are entirely separated by the whit trails of cigarette smoke to deliver something unique. It is a dynamic and sophisticated use of the comic book language that keeps the reader engaged and slightly off-balance, mirroring the story’s tone.

John Starr’s colors largely succeed in complementing this distinct artistic vision of Del Rey, doubling down on the Impressionist ethos of The Voice Said Kill. However, the commitment to a muddy palette does occasionally work against the clarity of the storytelling. In a few panels, the combination of Del Rey’s heavy shading and a low-contrast blend of greens and browns makes some images difficult to parse. It’s a punctual flaw and arguably an intentional byproduct of the art goals, but it does lead to moments of visual confusion. Even so, this is a minor critique in what is an otherwise flawless presentation. In the end, The Voice Said Kill #1 is a superb first issue, a perfect fusion of a character-driven, literary crime script and transcendent artwork. It’s a brutal, sweaty, and unforgettable start to a series that fans of sophisticated thrillers should not miss.

Rating: 4.5 out of 5 

What did you think of The Voice Said Kill #1? Are you excited about the ongoing series? Join the discussion in the comments!

The post The Voice Said Kill #1 Delivers a Gritty Bayou Thriller with Haunting Art appeared first on ComicBook.com.

The Amazing Spider-Man‘s legacy shows why it’s one of the most complicated books in the history of comics, especially in recent years. It’s a comic that sells but hasn’t exactly been very good. The book feels like it is at the worst time in its history. Yes, worse than the Clone Saga and the Byrne reboot. Zeb Wells’s run damaged the book immensely, and while bringing fan-favorite writer Joe Kelly back was a step in the right direction, but it’s a step back taken after walking off a cliff. The Amazing Spider-Man #8 is one of those books that’s entertaining, but still has a load of problems keeping it from being more than just okay.

Kelly is a student of comic book storytelling, and his reboot of The Amazing Spider-Man has been mostly good. A big reason for that is because Kelly is staying away from the whole Peter/MJ/Paul fiasco that sunk Wells’s run and just telling good, classic Spider-Man stories. The Amazing Spider-Man #1 was a breath of fresh air, but it didn’t fix the book. This most recent issue, The Amazing Spider-Man #8, is an example of why it’s still fun to read this book and yet kind of irritating at the same time. The entire issue is basically just a big fight scene, one that Kelly lays out very well and has just the right amount of tension, but if you’ve been reading Spider-Man stories for any length of time, you’ve read this exact type of story before. You’ve read it a lot. So, while this is an exciting fast paced issue, it’s also like nearly other Spider-Man comic where he’s getting trounced by a villain who is stronger than he is.

Kelly does a great job of putting us in Spider-Man’s head. The captions help sell the severity of the beating that Spider-Man is talking, and there’s a great flashback sequence starring Peter and Uncle Ben that informs Spider-Man’s tactics in the story. This is great Spider-Man storytelling, and it’s why despite this issue feeling like a rehash, it’s still a good read.

We also get a new villain with Hellgate but he isn’t anything particularly special. He’s an ultra-powerful villain with a mysterious purpose and background, and I don’t feel like Kelly is doing that great of a job getting readers to care about the character. However, he works for this issue. There’s also a sequence with Mary Jane, Paul, and Dylan Brock, but it doesn’t really fit. Leave them in All-New Venom, where Al Ewing can keep heaping disdain on Paul.

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This issue’s art is by John Romita Jr., and that’s definitely going to be one of the things a lot of fans don’t like about it. Romita Jr. is one of those artists who you either like or hate, but Romita Jr. is a great action artist, and that’s on display here. There’s a fluidity to the action that makes the fight more exciting. Romita Jr. has gotten kind of sketchy in this stage of this career, and there’s a few examples of that in the art when his detail flags. Romita Jr.’s faces have been the weakest part of his modern art for a long time now, and luckily, there aren’t a lot of faces. Spider-Man wears his mask the whole time and Hellgate is a helmeted character with a black face, so there’s no detail to mess up. If you like Romita Jr.’s artwork, you’ll like this issue. If you don’t like Romita Jr.’s art, you won’t.

If you’re looking for a bold new Spider-Man story, then The Amazing Spider-Man #8 isn’t going to do it for you. It’s a common type of Spider-Man story, and while it has some cool parts to it, it’s still just Spider-Man 101. The art in this issue isn’t going to make fans like the issue either, but it won’t make you run away if you’re already a fan. Basically, this issue won’t make you suddenly love The Amazing Spider-Man, but it’s not going to make you hate it either. It’s just a thing that is.

Rating: 3 out of 5

The Amazing Spider-Man #8 is on sale now.

The post The Amazing Spider-Man # is Just More of the Same Old, Same Old appeared first on ComicBook.com.

Batman is going through an interesting time right now. As Superman and the rest of DC becomes ascendant, Batman is no longer the top DC book. The publisher almost certainly knew this was going to happen, and that’s probably why we’re getting “Hush 2.” This sequel to the Jeph Loeb/Jim Lee Batman classic hasn’t reached the level of its predecessor, and at this point three chapters in, there are a lot of fans who don’t believe that it is going to. “Hush” had its problems — it’s basically baby’s first Batman story with amazing art — but “Hush 2” just hasn’t grabbed fans like the original. That said, Batman #161 is the best issue of “Hush 2” so far, although the reasons for that aren’t exactly the best.

We’re going to start with the art, because that is the best part of this issue — and the story so far, honestly. Jim Lee returning to Batman is always a cause for celebration, and Batman #161 is an example of why. Lee’s art grabs you immediately. The first page’s four panel grid is gripping, picking up on the last chapter’s cliffhanger and dropping readers into a tense situation. This issue is the best looking issue so far. Lee is able to capture the tension of the story’s events so far in the story, and there are really no flaws with the art. There’s a flashback page of color washed panels that looks beautiful, and definitely captures the flavor of the scene. The action scenes are fluid, and Lee’s character acting remains top notch.

Alex Sinclair’s colors are a big reason why the art looks so good. Because comics aren’t a live action medium, people don’t often think about the lighting of the panels, but a colorist knowing how to use darkness and light is important. Batman is a dark character in a dark world, so colorists that work on Batman need to capture the darkness while also keeping things lit up enough to let the art shine. Sinclair is able to do this with this issue, and it really helps the art establish the tone of the story. Scott Williams has always been one of the better inkers who have worked with Lee, and he’s again able to take Lee’s art and shade it perfectly, as well as giving the lines just the right strength.

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“Hush 2” is an exercise in nostalgia, and that hasn’t exactly enamored it to fans. “Hush” wasn’t some groundbreaking story, but it definitely grabbed you. So far, “Hush 2” hasn’t really done that. Batman #161 is the best issue thus far but it’s not because it finally makes the story as gripping as the first “Hush.” No, the reason it’s the best part of the story so far is that it’s an action-packed issue that’s more about previous story arcs, rather than the story at hand.

Loeb basically gets out of Lee’s way and gives readers a gripping issue that is more about escaping stand-offs and a confrontation between Batman and Batgirl than whatever Hush is up to. This is just classic Batman storytelling, so it works as a story. A particular highlight is a fight between Batman and Batgirl. The two of them are basically battling over their relationships with Jim Gordon, and it’s built on their history together. Their fight in the issue revolves around Joker hurting the Gordon family again, and Batman’s inability to stop it. There are some who would argue that it’s out of character for Batgirl to want Joker dead, and I’m not going to argue against that idea. However, Babs is only human, so her being mad that Batman hasn’t killed the Joker yet, putting her family in danger over and over as a result does make sense to an extent. That said, you kind of have to ignore a lot of who Babs is as a character for this to work, but let’s be real — modern superhero comics revolve around mischaracterization nowadays, so every reader is used to ignoring a character’s history in various stories.

Batman #161 isn’t going to make you suddenly like “Hush 2.” This deep into the story, there are just too many questions. What is Hush’s actual motivation? Why is Joker involved with all of this? Why would Damian Wayne ask Bane for help? There are a lot of parts of this story that don’t make sense if you’re a longtime Batman fan. However, this issue succeeds more than the others before it because it’s just a great-looking, action-packed comic. Even if you don’t like “Hush 2,” the art from Lee, Williams, and Sinclair alone is worth your time.

Rating: 3.5 out of 5

Batman #161 is on sale now.

The post Batman #161 Is the Best of Hush 2 so Far (but Not the Way You’d Expect) appeared first on ComicBook.com.

Ms. Marvel‘s introduction to the X-Men in the Krakoa Era has been one of the more controversial decisions in the character’s history. Ms. Marvel was once one of the most popular new heroes of the ’10s, but that has faded over the years. Making her a mutant seems like it was Marvel’s big plan to bring her back to prominence, but so far it hasn’t really stuck yet. NYX, the Ms. Marvel co-starring young mutants book, was cancelled and the next salvo in making Ms. Marvel an important mutant has been the Giant-Size series of X-Men books, taking Kamala Khan on a time-traveling jaunt in order to stop the plans of Legion. Giant-Size House of M #1 is the penultimate chapter in this story, and while it ticks all of the boxes, the story never really takes off.

House of M wasn’t the best choice for the Giant-Size event for multiple reasons. House of M was one of the slowest paced Marvel events of the last couple of decade, which is kind of ironic since there’s not a lot of story in the book, and Giant-Size House of M show off just how anemic House of M was as a story. There’s not really much going on this book. Kamala starts out in the House of M universe where she meets Kitty Pryde, who was working as a school teacher in the House of M reality, and is there when Wolverine and Layla Miller find her. Each issue of Giant-Size so far has focused on Kamala talking to one of the female X-Men, so this part of the issue serves to set that up. We get Scarlet Witch’s utterance of “No More Mutants”, and then its back to the old world to figure out what Legion’s plan is. The Giant-Size chapters have proven to be pretty formulaic so far, and this issue is no different.

A lot of Ms. Marvel fans are annoyed about the way that different mutants have talked down to Kamala about dealing with anti-mutant racism; she’s a character whose Pakistani heritage means that she would have been experiencing racism her entire life. This issue actually has Kamala talk about her experience with that kind of thing, which is a breath of fresh air compared to other Ms. Marvel interactions with mutants. When this story was announced, a lot of people wondered how going to the House of M reality would fit into Legion’s master plan, and this issue makes it all make sense, which is nice. However, much like the original House of M, this issue is sort of lackluster. There’s very little action to speak of and the issue isn’t able to use the drama of House of M to make the story more interesting, so readers are left with a story that never really feels likes its sum of its parts. The Revelations back-up story from the Wolverine team of Saladin Ahmed and Martin Coccolo is fine, but, much like their run on Wolverine, it is kind of lackluster.

Francesco Manna’s art has something of a Mahmud Asrar feel to it — seriously, if you didn’t read the credits page, you’d think that Asrar was drawing the book — and that’s a good thing. Manna’s character acting really digs into what little emotion there is in the story and brings it to the fore. The pages are well laid out and detailed, and the fight at Castle Magnus, first between Legion and Scarlet Witch and then showing the scenes from the big battle at the end of House of M, is the highlight of the issue’s art.

Manna’s character acting is the best part of the conversation between Kamala and Kitty Pryde. It brings their little exchange to life, and it becomes one of the most vital parts of the story thanks to the pencils. In fact, Manna generally does a great job of conveying the feelings of the X-Men before and after M-Day. There’s few pages of reactions that really capture the hopelessness of the situation for mutants. There’s a bit of a joke about Beast having a time machine at the end of the story that works really well because of Manna’s skill with faces.

Giant-Size House of M #1 never reaches the height that the story reached in Giant-Size Dark Phoenix Saga and Giant-Size Age of Apocalypse, but it’s not a bad comic. It’s nice that Collin Kelly and Jackson Lanzing remembered that Ms. Marvel has experienced racism before she learned that she was a mutant, which is something that a lot of Ms. Marvel writers have seemed to forget over the years. However, much like House of M before it, this is a very anemic story, and the lack of plot hurts it in the long run.

Rating: 3 out of 5

Giant-Size House of M #1 is on sale now.

The post Giant Size House of M #1 Never Feels Like It Comes Together (Review) appeared first on ComicBook.com.

Godzilla has fought the Fantastic Four, Spider-Man, Hulk, the X-Men, the Avengers, and Thor individually in their respective one-shots. Now the King of the Monsters is aiming to destroy the entire Marvel Universe, but will the heroes prevail this time? Godzilla vs. one-shots were uneven, yet still fun. The quality of the one-shots ranges from delivering some of the best Marvel comics yet (Godzilla vs. Thor) to being aggressively mediocre (Godzilla vs. Avengers). Fortunately, Godzilla Destroys the Marvel Universe #1 leans closer to good than mediocre. Writer Gerry Duggan knows how to construct a good over-the-top action scene, and he also has a good handling of the Marvel characters.

Duggan may push too heavily on the comedy aspect of the issue, forgoing any sense of stakes to the story. His characterization of The Thing makes the hero seem more like a silly cartoon character, but, in fairness to Duggan, The Thing always had aspects of a cartoon bafoon personality. Javier Garron also delivers solid pencil work, the highlight being how the artist draws Mr. Fantastic’s stretching powers and the destruction caused by Godzilla. Garron’s faces are still a little goofy for my taste, and Godzilla is drawn wildly inconsistently throughout the comic. Nonetheless, if you enjoy the previous Godzilla comics, then Godzilla Destroys the Marvel Universe #1 is for you.

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Godzilla Destroys the Marvel Universe: Has Everyone Versus The King of the Monsters

Despite this miniseries being advertised as Godzilla fighting against the entire Marvel Universe, the first issue is more like a second round of Godzilla versus the Fantastic Four. What caused Godzilla’s latest rampage is that the Mole Man found a new Vibranium staff, awakening Godzilla and sending him into a rage. Eventually, more Marvel heroes join in, yet the first issue has some noticeable absences. The X-Men are notably off-world, and Doctor Strange is busy dealing with another interdimensional threat. The decision to forego the mutants and Doctor Strange likely stems from making the remaining heroes seem underpowered, giving the giant lizard more than a fighting chance. Even Thor appears in the issue later than the other heroes, leaving the team without their biggest heavy hitters.

On the topic of Thor, that leads to one of the more confusing parts of this whole Godzilla versus Marvel initiative. The Godzilla vs. one-shot always had a strained relationship with each other, with each issue implying that it takes place in its own universe. While the Fantastic Four know who Godzilla is in Godzilla Destroys the Marvel Universe #1, their previous encounter with the monster in Godzilla vs. Fantastic Four isn’t referenced. Likewise, Thor’s death at the hands of an evil version of Godzilla isn’t commented on either. Ultimately, this loose canonicity between the different Marvel Godzilla comics isn’t a determinant of the comics. If anything, the lack of adherence to a strict canon has led writers and artists to deliver more freeing stories.

Nonetheless, how Duggan chooses to dispose of Thor in Godzilla Destroys the Marvel Universe #1 feels cheap, especially compared to how Jason Aaron handled the epic duel between the God of Thunder and the King of the Monsters in Godzilla vs. Thor. Luckily, Duggan gives other heroes their due in Godzilla Destroys the Marvel Universe #1. Duggan continues to be one of the few modern Marvel writers who know how to utilize Quicksilver, perfectly conveying the character’s speed powers and arrogance. The writer also gives Captain America a moment to reflect Godzilla’s atomic breath with his shield, which doesn’t seem like it should be possible, but is cool either way.

Overall, Godzilla Destroys the Marvel Universe #1 is an enjoyable comic. Some of Duggan’s humor and Garron’s artwork may not work for everyone, yet both comic creators infused the issue with plenty of heart. While the portrayal of Thor in the comic is borderline insulting, especially compared to the character’s previous brawl with the King of the Monsters, Duggan makes up for it with his characterizations of the other heroes. It isn’t one of the best Marvel Godzilla comics, but it continues the trend of being irreverent fun that you can turn off your brain and enjoy.

Rating: 3.5 out of 5

What did you think of Gerry Duggan’s and Javier Garron’s Godzilla Destroys the Marvel Universe #1? Let us know in the comments!

The post Godzilla Destroys the Marvel Universe Is a Good Turn-Off Your Brain Comic (Review) appeared first on ComicBook.com.

Imperial is the latest Marvel event written by Jonathan Hickman, taking readers into the greater Marvel Universe for a whodunit with massive stakes. The first issue had some major events, the death of Hulk’s son Hiro Kala and Star-Lord’s father Emperor J’Son, throwing the alien empires into chaos. Imperial #2 picks up as the war begins, and while it’s definitely an entertaining issue, there’s also a few problems with it that don’t really bode well for the rest of this story. It’s fast paced issue, which somewhat works to its favor, but there’s also a lot going on, and the pacing works against it.

Hickman has proven to be one of the better pure sci-fi writers in comics, and that talent is on display in this issue right from the word go. This issue is a bit of a cluster, as the various alien empires falls into the chaos of war. Hickman understands how to do big space actions scenes like this very well, capturing the chaos of multiple ships going after each other. There’s a velocity to these scenes that sets the tone for the battle well. However, if there’s any problem with it, it’s there is too much going on for a story this fast paced. Now, obviously, this makes sense for the scene, and readers were promised sci-fi action from Imperial, but there’s also a lot of sides to this battle, and it can be hard to really get a bead on what’s going on in this comic. The chaos and fast pace makes sense, but they can leave readers feeling a little breathless. There’s a mini Black Panther/Hulk fight in this issue that’s pretty cool, but it doesn’t really get the focus it needs to be as entertaining as it could be.

The cuts between scenes keep the whole thing moving along, but there’s a terminal velocity to the issue that hurts each individual part. There are a lot of sides in this battle, and that’s a bit of a problem. Hickman showed in books like Infinity that is able to juggle big space battles well, but that story had one side against another — the allies and the Builders. This battle has Shi’Ar, Kree/Skrulls, the Spartans, and the Wakandans, and it kind of feels a bit too stuffed at times. This can make it hard to figure out which parts of the battle are important. We finally get the long promised coup against Professor X’s daughter Xandra, but it’s obviously there to set-up the spin-offs miniseries. As the battle goes on, it can all start to feel like white noise after a while.

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The art by Federico Vicentini and Iban Coelle is good, but it doesn’t really fit the story at times. While both of them are quite good at action penciling, and this is an action packed issue, they’re good at superhero action scenes. Other than the battle between Black Panther and Hulk and a twist to the battle that happens later, there’s really not too much of that in the issue. Space action scenes, with fleets of ships attacking each other and maneuvering, can be really hard to make look well in the comic medium, and this issue shows the difficulties with that sort of thing. Everything feels a little too static, and that robs a lot of scenes of any tension or excitement. On top of that, the ship designs aren’t the most interesting out there and it’s kind of hard to tell whose ships are whose in the fight as it goes on.

The art isn’t bad, per say, but this issue’s action set piece is very complicated, and the art doesn’t really fit what’s going on. Coello and Vicentini both gets moment to shine at last, but the sci-fi war sturm and drang is the weakest part of the art. The two artists do their best to make this part of the book exciting — the pages are detailed and their lay outs move the action along well — but Coello and Vicentini just aren’t the right artists for this sort of story. This is a big problem, and it’s one that probably isn’t going to get much better as the book goes on, because this is almost certainly not the last time we’ll get a space battle in this series.

Imperial #2 does its best to give readers some action, but there’s just so much going on and the art doesn’t really fit the issue’s events. Hickman redefined what space battles could be in Infinity over a decade ago, but this issue shows sometimes that not every artist can make them work. This isn’t a bad issue by any stretch of the imagination, but it never really finds its flow. The pacing is too fast, and that can keep the issue’s events from really hitting readers like they should. Imperial was always going to be a tough sell, and the second issue puts into question whether this book can be everything it was promised to be.

Rating: 3 out of 5

Imperial #2 is on sale now.

The post Imperial #2 Is Too Fast Paced for Its Own Good (Review) appeared first on ComicBook.com.

DC’s Absolute Universe has never been afraid to delve into the darkest corners of Darkseid’s world, but Absolute Batman sets up camp there and lives in those corners, resulting in one of the most grueling showcases of Batman’s soul and sheer will to date. It’s an impressive feat considering what the series has done to this point, but Absolute Batman #10 takes that baton and bolts out the door without ever looking back, while also building out the Dark Knight’s world and expanding the impact of its cast in compelling ways at the same time. The craziest part is this isn’t even the final showdown, and if this is anything to go by, we’re not in any way prepared for what comes next.

Scott Snyder has shown a willingness to throw caution to the wind throughout the series, making bold choices that completely shake up any preconceived notions. While this is especially true of Batman’s villains, it’s also true of the man behind the cowl, which is especially evident in issue #10 since there’s actually very little Batman until the final few pages. Instead, the spotlight shifts to the imposing but still very human person in the suit, and you get a true sense of how far Bruce is willing to go in order to fulfill his mission.

That’s true of both a character standpoint and a visual one, as Nick Dragotta, Frank Martin, and Clayton Cowles create quite the intense picture of what Bruce is willing to put himself through in order to get the job done. With or without the suit, Bruce Wayne retains the indomitable spirit that makes Batman such a symbol of terror and hope to those who abide in Gotham City, but Absolute Batman #10 breaks that symbol down to its basest elements, and it’s messy, brutal, and impressive all at once.

While Batman is a force to be reckoned with in the costume, nothing to this point has prepared you for what a desperate and lethally creative Bruce Wayne can manage to do, even in the grimiest of circumstances. Sure, the Batmobile is cool, but have you ever seen someone turn a feeding tube into an acid hose? I can answer that for you, no, you have not. There’s a rawness to every scene that conveys an unreal intensity, and that only increases as you witness the other horrors found within Arkham.

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But here’s the thing. None of this really matters if you don’t have some sort of hopeful moment to cling to. Despite the darkness and atrocities of this place continually attempting to pull him down, Batman pushes forward like only he can, and while there’s still an element of tragedy in those final pages, there’s also a rewarding beacon of light piercing through the darkness, and frankly I lost it when one particular splash page brings it all together like only this team can.

Absolute Batman #10 might be too much for some, and it is unquestionably heavy and brutal at times. That said, the light at the end of the tunnel was worth it, and it’s all setting up a final clash between Batman and Bane that has the potential to be something truly special.

Rating: 5 out of 5

What did you think of Absolute Batman #10? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Absolute Batman Takes a Hero to His Lowest Point and It’s Worth It (Review) appeared first on ComicBook.com.

It’s the Summer of Superman, and DC is giving fans all kinds of amazing Superman content to coincide with the release of Superman. Superman Unlimited has been the heart of a new era of Superman, the Kryptonite-infused Emerald Era, a bold new status quo that has made Kryptonite as common as steel. Superman Unlimited #3 is another chapter of this latest Superman epic, and it’s tailor made for people who loved a very particular part of Superman — Krypto. Superman Unlimited #3 is a Krypto issue, one that is tailor made to appeal to fans of the big screen version of Krypto. That’s not all the issue has going for it, as it introduces a new version of a classic Superman villain and gives readers some clues about where the Emerald Era is heading. The issue isn’t perfect, but it is entertaining.

Writer Dan Slott’s Superman has proven to be a classic version of the character, and that works very well for this issue. Superman Unlimited #1 set out a bold new era, but the reason why it has worked so far is because of the way he’s captured the voice of the classic Superman. This issue’s story kicks off with a Smallville flashback, all to introduce the new more wild version of Krypto. This version of the character is definitely taken from the movie, and Slott does a great job of establishing why having a more wild Krypto makes more sense — can you imagine an animal with canine instincts with the power of a god? I can’t take credit for that idea, as Slott uses those exact words to explain why Krypto is the way he (now) is. Comics often get changed for the sake of movie audiences, so this isn’t unexpected, but it’s one of those times a movie mandated change works well. Slott makes the change make sense with that one line, and Krypto’s shenanigans are quite entertaining.

The crux of the issue’s plot sees Clark going to a science expo, which is seemingly attacked by a giant robot created by a new version of Toyman. Toyman is a classic Superman foe, and Slott is able to do something unique with him; instead of the Toyman robot being remote controlled by Winslow Schott, it’s a robot created by a him with its own AI that has started working with El Caldero. The whole attack seems to be a bait and switch, letting fans know that El Caldero may be more sinister than they seem. The Emerald Era has brought some changes to Superman, and Slott is slowly building things up. This new Toyman seems to be a part of that, and there’s a feeling that more is going with the character than meets the eye. The way that Slott uses Krypto as the book’s inciting incident shows that it could all be a big misunderstanding, but there’s hints that not everything is as above the board as it seems. However, things are still moving a bit too slowly here, which is a problem with how great the other Superman books are. Those books have some big moments to fall back on, and could overshadow Superman Unlimited unless things start heating up. However, this isn’t a bad issue by any stretch of the imagination.

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Rafael Albuquerque’s art has been one of the strengths of this book from the beginning, and that is still the case in this issue. Before I get into praising the art, though, there is one panel that is actually pretty bad. The last panel on page 4 shows a young Clark Kent whose eyes are completely off-kilter. It’s the only low point in the book’s art and is very noticeable. Albuquerque does a great job with Krypto. This Krypto has become the movie version in both temperament and looks, and Albuquerque is able to capture the chaotic energy of movie Krypto perfectly. There’s always that sense of wildness to the super-dog, and Albuquerque’s character acting really puts us into the head of the dog.

Albuquerque’s rendering of Toyman’s giant robot captures the classic creepy toy flavor that Toyman creations always have. The new Toyman avatar robot also plays into this; it has that classic, Bob’s Big Boy look to it, but in the most sinister way possible. There’s a gorgeous full page spread of Superman hitting the robot with his heat vision that is a perfect example of everything that Albuquerque does so well. Other than the one panel with young Clark Kent, this issue’s art is impeccable. It completes captures the classic Superman vibe that Slott is bringing to this book, but giving it just the right modern edge, another hallmark of Slott’s writing so far.

Superman Unlimited #3 is a well-done issue, but it isn’t perfect. Making the comic Krypto into the movie one feels like the main focus of the issue, but there could be a little more to the issue than that. We do get some clues about the new Toyman’s place in the Emerald Era and a cool new twist on a Superman/Toyman fight. It’s an entertaining issue that feels like it’s as much about Slott showing readers that he can do classic Superman as anything else. I would have liked more set-up for the book’s overall plot, but it’s still a solid comic.

Rating: 3.5 out of 5

Superman Unlimited #3 is on sale now.

The post Superman Unlimited #3 Is a Fun Snapshot of Superman’s New Era (Review) appeared first on ComicBook.com.

Marvel’s First Family is returning to the big screen, and the comics division is celebrating this momentous occasion with a relaunch of the ongoing Fantastic Four comic. Some fans would deride the decision to relaunch as unnecessary, especially since writer Ryan North is staying on board. Furthermore, the new number one continues the ongoing plot threads established in the previous volume, taking place in the middle of the One World Under Doom event comic. The issue even begins in medias res with the team fighting against Doctor Doom in the middle of the city. While there’s some narration explaining the context of the battle, this new Fantastic Four #1 by Ryan North has a lot of context that may be lost on new readers.

Nevertheless, North continues delivering the goods when it comes to his Fantastic Four. North’s Fantastic Four comics have always been one of Marvel’s best ongoings in the last few years, and this relaunch doesn’t change any of that. He gets every character’s voice correctly and imbues the story with plenty of tension. The only real hindrance this comic has is whether you can stomach the art style or not.

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Ryan North’s and Humberto Ramos’s Fantastic Four Is a Triumph

Doctor Doom is still the Sorcerer Supreme and rules the Earth with an iron fist. The Fantastic Four confront Doom in the middle of a parade, where the megalomaniac sentences the four across time in different periods. We get to see how each member reacts to their environment, with North showcasing each character’s strengths and weaknesses. North’s characterization of the Human Torch was especially impressive, highlighting the hero’s understated intellect and quick-thinking problem-solving. However, every member has a moment to shine, with North successfully conveying each member’s core attributes and personality traits. The writer also perfectly paces the comic, setting up the obstacle each member must face while establishing the stakes each hero must confront.

Even though the Four’s situation is incredibly dire, North doesn’t give the comic much cynicism or unnecessary grimness. It’s a fun comic and a clear throwback to the classic Silver Age era, where the Fantastic Four thrived. The issue may have the heroes trapped across time, but we also get to see the Thing fight dinosaurs and Mr. Fantastic shifting his body to become a boat to sail across the world. Moreover, North introduces the Forever Stone, a piece of rock that the Four can use to send a message through time. It’s a clever piece of sci-fi writing, an idea that feels like it’s ripped directly from the mind of Mr. Fantastic. The Forever Stone offers a glimmer of hope for the heroes, yet it is also reliant on at least one member being capable of traveling in time to rescue the others. The ending is a nice throwback to classic serialized cliffhangers, where the situation somehow gets worse, leaving the team’s fate up in the air.

Fortunately, we ultimately know the Fantastic Four will be alright. This isn’t the mid-2010s era of Marvel comics when the company tried everything in its power to undermine the group’s comic standing due to rights issues with the films. Marvel will never forgo its First Family, but at least North is making its current adventure seem appropriately hopeless. You truly want to read the next issue after the end of this new number one. If there is a downside to the comic, it’s that artist Humberto Ramos’s art style can be divisive. His exaggerated body proportions, specifically his long limbs and torsos, can be off-putting to many readers. Ramos’ artwork probably works best with Fantastic Four, as his unusual body proportions are best with heroes like The Thing and Mr. Fantastic. Personally, Ramos has always been an artist I have difficulty warming up to. While I recognize the skill on display in Fantastic Four #1, Ramos continues to be an artist I find more uninviting than charming.

Nonetheless, the art does work for the story North is constructing and emphasizes the more lighthearted nature of the issue. Fantastic Four #1 is a fun issue that delivers an exciting new adventure starring the heroes that created the Marvel Universe. With Marvel Studios’ Fantastic Four releasing at the end of July, the company’s First Family is ready to take over the limelight.

Rating: 4 out of 5

What did you think of Ryan North’s and Humberto Ramos’s Fantastic Four # 1? Let us know in the comments!

The post Fantastic Four #1 Is a Great Silver-Age, Sci-fi Epic (Review) appeared first on ComicBook.com.

When the world is in need of hope and just a touch of light, few beacons are as powerful as Superman, and that’s formed a unique relationship between Superman and his adopted home of Earth in the mainline universe. DC’s Absolute Universe, however, is a different story, and while this world needs someone like Kal-El even more desperately, it’s also doing its best to snuff out that hopeful flame, and Kal is having a difficult time coming to terms with that. It paints a vivid and immensely compelling picture of a world that needs a hero and has a willing one in the wings but can’t seem to get out of its own way.

Over the course of the first arc, Jason Aaron delved into Kal-El’s childhood and his years on Krypton, bringing a new importance to his time there and the effect his parents had on the man and hero we now see before us. That’s become even more important as Kal attempts to navigate a world that is asking something of him at every turn, and it’s difficult to block out the noise, let alone attempt to figure out who he can actually trust.

While Kal’s own internal conflicts and evolving views towards Earth are at the center of everything, the issue also builds the world that surrounds Kal quite a bit. Throughout the issue, Aaron pulls back the curtain on the Omega Men, especially in regards to Jimmy Olsen, but we also get more context for Ra’s Al Ghul, Lazarus, Lois Lane, and perhaps most importantly, Sol and the Father Box.

That last bit is really important, as we start to get a bigger understanding of just where Kal is at this present moment regarding his own feelings. Sol has been his lone sounding board and ally since what happened with the Kents, and he’s being pulled in so many different directions these days that even Sol’s often sterile and safety-focused advice is starting to feel like just another person trying to get what they need from him as opposed to taking his own feelings into account. Kal’s ability to see the good in others has been chipped away at a bit, and you can’t help but be endeared to someone who is still finding a way to push that aside and stand in front of the bullets for others.

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Speaking of saving others, the art team of Rafa Sandoval, Fico Ossio, Ulises Arreola, and Becca Carey are simply exceptional at maximizing the impact Superman has on everything and everyone around him. Whether he’s undertaking the brutal task of extracting his own bullet or taking out an entire base of Peacemakers in the blink of an eye, every action and decision has visible weight and impact. The coloring and lettering are out of this world, too, with swaths of purples, reds, yellows, and blues pulling you into the action as the lettering leaps off the page and makes the action feel three-dimensional. That said, the Father Box “Ping” might just be my favorite, but that crazy “Booom” is right there behind it.

There’s a genuine weight on Kal’s shoulders that comes through the page, and amid all the grey is someone who just wants to help people. It’s a compelling conflict that doesn’t have any easy answers, and as we see in this issue in particular, it’s incredibly easy to lose hope. At the center of it is a man who simply refuses to, and hopefully those who need him most will finally stop pushing him away. This is all part of what makes Absolute Superman one of the best in the comics, and Absolute Superman #9 is no exception.

Rating: 5 out of 5

Absolute Superman #9 is in comic stores now.

What did you think of Absolute Superman #9? Let us know in the comments, and you can talk all things DC and comics with me on Bluesky @knightofoa!

The post Absolute Superman Wants to Save the World, but the World Won’t Let Him (Review) appeared first on ComicBook.com.

Marvel’s Ultimate books are basically the crown jewel of their publishing slate, with Ultimate Spider-Man turning heads as one of the best superhero books on the market. The rise of the new Ultimate Universe had readers asking a question that was presaged from the start — when was Miles Morales going to find his way there? As one of the few survivors of the old Ultimate Universe, fans knew it was only a matter of time before he was involved in the Maker’s shenanigans, and Ultimate Spider-Man: Incursion shows his first entry onto Earth-6160, after his sister used the card that the Maker left Miles to allow him to enter this new universe. Ultimate Spider-Man: Incursion #2 continues that story with an entertaining yet altogether unremarkable issue.

Writers Deniz Camp and Cody Ziglar are creators on two entirely different levels, and this book’s script is definitely an example of that. One thing that kept popping into my head as a I was reading this issue was that it was basically a comedy of errors — the Wakandans have a misunderstanding with Miles, Wasp, and Ant-Man that leads to a fight, Miles’s sister is left with a secret agent of SHIELD who tries to bring her to the organization, and the Silver Samurai kills her, keeping Miles from finding his sister. This is all crossover 101 stuff, and while it’s certainly entertaining, it’s also kind of disappointing. The Ultimate books have found a way to transcend the formulas that have been driving Marvel — and superhero books in general — but this issue not only doesn’t do that, it doesn’t feel nearly as special as it should.

This is a huge disappointment. Miles Morales meeting with the Ultimate Universe heroes should be a blockbuster, but this book never really finds what makes the Ultimate Universe so interesting. The only time it gets close is when we get into Ant-Man’s head, and he talks about his relationship with the Wasp. We get to see that this Hank isn’t much different from the one we know so well, and it’s the kind of interesting character moment that has become a huge part of the success of the Ultimate Universe. The Ultimate books boast some great heroes, and showing the complexity of Hank Pym is a step in the right direction. However, it’s a small step in a book that really doesn’t have much going for it other than a travelogue of the Ultimate Universe. I have a feeling that this book will play into the Maker’s grand entrance back to the world he created — we’re told several times that Miles’s sister is the key to the City, the Maker’s base — but the foreshadowing is so clumsy and basic, I have a problem believing that a writer of Deniz Camp’s ability would telegraph things so obviously. Ziglar I can see doing that, but Camp? He’s proven to be better than all of that.

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Jonas Scharf’s art is pretty good throughout the book. His lines have a weight to them at times that really works for most of the images, and he’s always been a good action penciler. The book’s fight scene is pretty cool, and features a great moment where Ant-Man goes into an ant hill to recruits helpers. There’s a fluidity to his art that makes the action kinetic, which really helps the fight. His character acting is also really, really good. The Ant-Man flashbacks take full advantage of this ability; you can see how happy Wasp is to see Ant-Man come out of his coma, and Scharf is able to wonderfully capture Ant-Man’s love for Wasp.

If there’s one problem I have with his art, it’s Miles without his mask. Young adults and children can be hard to draw, and while Scharf does a fantastic job with Miles’s sister, his Miles looks like he’s in his thirties, completely skipping a decade of his life. It kind of took me out of a few scenes; Miles looks so old. However, I love the way Scharf renders Miles’s Spider-Man costume. When his mask is on, it looks great. When it’s not, well, you’ll wish it was.

I think that everyone was pretty excited about this book when it was announced, but so far, it hasn’t really lived up to the expectations of being a part of the stellar Ultimate line. Don’t get me wrong, this isn’t a bad story. It’s perfectly fine, but this doesn’t feel like one of the Ultimate books, it feels like something from the mainline universe that I wouldn’t be incredibly interested in buying. A travelogue of the Ultimate Universe is fine, but there’s really nothing about this book that could make a new fan interested in picking up any of the Ultimate books. It’s an okay Miles Morales book, but that’s really all it has going for it other than some good art.

Rating: 3 out of 5

Ultimate Spider-Man: Incursion #2 is on sale now.

The post Ultimate Spider-Man: Incursion #2 Is the Most Basic Crossover Chapter Imaginable appeared first on ComicBook.com.

Superman is all the rage right now, and DC has been taking advantage of that. With James Gunn’s Superman premiering in the US, the publisher has been flooding the market with high profile Superman stories to get general audiences more interested in the character. It’s a great time to be a Superman fan, and Superman Treasury 2025: Hero for All #1 is a perfect example of just how to give fans a great Superman story that they don’t need to understand the character’s entire history for. Superman Treasury 2025: Hero for All #1 not only pays homage to the old Treasury comics — oversized comics starring Superman and other DC heroes — but gives readers a fantastic story that catches them up on everything they need to know in its pages.

Writer Dan Jurgens is back on Superman for this story, and it’s wonderful. One of the chief architects of “The Death of Superman”, Jurgens is one of the better Superman creators of the current generation. Hero for All is vintage Jurgens Superman, both in that it uses characters and ideas from his various Superman runs and that it’s just an outstanding Superman story. It has a little bit of everything — Superman’s stellar supporting cast of characters stepping up, mind control shenanigans, big stakes storytelling, and callbacks to several of his stories. Jurgens has been working on Superman for close to forty years now, and has helped define who modern Superman is, so choosing him for this comic was the exact right move.

I think one of the best parts about this book is that Jurgens is able to fit in a lot of exposition and makes it feel completely natural, which is no easy task. He has to explain who several villains are, as well as give any new readers a crash course in Superman history to make sense of it all, and does an outstanding job. Even as someone who knows the history of these characters and Superman in general, I never got bored with the exposition. Superman continuity can get pretty confusing, but Jurgens is able to boil it all down, taking the multiple threads of the character since DC Rebirth and weaving them together. Honestly, the fact that he was able make the whole thing make sense with a couple of pages is as much an accomplishment as any other part of the story. The story itself is fun alien invasion story, and Jurgens does a great job of pacing it and escalating the conflict, dropping plot reveals at exactly the right time to keep the reader hooked to the story.

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Bruno Redondo draws the vast majority of the book, and it’s outstanding. Redondo’s art on Nightwing pushed the envelope of what a comic could be and how it tells its story multiple times, but there’s not really any of that there. This is a more conventionally laid out comic, but that makes sense. This comic is meant for people who have watched the movie, people who aren’t students of the medium, so Redondo showing off wouldn’t really work. However, Redondo’s art is up to its usual standards of excellence, so the fact that he didn’t use any gimmicks doesn’t matter. Instead, there’s just excellent figure work and character acting, exciting action scenes, and perfect versions of multiple DC heroes appearing throughout the book.

Jurgens jumps on the art for the exposition pages, and as someone who grew up Jurgens’s Superman, it’s great to see him get a chance to draw the Man of Steel again. Jurgens’s style has evolved over the years, but it’s still simple and expressive, which is exactly what’s needed for the exposition pages of Superman’s history. Redondo and Jurgens were the perfect artists for a book like this; their simple, confident line work is exactly what a new reader needs to see. Adriano Lucas’s captures the colorful world of DC perfectly, and really helps enhance the book’s art. The art isn’t trying to be bravura, but that doesn’t mean it isn’t still impressive.

Superman Treasury 2025: Hero for All #1 is the perfect comic to give someone who wants to get into Superman. It doesn’t drop readers into the deep end of continuity, it just gives them exactly the kind of Superman story they need to see who he is and why he’s so amazing. I highly recommend this comic to give to, well, basically anyone. It’s a showpiece for Superman that will appeal to everyone from longtime readers to kids who want to see a mini-Superman movie in comic form.

Rating: 5 out of 5

Superman Treasury 2025: Hero for All #1 is on sale now.

The post Superman Treasury 2025: Hero for All #1 Is Superman At His Finest appeared first on ComicBook.com.

For years, comic book fans have known David Marquez as a premier artist, an Eisner-nominated and New York Times-bestselling talent who has defined the look of iconic characters in blockbuster titles like Marvel’s Miles Morales: Spider-Man and DC’s Batman/Superman. With The UnChosen, Marquez ventures into new territory, taking full creative control as both writer and artist for his first creator-owned project. The series has a unique history, beginning its life on the digital subscription platform Zestworld before being re-packaged by Image Comics as a four-issue print miniseries. This transition from a serialized webcomic to the traditional Western format leads to a debut that is brimming with fascinating ideas but struggles to give them all room to breathe.

The UnChosen #1 throws readers into a compellingly disorienting narrative split across two distinct timelines, marked simply as “Then” and “Now.” In the “Then” segments, we meet 13-year-old Aida as she awakens alone in the center of a massive crater, a survivor in a post-apocalyptic world with no memory of her past. She is immediately thrust into a conflict beyond her comprehension, hunted by soldiers and caught between two factions of superpowered beings. The “Now” timeline shifts to what is implied to be a later period, with Aida enrolled in a mysterious boarding school for “gifted” children. These students are being trained to master a power called “The Word,” but Aida is an outcast, unable to manifest the same abilities as her peers. Her rebellious and defiant personality quickly puts her at odds with both the school’s hierarchy and the resident bully, Ezra.

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The central mystery of The Unchosen is undeniably compelling. First, we don’t know what exactly “The Word” is and what it can do. Then, we don’t understand what event created the crater and how it’s connected to Aida. Finally, there’s no explanation of who the two superpowered factions are and why they are after the girl. We only know that one of them is led by Aida’s apparent protectors, Alex and Vasha. Marquez skillfully plants these narrative seeds, creating a strong incentive to see how they blossom. Plus, the revelation that the authority figures from Aida’s school are the very same people who rescue her in the apocalyptic wasteland forges a fascinating link between the fractured timelines.

However, for all its narrative hooks, The UnChosen #1 feels overambitious and, at times, convoluted. For starters, the issue juggles the familiar tropes of a magic school story with a dense post-apocalyptic sci-fi mystery, and not knowing how the two are related leads to a disjointed feeling. In addition, since the first issue doesn’t explain the state of this post-apocalyptic world, we get no idea of what the major threats of The Unchoosen are. Furthermore, while the fighting scenes take a fair number of pages and are visually spectacular, the powers of each combatant remain frustratingly vague. Characters unleash brilliant blasts of energy, but without a clear understanding of the rules of their abilities, the stakes of these conflicts are diminished. If we can’t tell who can do what, there’s no sense of real danger.  This clunky pace may be a casualty of adapting a story from a serialized webcomic into a condensed print format, as what might have worked in digestible online chapters feels overwhelming in a single issue. Still, it is an issue worth noting.

Where The Unchosen unequivocally shines is in its artwork. Marquez’s illustration, heavily influenced by the dynamism of manga, is on full display and is the book’s greatest strength. The action sequences are a whirlwind of motion, with fluid choreography and explosive energy effects that leap off the page. This is perfectly complemented by Marissa Louise’s color work, which brilliantly defines the tone of each timeline. The “Then” sequences are rendered in dusty, washed-out ochres and grays, emphasizing the desolation of the world, while the “Now” school scenes, though still tense, are given a richer palette filled with lush green that sets them apart. 

Ultimately, The Unchosen #1 is a visually stunning debut that offers a wealth of intriguing concepts. While it may buckle slightly under the weight of its own ambition, its central mystery and breathtaking artwork make it a compelling, if flawed, start to a promising miniseries.

Rating: 3.5 out of 5

What did you think of The Unchosen #1? Will you be picking up the rest of the miniseries? Join the discussion in the comments!

The post The UnChosen #1 is Overambitious, But Intriguing (Review) appeared first on ComicBook.com.

To say that things have been a little tense between the United States and her neighbors to the north, Canada, would be a little bit of an understatement. Between trade issues (think tariffs) and the current presidential administration making bold claims about wanting to turn Canada into America’s 51st state, it’s been a bit of a weird, strained time. It’s also makes for some eerily timely art, specifically the upcoming White House Robot Romance. The new series from writer Chip Zdarsky and artist Rachael Stott will hit shelves soon (final order cutoff is July 14th) from DSTLRY and follows the unexpected love story between two worker robots in the White House where the U.S. is on the brink of war with Canada. Now, ahead of the book’s release, ComicBook has an exclusive, spoiler-free early review as well as a preview of the first issue, offering the best look yet at this unique story that is not only weirdly timely, but thrilling and beautifully human as well.

In White House Robot Romance #1, we’re introduced to a White House in a bit of chaos as tensions with Canada are starting to reach a tipping point. While it’s unclear exactly what has prompted the situation between the typically friendly neighbors, things are now at the brink of all-out war and it’s a situation where the United States certainly doesn’t seem like the good guys. Enter Service-1, a Secret Service robot assigned to the president and back in his service after having taken a bullet for the leader. Among Service-1’s tasks — and seemingly his primary task — is to taste the president’s food to make sure it’s safe and not poisoned. The food is prepared by Chef-9, who is a chef robot as the name would imply and it’s pretty quickly made clear that the two robots share a special bond.

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Meanwhile, among the human players in this story we’re introduced to IT specialist Mr. Dean. who is in a relationship with a Canadian national and thus has some secrets of his own and Sara, an artist who is finding herself dealing with the infiltration of robots in her own field. Both Mr. Dean and Sara both end up having shocking intersections with both Service-1 and Chef-9 as the issue progresses because, well, what’s a robot romance without intrigue, mystery, and something going just a little awry?

There’s not much else I can say about the actual story of White House Robot Romance; it would give too much away and it’s truly a story that needs to unfold on the page for the reader because it is beautifully paced and very well structured. However, what I can say is that while the premise — seemingly sentient robots subverting their programming to go rogue by falling in love — seems wacky in the best possible way, Zdarsky is actually using the novel premise to really touch on some important issues. And it goes beyond the international crisis brewing between America and Canada. The issue also takes on a bit of commentary about the use of A.I. and what place it has — or does not have — in creative arts. There’s also the questions of sentience and free will and what it actually means to have feelings and be, well, human. At one point in the issue, Service-1 and Chef-9 have a conversation about their programming and they question if their programming is really any different than how children are influenced and set upon their paths as they develop into adults. It asks the question are people really all that different than machines and it’s a question that lingers with readers well after the issue ends, even with the twists and surprises still in store.

Ultimately, while the premise is zany and the timing eerie (though, fun fact, Zdarsky actually wrote the story months before tensions between the U.S. and Canada made headlines,) White House Robot Romance is a deeply thoughtful book that just so happens to be wrapped in international intrigue and, well, robots. It’s a book you definitely do not want to miss and one that will have you rooting for a robot romance, too.

Rating: 5 out of 5

FOC for White House Robot Romance is July 14th.

The post White House Robot Romance is Perfectly Timely and Surprisingly Human (Exclusive Early Review) appeared first on ComicBook.com.

While all of DC’s Absolute books have been taking some risks, Absolute Green Lantern feels like the book taking the biggest swings. That’s partly due to the slow-burn approach and the overall mystery of the Corps, but equally as important is how the characters have moved across the board and how they are interacting, especially in Absolute Green Lantern #4. There’s still a haze of revelations to come in Absolute Green Lantern, but what’s there is insanely rich and filled with hints at deeper Lantern lore, and it’s incredibly impressive how all of those various elements seem to fit together even in this early stage. Absolute Green Lantern is risking it all, and it’s the big franchise swing I didn’t realize I needed, but couldn’t be happier about now that it’s here.

Al Ewing has spoken about his approach to marquee characters coming into the series, and Hal Jordan is the perfect embodiment of that in action. If your run in the mainline DC universe was pretty great, it’s going to be shaken up quite a bit this time around, and few are in as bad a place as Hal is at the moment. While he’s certainly an antagonist due to the entity that’s powering him, Ewing doesn’t remove the humanizing elements to his character, leaning into the grey that seems to power much of this world.

Ewing builds upon that foundation in issue #4 as Hal continues to evolve in both his abilities and as a conflicted antagonist, but equally impressive is that the series leans just as much into that grey regarding its lead hero. As the layers are pulled away from Jo’s journey to power, it becomes apparent that she’s just as conflicted and traumatized by the power she now possesses, just in a completely different way. No one in this world seems to be spared from this, and it will be interesting to see if after characters come to terms with this, they can find a way to relate to each other as well.

Nothing is what it seems at the beginning, and this extends to Abin Sur as well, who in many ways is becoming the central figure of the series. While Jo and Hal are clearly the leads, everything in their world and this bigger-than-life story actually revolves around Abin Sur’s actions and purpose, and as we learn in issue #4, even the things we think we know are actually not truly all that clear. Issue #4 changes your impression of Abin Sur substantially, and yet there are still all sorts of questions that demand answers. That demand for answers is a compelling part of the overall mix and keeps you moving forward.

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More changes are coming too, as yet another well-known character enters the fray with a new look and very different attitude, and as someone who tends to get sick of this character in the mainline universe, I’m intrigued to see where this particular reinvention goes. The character changes in this series have been some of the boldest of the Absolute line, and we haven’t even tapped into the emotional spectrum of it all, either, which raises the hype meter for other characters tenfold.

The changes to characters are a place where the series shines, but it also shines in how it weaves in Lantern mythology and turns it on its head. The first two pages of this issue alone completely throw any assumptions I had about Hal’s power out the window, and the possibilities of that change are exciting, to say the least. Even Jo’s role as a Green Lantern isn’t what you may have assumed, and it’s this ability to subvert expectations right under your nose that continues to make the series one of the most surprising week to week.

Bringing this all together in truly out-of-this-world fashion is artist and colorist Jahnoy Lindsay and letterer Lucas Gattoni. Lindsay and Gattoni have taken internal exchanges between Hal and the entity that powers him and brought them to life in a truly creative way that conveys so much of what the entity wants and the toll it takes on its host. Then the team brings all the aforementioned elements of Lantern history and mythology crashing together in a gorgeous splash page, and once again, that brings new elements (and even emotions) to the characters directly involved. After four issues, it’s difficult to think of a better creative team for this series, especially as the ambitious nature of this series starts to become clearer.

Absolute Green Lantern does need to start answering some of these bigger questions soon, but the journey to this point has been incredibly rewarding, shifting direction and expectations consistently. The Green Lantern Corps and central idea feel as big and epic as they’ve ever been, and while we still don’t know all of the answers, that’s part of what makes this series so captivating in the first place, and I’m 100% along for the ride.

Rating: 4.5 out of 5

What did you think of Absolute Green Lantern #4? Let us know in the comments, and you can talk all things comics and Green Lantern with me on Bluesky @knightofoa!

The post Absolute Green Lantern is the Big Franchise Swing We Didn’t Know We Needed appeared first on ComicBook.com.

These Marvel Godzilla vs. one shots have been fun yet a little shallow. These comics offer fun skirmishes between the King of the Monsters and a Marvel hero or team. They don’t go any deeper than that, and the same can be said with Godzilla vs. Thor by Jason Aaron and Aaron Kuder. Nonetheless, the creative team elevates the material to a much higher standard than the previous one-shots, imbuing the comic with mythological storytelling that feels like it came directly from ancient times. Godzilla has never appeared as evil as has in this issue, and Thor has never come across as heroic.

Aaron writes Godzilla vs. Thor as a tale of two gods, the classic trope of an indomitable force meets immovable object. Kuder’s pencils are the strongest within Marvel’s recent Godzilla comics, containing his trademark attention to detail. Both lead characters look amazing in the comic, and Thor’s thunder is suitably epic. The colors from Jesus Aburtov are sublime, making everything pop, with Thor’s lightning sparking out of the pages themselves. Godzilla vs. Thor is mostly an all-out brawl between the God of Gods and the King of Monsters, yet when they look and read as amazing as this, it boosts the comic into one of Marvel’s best.

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Godzilla vs. Thor Is Legendary

Right off the bat, Aaron establishes his Godzilla credentials by having the comic be a continuation of one of the best Godzilla films from Toho, Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack. The 2001 film notoriously featured the most malicious Godzilla in the franchise, one that is fueled by the souls of the dead Japanese soldiers. His eyes are chalk-white, showcasing the pure rage inside the monster. The previous Marvel Godzilla comics never specify what version of Godzilla the heroes are fighting. The artists in the comics would take artistic liberty when drawing the King of the Monsters, traditionally illustrating Godzilla with the same design in whatever era the comic is supposed to take place in.

Aaron made the conscious decision to specify which version of Godzilla Thor is facing, giving Godzilla more dread. While most other Godzilla variants have some good, the 2001 Godzilla is an unstoppable force of pure evil. The final haunting shot of Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack had Godzilla’s beating heart sink to the bottom of the ocean. It’s one of the most disturbing endings to any Godzilla movie, and Aaron continues that plot thread by having the Hand resurrect Godzilla with his beating heart. The context may be lost on some people who haven’t experienced the 2001 motion picture, but the backstory of this version of Godzilla adds to the character’s legend. Thor then arrives in Tokyo to fight Godzilla, delivering an enjoyable fight where Thor outsmarts the monster by teleporting him to different realms. However, that was simply the prologue for the bigger fight over the destruction of Asgard. Godzilla is given a power-up with a piece of the All-Black, the legendary blade used by Knull and Gorr the God Butcher.

The final clash between Thor and Godzilla is one of the most majestic battles detailed in the pages of a Marvel comic. Thor’s situation has never felt more hopeless, yet the hero perseveres. Aaron’s narration adds to the mythological tone of the book, describing Godzilla’s indestructibility with grandeur. Likewise, Thor’s unbreakable will is heightened throughout the narration, making the God of Thunder feel like a true God. It’s the same type of narration Aaron used to great effect in the God Butcher arc in his God of Thunder book, emphasizing Thor’s godhood to mythological levels.

Like all great legends, Aaron doesn’t give the comic a true ending, but not in an unsatisfactory manner. The writer gifts Thor and Godzilla a new myth that will go forth forever, with neither ever backing down in life or death. If there’s one downside to this comic, it’s that some of Aaron’s dialogue can be flat. Thor’s characterization is mostly described through the omnipotent narration rather than through his words, which works out for the comic, but doesn’t give Thor much personality. It’s also possible that Aaron made Godzilla too overpowering, yet Godzilla’s power made Thor feel like an underdog, making the final clash between the two titans that much more satisfying. Aaron and Kuder present a modern-day epic with two of the most recognizable legendary figures in current human society. Godzilla vs. Thor is the template for transforming superheroes and Kaiju into modern-day myths, stories that we will pass down for generations.

Rating: 5 out of 5

What did you think of Jason Aaron’s and Aaron Kuder’s Godzilla vs. Thor? Let us know in the comments!

The post Marvel Saved the Best for Last with Godzilla vs. Thor (Review) appeared first on ComicBook.com.

For fans who still miss the X-Men’s Krakoa era books, Marvel has released this new Hellfire Vigil one-shot to remind readers what was lost while foreshadowing upcoming story arcs for multiple X-Men titles. Even though the book is a post-mortem eulogy for the Krakoa era, it’s more of a celebration of that era than a funeral. The X-Men and the rest of the mutants in the world are choosing to laugh in the face of hardships. Rather than give the enemy what they want, mutants are instead having fun to spite them. It’s a heartwarming sentiment that serves as good practice for real life.

Most of the current X-Men writing team contributes to the Hellfire Vigil, including Jed MacKay, Stephanie Phillips, Gail Simone, Eve L. Ewing, Jason Loo, and Murewa Ayodele. Certain sections of the comic work better than others, but Vigil is fairly consistent throughout. Hellfire Vigil is a solid comic that reminds readers what made Krakoa so special, emphasizing the community built around that specific era. Marvel may want to move past Krakoa, yet fans are not that willing to forget, and Vigil is a great way to get your Krakoa fix.

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Hellfire Vigil may be a commemoration of Krakoa, but it is also deeply sombering. Mutants have never felt more like pariahs in their own world than they have now, and the mutants’ fall stings even more because everyone had paradise not too long ago. Characters hold candles for everything they lost, and wear black as if it’s a funeral. Even Dazzler’s concert ends on a bleak note, highlighting how every moment of a mutant’s existence is under attack. The X-Men metaphor has never felt more accurate to reality than ever before, making Vigil a tragic reminder of how everything is coming down around us. However, the comic reminds readers to appreciate the little joys in life, no matter the adversity.

The full cast of nearly every main X-Men team book is given the spotlight in the comic. Even the Marvel Unlimited-exclusive Astonishing X-Men team pops in for a brief appearance, delivering one of the sadder moments in the book where Banshee reunites with his daughter. Some casts get more attention than others, with Simone’s Outliers not getting much attention other than Deathdream dancing with Psylocke. The Exceptional X-Men trio is given a heartwarming moment that’s worth reading for any fans of the newer characters. Hellfire Vigil also features several X-Men pairing up, developing new romances among the characters, and being a nice throwback to the classic era of soap opera X-Men comics. Temper’s and Ransom’s romance is given the most focus, and is one of the weakest parts of the book. The comic presents Ransom’s one-liners and flowery dialogue as charming, and it certainly works for Temper, but it comes across as more cheesy than anything.

Colossus and Magik share a rare, joyous sibling moment that we wish to see more of. Jean Grey pops in on Vigil to reveal a major revelation about mutants’ history among stars, yet nothing comes from it, and it feels more like advertising for the Phoenix comics. Scott, who refused to attend the Vigil out of bitterness for how often mutants lose everything, has a sweet reunion with Jean that we hope foreshadows more stories with the power couple. Storm gains the final part of the comic, revealing a potential future for the character that may dramatically change her going forward. The tease is undeniable and tantalizing, yet we wait to see how committed Marvel is to that possible change to one of its premier superheroes.

Multiple artists work on the issue, with Sara Pichelli penciling the best art. Pichelli illustrated Dazzler’s final song, imbuing that section with a mixture of melancholy and hopefulness. Luciano Vechhio also delivers strong work, especially during the Storm ending. Overall, Hellfire Vigil is a great comic and worth reading. The issue may have multiple different writers and artists, with some sections working better than others, but it reads coherently. Vigil is a beautiful snapshot of a recent era of X-Men comics while offering some interesting teases for the future.

Rating: 4 out of 5

What did you think of Marvel’s Hellfire Vigil? Let us know in the comments!

The post Marvel Mourns The Krakoa Era With a New Hellfire Vigil (Review) appeared first on ComicBook.com.

The Gotham City Sirens are one of those ideas that was always good, but works much better in the modern day than it did when it first dropped. DC made the perfect choice when they brought the group back last year in getting Leah Williams to write the book. Williams showed that she could do an all-girl team with X-Terminators, a Krakoa Era X-book that caused something of a minor sensation, and bringing her in to write a group like that for DC, especially with on-again, off-again lovers Harley Quinn and Poison Ivy, was inspired. Williams is back for more Gotham City Sirens fun with Golden City Sirens: Unfit for Orbit #1, and her and artist Haining do a fantastic job right from the start.

The Gotham City Sirens are an interesting concept, and one that is made for Williams’s type of madness. Williams excels at books with all-female casts, because she captures that interplay between women that a male writer just doesn’t understand. Her women feel natural, and that’s one of the strengths of Unfit for Orbit. This first issue is classic heist comics stuff, with Catwoman “building the team” by recruiting an in the shower Harley Quinn, who calls Poison Ivy while she’s mid-coitus with her assistant Janet. The whole opening sequence is basically the first hour or an Ocean’s movie, but with three ex-supervillains who worked together, and much funnier. Williams’s joke timing is impeccable, and while it can be tempting to overstuff any Harley scene with humor, Williams finds the right balance. In fact, right from the beginning, she lays out who each character is with the dialogue, so if for some reason you’ve never read about these three, you get what each of their characters is.

Look, I’m going to be frank with you — if you didn’t like X-Terminators, you’re probably not going to like this book. While X-Terminators was way more sexual than this comic, to its detriment in my opinion, it feels like Williams found the right balance with the humor so it isn’t all just sex jokes. Williams was an inspired choice for rebooting the Gotham City Sirens, and this issue shows that she’s overcome some of her worse tendencies to give readers a nicely paced opening. It’s funny, there’s tension, and the reveal of the big bad is perfect. This isn’t usually the type of book I like, but the big bad of the whole thing has me very interested in seeing just how the Sirens will get through this one.

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Haining’s manga-influenced pencils are gorgeous throughout the book. I loved her page layouts for the first few pages, especially when Harley and Catwoman get into a little mistaken identity fight. The rest of the book’s layouts are more traditional, which works for the story as it goes. Haining understands how to use the panel structure of a page for visual storytelling, and establishes a great flow throughout the issue.

Her pages are deliciously detailed, and things never get sketchy. As I was reading the issue, I thought to myself that this is just colored manga art (shout out to colorist Ivan Plascencia, whose colors fit the art beautifully), and that’s exactly what it is. The best manga art is ridiculously detailed, the black and white art not able to use color to hide imperfections. Haining’s art has that exact kind of feel. This is a huge compliment. Here’s another compliment — you could flip through this book and not read any of the words and still understand the story. Haining is a master, and I can’t wait to see more of her detailed, fluid art on this book.

Gotham City Sirens: Unfit for Orbit #1 is a fun ride from start to finish. Williams is definitely in her element here, but you can see how she’s grown as a writer since X-Terminators. This is a funny, entertaining comic, and Williams doesn’t just fall back on sex humor on every page like she did in X-Terminators. Haining’s art is perfect throughout this book; her visual storytelling abilities are a huge part of why this comic works so well. I honestly didn’t think I’d enjoy this comic as much as I did, but it won me over.

Rating: 4 out of 5

Gotham City Sirens: Unfit for Orbit #1 is on sale now

The post Gotham City Sirens: Unfit for Orbit #1 Is a Wild Romp with X-Terminators Flavor appeared first on ComicBook.com.

Teaming Deadpool and Wolverine has proven to be big business for Marvel, and Wolverines & Deadpools #1 is the latest way the publisher has decided to cash in on the duo. This book teams the Wolverines, Logan and Laura, and the Deadpools, Wade and Elle, for a mystery in Simkaria. Children are disappearing from a remote villain and they pay Deadpool to put together a team to find the kids. This is where the Wolverines come in, as Wade loves to work with Wolverine, and wanted to arrange a “play date” of sorts between their daughters. This seems like a great team, but this first issue never really gets going for a variety of reasons.

Deadpool & Wolverine showed moviegoers something comic readers always knew — that Deadpool and Wolverine are great together. However, Wolverines & Deadpools doesn’t really do anything to make that apparent. Writer Cody Ziglar seems to understand the basics of each character, but can’t ever make the magic work between the two of them. Reading this and reading the superior Deadpool/Wolverine shows just how bad Ziglar is at writing these two characters. It all feels paint by numbers, and that’s a huge problem with this book as it goes on. See, the fun of Deadpool and Wolverine together is the extremes that the writer takes the character to as they bicker and fight, but also showing that there’s some affection there. Wolverines & Deadpools has an interesting premise, but the needed character interplay just isn’t there. On top of that, Ziglar’s Deadpool fourth wall breaks again feel like he understands what they are but for some reason can’t make them funny. Ziglar wrote Deadpool’s last series, and reading his Deadpool in this issue shows me why that book was cancelled.

Another problem with the book is the pacing. This issue moves so slowly, and the whole time I was reading it, I was questioning when something exciting would happen. On the one hand, this book might get picked up by MCU fans who don’t know who Elle is, so Ziglar does some clumsy exposition writing to set up the status quo for the readers. However, it all feels agonizingly show, and by the time I got to the exciting parts at the end, I kind of didn’t really care anymore. The last page reveal is pretty cool (I’m a big fan of the big bad), but judging from this issue, I don’t really have a lot of faith in Ziglar to make this story work in the long run.

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Roge Antonio has always been hit or miss for me, and a lot of this issue feels like a miss in places. Antonio’s character acting and figure work are pretty good, but any time he draws long shots, things get a little sketchy. There’s some particularly egregious examples of this in one of the opening exposition scenes. Faces are never easy, and the further out you pull the camera, the harder they get. However, some of the faces in this book look really sketchy. He does better with masked faces, but the problems with his faces are apparent right from the beginning.

As for the rest of the art, it’s fine. The fight scenes have a good flow, but it’s nothing spectacular. The page layouts are his biggest strength in the action scenes — it’s certainly not the detail, which gets sketchy several times — and really help give the scenes the kinetic energy they need. The art is better than the writing, at least (although that’s not really hard), and the last page reveal looks pretty cool. There really isn’t much more to say about the art; it’s serviceable for the most part, but the problems outweigh the pros.

I can’t recommend Wolverines & Deadpools #1 at all. It’s an unfunny Deadpool and Wolverine comic, and you have to work pretty hard to pull that off. You can see that Ziglar understands the basics of the characters, but can never really make the whole thing work. The pacing is glacial and it doesn’t really need to be. There’s an exciting way to tell this same story and introduce Elle to readers that might not know who she is, but Ziglar isn’t able to find it. Antonio’s art is mostly good — it reminds me of German Garcia’s blink and you’ll miss it run on X-Men from the late ’90s in a good way — but there are a few problems with it. If you need to get your fill of Deadpool and Wolverine together, just read Deadpool/Wolverine or watch the movie again. This ain’t it.

Rating: 2 out of 5

The post Wolverines & Deadpools #1 Never Feels Like It Gets Going appeared first on ComicBook.com.

The Absolute books are the best comics on the stands, each of them giving readers entirely new versions of the greatest heroes in comics. Absolute Martian Manhunter grabbed attention immediately. Absolute Martian Manhunter is comics as high art, a visually arresting, mental stimulating story starring FBI agent John Jones, and a mysterious Martian presence in his mind. The book gave readers a new version of the White Martians, and has impressed readers with every new issue with its amazing visual storytelling. Absolute Martian Manhunter is brilliant, but there have been some complaints about the book in recent months. However, Absolute Martian Manhunter #4 finds a way to reinvigorate the book, giving readers a beautifully layered story that digs into the characters more than any issue so far.

Writer Deniz Camp has been setting up the new threat of the White Martians since the second issue of the book, but takes it into high gear with the latest issue. The book revolves around the White Martians using the sun itself as a weapon, as a heat wave causes tempers to flare across Middleton. Camp does a great job of setting up the various conflicts that the White Martian has flared up, presenting readers with little moments of city life out of control. Each little vignette is perfect, but the book has been doing things like this since it started. However, Camp isn’t done there, as he finally takes a look at the Jones family, specifically the dissolution of the marriage of John and Bridget. John has been sneaking out to deal with the White Martians, his marriage suffering from his tendency to overwork and disappear. It all comes to a head in this issue, and it gives the book the emotional core that it’s been missing since the beginning.

As cool as the various conflicts are, it’s this one that is the most poignant. We see all of the problems written on Bridget’s face from the first moment she appears in the issue, and as it goes on, the marital gulf keeps extending, growing into a chasm that neither of them can bridge. It’s presented with a heart-wrenching beauty, and much like the violence that has gripped the city during the White Martian influenced heatwave, the whole thing explodes. This is brilliant character work, and Camp is able to put readers directly into the marriage. There’s so much emotion in this section of the book. The fight between the two of them is the heart of the issue, and it’s done so very well. Camp built this moment up throughout the issue, and when he hits readers with it, it’s unexpected despite being telegraphed from the beginning. This is bravura storytelling, and it shows the promise this book has had ever since it began.

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The art has been the best part of Absolute Martian Manhunter from the beginning, and this issue is no different. Javier Rodriguez is operating on a level that few other artists are right now, but if we’re being honest, his art started to feel pretty same-y as each issue has gone on. The first issue found an entirely new way to visually represent telepathy, using color in awesome ways, but Absolute Martian Manhunter #4 goes in new directions. Rodriguez continues to find new ways to show the mental effects of the White Martian’s attack, and it’s just as great as the earlier issues. Readers got used to the highly colorful pages, with the colors representing thoughts and emotions, but Rodriguez goes in new directions. Before it was a conflict of the mind, but this issue drags things into the real world, with Rodriguez using new little tricks. There are some sensational panels in this issue. The way he uses visuals is inspired from the first page, and it keeps going from there, as he brings the script to life in new ways.

The fight between Bridget and John wouldn’t be the same without the amazing art of Javier Rodriguez. His character acting really sells the emotions of the moment. Looking at Bridget, you can see exactly how she feels in every panel. The art keeps ratcheting up the tension of the moment, until it all explodes, literally, in a gorgeous full page spread that captures the moment everything in a marriage can go boom. Rodriguez is showing his mastery of the comic page with every issue, and this one is his greatest work so far. The page layouts are amazing and Rodriguez’s use of color continues to be the best in the business. I really can’t say enough about the book’s art. Each little moment builds and builds, and the art is the key.

Absolute Martian Manhunter #4 is easily the best issue of this book so far, and that’s saying something. By now, we’ve come to expect the non-traditional threat of the White Martians, and Camp is again showing that he’s thinking on levels that few others are. Adding in the character work on the Jones is the icing on the cake, and shows the potential of this book. I’ve called Absolute Martian Manhunter a work of art with every chance I’ve gotten, and this issue proves it. There’s so much happening on every page, so much emotion, and it uses its 21 pages perfectly. You won’t read a better comic this month, and you probably won’t read a better one this year. Camp and Rodriguez are working at a level that few other creators are, and that’s all there is to it.

Rating: 5 out of 5

The post Absolute Martian Manhunter #4 Is an Absolute Stunner appeared first on ComicBook.com.

The X-Men are in a strange place right now. “From the Ashes” has divided the fandom, the opening sales success of the books petering out for a lot of the line. There have been a lot of problems with “From the Ashes”, and it’s been met with some pretty big failures. However, there have definitely been diamonds in the rough, and X-Men: From the Ashes: Demons and Death #1 is one of them. There’s two different stories in the book, both of which takes place in the time period between the end of the Krakoa Era and “From the Ashes”, with the first story focusing on the tragedy of Havok before he joined the new X-Factor, and a story starring one of Wolverine’s most dangerous villains: Omega Red. This is some good old fashioned character-driven X-Men goodness, and it’s a shame that more of “From the Ashes” isn’t like this.

Alek Paknadel wrote the Sentinels miniseries, one of the better installments of “From the Ashes” and he brings that skill to this book. The first story picks up from where the Krakoa Era book Dark X-Men ended, revealing why Havok looked normal in X-Factor #1 after being resurrected as a zombie by Madelyne Pryor. The story focuses on K’yrb, a demon that was helping Maddie with Havok, as he works to cure the unfortunate Summers brother. There’s a good mix of action and character throughout the story, and it brings back some classic X-Men characters like N’astirh. It’s honestly a pretty great story, all told, nicely paced and full of emotion. It shows the twisted nature of Maddie and Havok’s relationship, and is a wonderful little chapter of her evolving story. Paknadel does a fantastic job with every character and I’d love to see him write even more about Maddie in the future. The first story is awesome, and I figured this issue couldn’t get any better after finished this story.

However, the second story focusing on Omega Red is even better. Omega Red is a character that is very hard to like. He’s a monster, and it often seems like the more we learn about him, the worse he gets. Paknadel does a brilliant job of actually making Omega Red sympathetic, using flashbacks to tell the story of the only person who was actually nice to Omega Red as he returns to his hometown to find her. Of course, things don’t go well, and we get to see Omega Red as a righteous agent of vengeance. Paknadel puts us in Omega Red’s head for the first time, and does a great job of making us actually feel bad for him. There’s some tremendous action in this story, showing just how scary that Omega Red can be. There’s a moment where he talks about how the members of the Politboru called him “righteous” as a joke, but the story shows that he has that tendency in him. Omega Red is a monster, but sometimes, only a monster can make things right. That’s the throughline of both stories, honestly — monsters who have done terrible things making even worse evils right.

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The art by Phillip Selvy does a tremendous amount of heavy lifting. The linework is heavy and gives the book’s art a darkness that works brilliantly. His art on the first story, at times, leaves something to be desired when it comes to the designs of the demons and zombie Havok, but it definitely works for the story. There is a Polaris demon that is pretty awesome, and he does a good job with Maddie and Polaris when they appear in the book. With Maddie, sometimes it feels like the printing process messes up the linework on the character, but only her, which is strange. However, Selvy’s page layout and detail are pretty good overall, giving this story some cool visuals.

The second story’s art is just like the writing, superior to the first. The flashbacks have a nice sepia tone to them, supplied by colorist Arthur Hesli (who does a tremendous job on colors throughout the issue), that set the scene. He does a great job of capturing the sadness of the script in this story, as well as the hopelessness of Soviet life, which is very important to its tone. Selvy is able to capture the complexity of Omega Red, allowing readers to see him in an entirely new light. The action scenes in this story are great, but that’s a given after seeing how Selvy and Hesli rendered the fights of the first story.

After reading this issue, I want Paknadel, Selvy, and Hesli to work together on either a Maddie or Omega Red book. I didn’t have high expectations for this book, but was pleasantly surprised with every page. Demons & Death is the perfect title for this book. It’s pretty dark, but there’s a lot of emotion and sadness, a sense of melancholy from broken love. You should definitely pick this book up. “From the Ashes” can lean too much on nostalgia, which is something of a problem, but this book’s character focus is perfect and it’s what we love about the X-Men.

Rating: 4.5 out of 5

X-Men: From the Ashes: Demons & Death #1 is on sale now.

The post X-Men: From the Ashes Demons & Death #1 Is an Unexpected Pleasure of a Comic appeared first on ComicBook.com.

Marvel’s Ultimate Universe has been a breath of fresh air across the board, but Ultimate Spider-Man has been in a tier all on its own. To understand why, one need look no further than Ultimate Spider-Man #18. Every character has something memorable and important to contribute to the whole, while the same is true of key concepts and story threads that all feel like they are leading somewhere meaningful. The artwork captivates as much as the dialogue, and even after almost 20 issues, the series still finds ways to subvert one’s assumptions and expectations. Ultimate Spider-Man continues to be the crown jewel of Marvel’s Ultimate kingdom, and that’s likely not going to change anytime soon.

Jonathan Hickman has never had an issue with building an extensive cast of characters within a story, but it’s the attention he pays to each of those characters along the way that stands out, especially when you look upon the bigger picture and realize that none of the subplots ever manage to overwhelm the central character. This issue alone includes further exploration of the Mysterios, the evolving relationship between Richard and Felicia, and what Otto’s been up to, in addition to what’s happening with Wilson Fisk, and yet Peter, MJ, and his immediate family are still unquestionably driving the car.

No character feels disposable or simply there for continuity’s sake, and each interaction is rewarding unto itself. Ben Parker continues to be one of the most brilliant shifts in Peter’s story and family dynamic, and it’s a joy seeing him interact with not only MJ and May but also J. Jonah Jameson, who has been yet another revelation in this switched-up universe. That’s even before we get to Harry Osborn and Gwen Stacy, who feel miles away from any shackles of fate they once held in the 616, and they are flourishing in every conceivable way.

Harry’s got all the baggage with his father like before, but he’s channeled it in a different way this time around, and it’s changed his friendship with Peter and his relationship with Gwen. Speaking of change, Gwen’s shift is a sight to behold, and watching the various members of this ancient collective clash in ideals, approach, and purpose is endlessly compelling, as is Gwen’s ability to forcefully steer the ship forward, whether the rest want to or not.

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We’ll get to one last key sequence in a minute, but first, I want to praise the magnificent work of artist Marco Checchetto, colorist Erick Arciniega, and letterer Cory Petit. This issue bounces between contentious exchanges and almost breezy battles under the New York skyline, and it all pops off the page with the same intensity and vibrancy regardless of locale or circumstance. Checchetto gets a chance to truly showcase how much of a natural he is as a Spider-Man artist, mixing in some of those classic Spidey-swings and maneuvers but with a modern flair. Arciniega’s colors are brilliant throughout, shifting from murky greens and browns to bold purples and reds on a dime, and it all looks flawlessly cohesive and of the same world.

That brings us to one of the book’s final sequences involving Richard and Felicia, and the artwork shifts yet again, embracing the shadow-heavy blacks and greys and pairing them with the stark white of Richard’s suit. Then there’s the context of what this particular scene means, and while I won’t spoil this scene here, what I will say is I always loveit when a story delivers a twist and then lays out immediately why it makes all the sense in the world while not undoing everything that came before.

Ultimate Spider-Man is a force to be reckoned with in every sense of the term, and thanks to meaningful stakes, a sense of heart and family at its core, and truly stunning artwork across the board, it will continue to deliver at an absurdly high bar.

Rating: 5 out of 5

What did you think of Ultimate Spider-Man? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Ultimate Spider-Man Proves Why It’s the Crown Jewel of Marvel appeared first on ComicBook.com.

DC Comics is known for its fractured continuity, but all of that changes with New History of the DC Universe #1. This is the second time in the last 50 years that DC has decided to outline the history of its universe for fans — the first time came in The History of the DC Universe that came out after Crisis on Infinite Crisis — and they picked the perfect writer for the job: DC historian Mark Waid, one of the best writers working right now. This is the perfect book for DC fans, laying out the history of the DC Universe from the beginning of time to the destruction of Krypton. It’s exactly what fans have wanted for years, taking the many esoteric DC characters and concepts and bringing them back into the fold of the DC Multiverse.

The book is a story told by the now powerless Barry Allen, as he writes down the known history of the DC Multiverse, starting with the creation of the Multiverse. It’s a great choice, partly because Barry hasn’t really had anything to do since he lost his powers (other than scolding Wally West in recent issues of The Flash about his actions in the war against Eclipso,) but also because Barry Allen is such an important part of DC history. He’s the one who heralded in the new DC Universe of the Silver Age, so making him the chronicler of the history of DC is exactly what the doctor ordered. Waid is well-known for his love of the Flash — it was writing Wally West that made him a star — so the writer using Allen as the person telling the story of DC is fitting. From there, readers get an amazing look at the history of DC. For anyone who’s owned a DC Encyclopedia, this book is full of characters you’ll recognize but rarely read a story about, from Anthro to Viking Prince to Arak, Son of Thunder to the Western heroes besides Jonah Hex to Enemy Ace and the WWII war story heroes.

For longtime DC fans, this is a comic that will have you smiling. Waid is able to cram a lot of DC history into the book’s captions, giving readers just what they need to know about each one. I find myself pointing and smiling, calling out with happiness every time some esoteric DC character that I haven’t seen in a book was brought up. A lot of people might think that a book like this, which is just a history lesson on a fictional multiverse, could be boring, but there’s something undeniably fun about the whole thing. Waid’s love of DC comes through on every page and it’s honestly nice to know exactly what happened in the history of DC. There have been plenty of times when this sort of thing would make fans very happy — one of the biggest problems with the New 52, for instance, was the lack of knowing what was and wasn’t canon — and this is the best time for it. For fans that aren’t as familiar with DC, this is the perfect primer. I really hope DC plans on reprinting a lot of the classics that this book references, because this book is going to make people want to known even more.

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The art in this book is sensational. Artist Jerry Ordway, one of the greatest writer/artists in DC history, and Todd Nauck, whose more modern animation style has always been gorgeous, give readers full page splashes of the events of DC history. Ordway and Nauck’s styles aren’t at all similar — Ordway is old school and Nauck is a student of ’90s style anime influenced art — and that’s part of the charm of the comic. The splash page style of the book is perfect for the narrative, what there is of it. Each page combines the heroes of multiple eras. There aren’t really panels, but nothing gets confusing.

The art works with the script to make this an exciting read. It can’t really be called a story — there’s no actual narrative other than just history — but each little snippet of the book gives readers a dynamic scenes of what the character do best. Ordway and Nauck were honestly the best choice for this book. Both of them have a deep love for DC and much like Waid, that love and respect comes through. Many times, when two different artists work on a book, it’s easy to pick a favorite, but each of them do a sensational job of giving readers the perfect imagery. I prefer Ordway, but I found myself loving it when Nauck’s pages came. The classic and modern art styles are a huge strength for this book.

I highly recommend this book to anyone who wants to understand DC Comics. The book even ends with even more information, giving readers pages of first appearances of just about every DC character referenced in the book, in a section written by David Wielgosz, from research he did with Waid. Everything about this book is a labor love from a group of people who want you to love DC’s past as much as they do. This is the perfect time for this book, and it’s an invaluable resource for DC fans new and old.

Rating: 5 out of 5

Colors by Matt Herms and John Kalisz

Letters by Todd Klein

The New History of the DC Universe #1 is on sale now.

The post New History of the DC Universe #1 Perfectly Lives Up to Its Name appeared first on ComicBook.com.

Absolute Flash has raced into readers’ lives, and has done a pretty great job of setting up the world for the new Wally West. DC promised fans a new kind of Flash comic, and so far we’ve gotten a lot of interesting little changes to the canon. Barry Allen is dead, Gorilla Grodd is a cute alien monkey, and the Rogues work for the US government under the command of Wally’s father. Absolute Flash #4 doesn’t have the action of some of the previous issues, but it continues the world-building of the title, giving readers some great character moments, fleshing out the supporting cast, and teasing fans with even more Rogues goodness.

So far, fittingly, Absolute Flash has moved pretty fast. We were introduced to Wally, and then got the accident, then got the Rogues, and the fight. Writer Jeff Lemire set the stakes and let it rip for a quick three issue set-up story with some action. Absolute Flash #4 slows the pace down and does a load of world building. That’s the key to this issue. Lemire takes some familiar pieces of the Flash formula — Linda, Iron Heights, the Dibneys (just Ralph so far, but Sue is there off the page), a Thawne, and more Rogues — and lays them out for readers, moving the series into its next phase. We also get information on what Barry was doing for the military, and the reveal of a secret at the center of the whole thing with the Rogues. It’s all set up nicely, and drops even more hooks for readers to get stuck on.

Lemire’s Wally is very interesting. Older readers will remember when DC introduced Impulse in the ’90s, and made him into the living embodiment of ADHD (although back then, it was mostly just called ADD.) Lemire brings some of that to Wally. The book begins with Wally using a mnemonic technique his mother taught him to deal with his hyperactivity. Speedsters with ADHD-like symptoms is a really cool idea, and it works well for this version of Wally. Grodd’s telepathy proves vital to fighting Wally’s hyperactivity, which is a cool idea. We also find out that the military is tracking Wally through Grodd, which begs the question about whether Grodd is a help or hindrance to Wally. This issue was exactly what the book needed, a nice little break that deals with our characters and the new situation they find themselves in.

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Nick Robles is out for this issue, replaced by A.L. Kaplan. Kaplan’s style is a bit more cartoony than Robles, but it all looks very good, especially on close-up shots. Longer shots don’t look as good — there are some panels with the Rogues in them that aren’t as detailed as some of the other panels — but it’s still a very good looking book. Kaplan’s style fits the slower, less action oriented tone of the issue. His character acting is especially good, which helps in an issue that’s all about introducing characters. For example, there’s a moment with Linda where Kaplan captures this sense of a secret, that there’s something dark in Linda’s life, that she’s keeping back. It’s all there in the panel, and it’s one of the more interesting parts of the book.

The issue ends with the reveal of the new Heatwave, and Kaplan does an amazing job of making this introduction feel very alien compared to other Heatwaves we’ve seen before. One of my favorite things about Kaplan’s Wally is his eyes. Kaplan gives a lot of attention to the eyes and eyelashs, and I got the impression that this was an artistic choice, because it made it look like Wally’s eyes were bleeding energy. This is a great little way of showing the raw energy inside of Wally, a visual representation of the hyperactivity that the writing told us about earlier. Kaplan’s stuff isn’t always perfect, but there’s a great sense of storytelling to the pages that makes it all work. Robles can be a tough act to follow, but Kaplan does a great job.

Absolute Flash #4 slows the book down for much needed worldbuilding. There are a lot of moments where longtime fans are going to get a little tingle from the book, seeing Linda, Ralph, and Elenore Thawne (maybe a female version of Eobard?) as well as the new Rogues, and introducing the town of Iron Heights. Lemire does a fantastic job with the characters, all while setting things up for the future of the book. Issue #4 introduces a lot of things that can be expanded on later, little hints and clues that can blossom into something special. Kaplan’s art feels exactly right for this kind of issue. While I hope we get to see him unleashed on his action scenes — check out his work with Circuit Breaker in Lazarus Planet and Titans: Beast World to see how exciting things can get in his action scenes — his art does a lot of the heavy lifting for the script.

Rating: 4 out of 5

What did you think of Absolute Flash #4? Sound off in the comments below.

The post Absolute Flash #4 Is All About the World Building appeared first on ComicBook.com.

There’s something inherently nostalgic about these Godzilla versus series from Marvel. Each issue takes place in a particular period in Marvel’s past, with Godzilla vs. Spider-Man issue occurring during the 80s Alien Symbiote Saga. Godzilla vs. Avengers features the King of the Monsters fighting Marvel’s Mightiest Heroes in the 21st century, specifically during Brian Michael Bendis’ New Avengers run. It’s genuinely nice to read this old-school team back together, which includes Spider-Man, Luke Cage, and even Wolverine. Unfortunately, this New Avengers reunion is hampered by lukewarm artwork and a weak script. These Marvel Godzilla versus one-shots are typically superficial fun, but Godzilla vs. Avengers lacks the engagement the other issues had.

The biggest problem with the one-shot is the comedy. While there is some tongue-in-cheek humor among the other Godzilla vs. issues, at least most of the other comics treat the gravity of the situation seriously. Instead, Godzilla vs. Avengers has the Avengers downplay the situation and argue with Maria Hill. Writer David F. Walker attempts to replicate Bendis’ witty and conversational dialogue, yet instead, he makes the Avengers seem grossly irresponsible. Captain America especially feels out of character as he would be the one who would take the situation the most seriously.

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The main conflict around the comic centers on a fight between Godzilla and Fing Fang Foom. The comic later reveals that Fing Fang Foom wanted to take Godzilla’s King of the Monsters title. Even though the reasoning is flimsy, it perfectly aligns with Fing Fang Foom’s character. Concurrently, the Avengers were attempting to rescue as many innocent civilians as they could. Most of the issue is told via flashback as Maria grills the Avengers, and later the inventors of the new Jet Jaguar, about collateral. Jet Jaguar is a giant robot introduced in the Godzilla film franchise. The robot has been in a renaissance recently, reappearing in a major role in the Godzilla: Singular Point anime.

Typically, these Godzilla vs. comics would have one cool moment from the heroes to prove their worth against the giant lizard. Even Spider-Man was able to free the King of the Monsters from the Venom Symbiote with Shocker’s gloves in his one-shot. Unfortunately, the Avengers feel so inconsequential in the Godzilla vs. Avengers comic. Their main goal was saving as many people as possible, which is undeniably noble, yet they don’t act nobly. Everyone bickers with each other, complaining as if it’s another day at the office. Admittedly, the big appeal of Bendis’ original New Avengers run was how grounded he made the characters and how mundane he treated the bigger-than-life situations. When you exist in a world like the Marvel Universe, weird stuff just becomes everyday occurrences.

However, Walker doesn’t capture that same feeling. The Avengers don’t come across as likable, especially when they try to justify their actions to Maria and still make jokes about the conflict even after the destruction. Georges Jeanty’s artwork also greatly undersells many of the comics’ big moments. Jeanty’s art appears rushed, featuring cluttered backgrounds and genuinely ugly faces. The Avengers’ big moment in pushing Godzilla back into the waters doesn’t work because the art doesn’t make the scene seem epic enough. Fortunately, the artist illustrates a great Godzilla, drawing the King of the Monsters with great detail that highlights the character’s gravitas.

Godzilla vs. Avengers should be an enjoyable comic where the Earth’s Mightiest Heroes confront the world’s most famous Kaiju. Sadly, the issue is let down by shoddy art and annoying dialogue that fail to capture an iconic era of Avengers comics. Although Marvel is publishing a New Avengers comic to synergize with the recent film, it isn’t the same as the classic team from the 2000s. While reading the iconic New Avengers team again is undeniably nostalgic in Godzilla vs. Avengers, it fails to live up to its legacy.

Rating: 2 out of 5

What did you think of David F. Walker’s and Georges Jeanty’s Godzilla vs. Avengers? Let us know in the comments!

The post Godzilla vs. Avengers #1 Makes Earth’s Mightiest Heroes Irresponsible appeared first on ComicBook.com.

While most are familiar with the concept of Krypto the Super Dog, you’d be pardoned if you didn’t know the story of how the beloved canine ended up on Earth fighting alongside Superman. Thanks to James Gunn bringing Krypto back to the forefront in the new Superman movie, there’s even more reason to get acquainted with Krypto’s history, and that’s where Krypto: The Last Dog of Krypton comes in. While this could have just been an easy cash-in on the extra attention, this talented team instead wholly embraced what connects a family to their pet and vice versa, and the result is a truly heartwarming and endlessly endearing debut that can’t help but make you an even bigger fan of the Man of Steel’s best friend.

Along those same lines of what could have been, it would have been easy to have Krypto act more like a human to connect with what he’s feeling and thinking throughout the story, and it’s not like that would have necessarily been a wrong decision. That said, what immediately stands out about the series is how the team of writer Ryan North, artist Mike Norton, colorist Ian Herring, and letterer Lucas Gattoni made a decision to have Krypto act like the adorable puppy he is through and through, so it’s up to Krypto’s mannerisms and expressions to convey his feelings in the moment.

To say that was executed beautifully would be an understatement. Norton and Herring’s Krypto leaps off the page with lively expressions and a genuine spark of life to everything he does. This is also true of the El family that surrounds him, and even as conversations unfold that he’s not a part of directly, the artwork conveys a subtle understanding of what’s happening throughout the issue, including one moment that will melt even a Grinch’s ice-cold heart.

Gattoni’s lettering is just as important, conveying the shifts in tone between the El’s and the larger populace of Krypton, who haven’t yet come around to the reality of their situation. Gattoni’s work really shines, however, as the issue makes a big shift towards the end, with Krypto’s every move and reaction heightened as he finds himself in unknown territory, and it all feels almost overwhelming, just like it would be to Krypto.

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This is where North shines as well, taking the known framework of a story and then successfully building a sense of stakes and uncertainty into that frame. We know Krypto is ultimately fine, but it doesn’t make the journey any less compelling. You’ll feel every emotion as Krypto attempts to make the best of his circumstances, and you’ll empathize with the family that wasn’t prepared to say goodbye. You’ll also find yourself shocked by that last page, too, but we won’t get into why here. Just know, it’s a pretty stellar curveball, and I’m intrigued to see where it leads.

While there are several wonderful moments, there is one in particular I can’t quite shake. As Jor-El and Lara-El discuss the reality of Krypton’s impending destruction, Krypto looks over at a sleeping Kal-El with a look of concern. As he approaches, that look slightly shifts to care, and as North’s brilliant dialogue plays out, the final expression is fittingly love. By the end, there’s hope too, and Krypto is right at the center of why.

It’s a fitting end to a rollercoaster ride of an issue that allows Krypto to shine his absolute brightest. I simply can’t recommend it enough.

Rating: 5 out of 5

Krypto: The Last Dog of Krypton #1 is in comic stores now.

What did you think of the issue? Let us know in the comments, and you can talk all things DC and comics with me on Bluesky @knightofoa!

The post Krypto: The Last Dog of Krypton Is a Beautiful Tribute to Superman’s Best Pal appeared first on ComicBook.com.

Brian Michael Bendis changed everything when he launched The New Avengers #1 with David Finch in 2005. Bendis broke long-standing rules, including adding Wolverine and Spider-Man to the roster, creating a team that truly was the all-star assembly of the Marvel Universe. Twenty years later, Marvel has revived the New Avengers line with Sam Humphries and Ton Lima. The new comic doesn’t match the same uniqueness that defined Bendis’s book, instead incorporating harder-edge characters. There’s nothing wrong with that on paper, especially since Humphries’ book is meant to follow the trick marketing for the live-action Thunderbolts* movie.

When Humphries’ and Lima’s New Avengers book was announced, it was initially given the title of Thunderbolts. Marvel then revealed the book’s real title not long after the launch of Thunderbolts* movie, where it was unveiled to be a New Avengers film instead. The edgier roster makes a bit more sense in a Thunderbolts comic, even though the line-up had oddball choices like Hulk, Clea, and Namor. The title also comes off the heels of Thunderbolts: Doomstrike, yet The New Avengers book doesn’t feature the same main creative team. That leads Humphries’s new book in an odd place, as it’s neither a traditional New Avengers book nor a new Thunderbolts title.

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The first issue sets up Bucky and Natasha hooking up and deciding to form a new team. Humphries takes no time re-establishing the Winter Soldier and Black Widow romance, which has existed in the background as a common fling. Humphries leans heavily on the characters’ attraction to each other, with one joke in the comic being Bucky wanting to make out during the middle of a conflict. This kind of humor doesn’t really work for either character, as they are typically stoic. They’re humorous flirtation doesn’t fully land, but it does set up Humphries’ New Avengers as being more light-hearted and campy.

The silly nature of the comic becomes apparent when it’s revealed that the Jackel is the primary antagonist, and he’s one of the most camp villains in Marvel’s arsenal. Furthermore, it’s revealed that the Jackal made defective clones of the Illuminati, including a clone-hybrid of Cyclops and Professor Xavier, plus a buffed-up Black Bolt. It’s a silly and undeniably fun premise for a comic, but it feels like the wrong characters are in it. Jackal and the Illuminati clones make more sense for colorful heroes like Spider-Man, rather than the Winter Soldier and Black Widow.

Laura Kinney joins in on the fun, continuing the character’s trend of being far more aggressive and stoic in team books than she is in her solo adventures. Laura’s inclusion continues the team-up she had with Bucky in her book, replacing Logan as the team’s designated Wolverine. She is an enjoyable addition to the cast, even though she has yet to do anything significant. Namor also makes a big splash in the first issue, and Humphries has a good handle on the character, wonderfully representing his arrogance and heroism. Unfortunately, the full team isn’t formed by the rest of the comic. Clea Strange gets a cameo, whereas Hulk and Carnage don’t even appear. It can be disappointing not to have the full roster at onset, but at least Humphries is not rushing to include the full cast.

Ton Lima delivers strong lineart, which is enhanced by Rain Beredo’s amazing coloring. Beredo adds great texture and lighting to the artwork. Lima and Beredo make the action clear and precise, with a standout panel being a to-scale image where the team stands in front of a large cloning machine. Lima does an excellent job of conveying the machine’s size, incorporating many intricate details.

Humphries’ and Lima’s New Avengers #1 is a competent yet imperfect first issue. The darker characters don’t fully mesh with the over-the-top story Humphries is constructing, but the action and coloring are great. It’s too early to tell if the series will reach the same heights as Bendis’ definitive run on the title. Nonetheless, the new comic may still have time to shine when more of the roster make their grand appearance. Maybe when the full team is formed, we can finally see what kind of chemistry they will have, potentially enhancing the story.

Rating: 3.5 out of 5

What did you think of Sam Humphries’ and Ton Lima’s The New Avengers #1? Let us know in the comments!

The post New Avengers #1’s Sillier Story Doesn’t Fully Mesh With the Edgier Roster (Review) appeared first on ComicBook.com.

Giant-Size Amazing Spider-Man #1 is a collection of short comic stories featuring some of Marvel’s biggest stars, including famed Hollywood Director Kevin Smith. Despite the talent, the stories are unambitious and superficial. Each writer and artist offers something unique and enjoyable, but none of the stories are exceptional. The stories lack dramatic weight and are frivolous, making it a fun yet light comic. Even though there isn’t anything inherently wrong with the one-shot, there also isn’t much substance in Giant-Size Amazing Spider-Man either.

While the comic technically features four stories, the last one is more of a three-page prologue for the upcoming Kid Venom series. The placement of the Kid Venom feels almost random as it has barely enough room to set up the upcoming series, but doesn’t offer anything else. It’s too short to appreciate it more than anticipating the full series.

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Kevin Smith provides the first story alongside artist Giuseppe Camuncoli. Smith has dabbled with comic book writing before, notably writing Daredevil: Guardian Devil and Spider-Man/Black Cat: The Evil that Men Do. Smith’s writing style can be real hit-or-miss, and his story is the weakest of the three main ones in Giant-Size Amazing Spider-Man. His story features the most bare-bones narrative of the three, with Spider-Man going around asking his fellow superheroes how to fix a rip in his costume. The story takes place in a dubious part of Spider-Man’s history, making it seem as if it’s an origin of how Spider-Man’s costumes are so impervious. The story lacks stakes and feels so inconsequential, and Smith’s dialogue and humor don’t fully land. For all the stories he could’ve written, Smith needed to write about Spidey getting a new suit. The story also has no strong pay-off, making it seem hollow. Camuncoli has returned to penciling Spider-Man after a long absence with the character, delivering amazing and nostalgic work.

Al Ewing and Mark Buckingham team up to deliver a more cerebral story where Spider-Man teams up with Wyn from G.O.D.S. Ewing attempts to imbue his tale with his trademark philosophical complexity, connecting Spider-Man to the 616 termonilogy and higher-ups of the Marvel deities. However, the story is shockingly bland, despite Ewing throwing a bunch of heady ideas and dialogue. Spider-Man somehow pulls heroes from other times to help him against a monster, yet even that moment doesn’t deliver the excitement you would expect from Ewing. The best thing about the story is Buckingham’s art, which is a great throwback to the Silver Age. It’s also always fun when Spider-Man teams up with a new character, in this case, Wyn.

Chip Zdarsky and Cafu deliver the best story in the one-shot, introducing a new superhero. Zdarsky has been in the mood for creating new characters for Marvel lately, having recently made the superhero couple Wolverpool and Deadverine. For Giant-Size Amazing Spider-Man #1, Zdarsky introduces Rapid, a superhero who can create a time bubble that freezes everything around him. He still moves normally within the bubble, allowing him to appear to go faster than he actually is. Rapid’s powers are pretty cool, reminiscent of the time powers featured in JoJo’s Bizarre Adventure. The problem is that Rapid isn’t a terribly engaging hero. He has noble morals and is using his powers to slow down the cancer cells of his estranged father, but nothing else about him is unique or interesting. The character is still young, and he has potential. Cafu’s linework is strong, but the artist’s design for Rapid is oddly flat.

Giant-Size Amazing Spider-Man is overall a mixed bag, with some great artwork yet shallow stories. Zdarsky’s provides the best plot, introducing a new superhero who has real potential to the grander Marvel Universe as long as the writer has more time to flesh out the character.

Rating: 3 out of 5

What did you think of Marvel’s Giant-Size Amazing Spider-Man #1? Let us know in the comments!

The post Giant-Size Amazing Spider-Man #1 Lacks Ambition, But Introduces a New Hero With Potential appeared first on ComicBook.com.

Wonder Woman is sitting pretty right now. Absolute Wonder Woman is brilliant, wowing readers every month. Tom King’s Wonder Woman run has garnered a lot of attention on the book, especially with its introduction of Wonder Woman’s daughter Trinity. Wonder Woman‘s Trinity back-ups were a highlight of the series, and she’s finally getting her own book in Trinity: Daughter of Wonder Woman. Trinity: Daughter of Wonder Woman #1 is a romp, the cross time meeting of Trinity at three different points in her life bringing the humor. However, seeing as the death of Steve Trevor is a focus and we already know the tragedies of Wonder Woman’s future, there’s a melancholy to the series that reminds readers this is still a Tom King book.

So, right off the bat, this book starts out hilariously. We get the return of Pariah, more Crisis on Infinite Earths era than Dark Crisis on Infinite Earths, and King gives him overwrought tragic dialogue that will elicit a chuckle from even the most jaded readers. In order to keep things clear, when I refer to Lizzie, I’m talking about the youngest Trinity, Wonder Girl as the second oldest, and Trinity as the oldest. Lizzie has always been a delight, and the meeting between her and Pariah is perfect, the work of a smart young child who knows the hows but not whys. The two of them talking is the story’s framing device, where we learn all about the plot of the series — Wonder Girl came to see Lizzie because she knew she was depressed, and then going to Trinity to make a plan on how to make Lizzie happy.

From there, shenanigans ensue. King is in rare form in this issue. There is a lot of funny, snappy dialogue and the way Lizzie, Wonder Girl, and Trinity play off each other is hilarious. Wonder Girl and Lizzie get along well, but Wonder Girl and Trinity are much more contentious, which makes sense because each of them want to be the one who saves the day. King’s writing can get too psychological for its own good at times, too obsessed with digging into what makes superheroes tick. His work on Trinity has been a big change for his usual work, and this issue is more than that. That’s not to say there isn’t any of King’s trademark trauma porn writing in the issue — Lizzie is sad because she doesn’t have a father, and Wonder Girl wants to help her be happy again for both of their sake — but the focus of the issue is the girls’ fun interplay and how their temporal jaunts are a huge problem for all of reality. See, each of their sets of Jon and Damian are changed into Corgis, and the three girls split up in time to find them. All of this is super fun, but adding in the Steve Trevor makes it better because it grounds the whole thing.

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Trinity reunites King with Belen Ortega, who drew the Trinity back-ups in Wonder Woman, and honestly, the main reason this story works so well is because of her art. Ortega’s expressive pencils really sell everything in every panel. There is a lot of emotion in this book — Lizzie’s exuberance and sadness, Wonder Girl’s sympathy, and Trinity’s resolve — and Ortega does an amazing job of getting all of that across. Right from the beginning, a key part of the book’s humor comes from Ortega’s beautiful pencils, as each character reacts the craziness of the situation.

Every panel is beautifully detailed. The page with the six Jon and Damian Corgis playing with Lizzie is a perfect example of this. The page is cute and funny, and you can feel just how happy Lizzie was in this moment. Ortega’s style is perfect for this sort of this thing. There is page after page in this book of amazing visual storytelling. The best art works with the script to give the readers the entire experience. That’s what Ortega’s pencils do with every page. Alejandro Sanchez’s colors are a key part of that. This is a bright and shiny book, and the colors pop off the page. Ortega and Sanchez make a potent artistic team; this is a gorgeous book right from the start.

If you loved the Trinity back-ups in Wonder Woman, you’ll love Trinity: Daughter of Wonder Woman #1. The book is able to capture the humor of the back-ups beautifully. I laughed out loud several times while reading it, and was enamored with each page. Every page of this book is a visual feast. King is cooking with this one, and it’ll be interesting to see where he takes this miniseries. This is a brilliant first issue; even if you don’t like King’s Wonder Woman, you should love this one.

Rating: 4 out of 5

The post Trinity: Daughter of Wonder Woman #1 Is Hilarious and Heartbreaking appeared first on ComicBook.com.

Perhaps more than any other genre, sci-fi is full of stories of revolution. It’s the basis of some of our biggest and most beloved franchises — think Star Wars and Dune, even The Hunger Games though it is a bit less sci-fi, for example — where we find ourselves following the story of a group or groups coming together in an act of revolution against a massive, powerful empire figure, a narrative that takes its energy from the idea of the oppressed fighting the oppressor. It’s a story that works but Image Comics’ Free Planet, from Aubrey Sitterson and Jed Dougherty it’s also a story that gets a new angle. The stunning first issue of the series flipped the concept on its head by giving readers not the story of revolution but dropping readers into a tale of “well, now what” with the revolution having already taken place and the ultimate goal reached. Now, with Free Planet #2, not only is the story itself starting to come together but it’s becoming pretty clear that this is a story that has the potential to redefine what we expect from sci-fi revolutions, reminding us in a direct and fascinating way that the revolution isn’t the end and the victors may not always be truly victorious.

The first issue of Free Planet did a lot to establish its world. We were introduced to the various characters in the Freedom Guard that is now here to keep the wheels of total freedom for everyone on the first-ever completely free planet moving. But it also sows the seeds of something greater and it doesn’t take long for the first issue to show the disconnect between the idealized concept of total freedom and the execution of it. Freedom for one looks like oppression for another. How do you balance that? How do you make things equitable? What does it even look like? This is the challenge that the Freedom Guard is thrown into from the jump, not to mention the repercussions of what total liberation means for the world beyond Lutheria. There are economic impacts on the rest of the universe in which Lutheria exists — again, the idea of freedom for one isn’t necessarily good for everyone else. By the end of the first issue, the idea of freedom, that tenuous flip from suppression to protection, starts to feel messy and challenging. It’s a damn good hook.

Free Planet #2 Presents a Hard Reality: Freedom Has an Ongoing Cost

Going into the second issue, the mess and the challenge intensifies when the people decide to add to the Freedom Guard, bringing on a controversial choice. “This is what happens when civilians make military decisions,” one character says of the decision. It’s a notable observation, and one that feels like a snapshot of the situation Lutheria is in: the ideal colliding with reality. Issue #2 sees the Freedom Guard facing the reality that freedom comes with cost — but so does defending it. The question is, is that cost too high and who will ultimately be willing to pay it.

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This is the genius of Free Planet as a title and, more broadly, as a concept. While it is on the surface it’s a story of a world embarking on its total freedom and as such, fits into the comfortable revolution sci-fi trope, Sitterson’s writing and Dougherty’s art go well beyond the surface. Like Free Planet #1, issue #2 is incredibly dense with what I can only call narrative elements that deeply explain the world we’re observing. We are given facts and information that may feel mundane, but actually really matter — there are economic details, for example, in addition to current events on other worlds that all inform the pulse of the story and what our characters are dealing with. We also get glimpses of the pasts of various members of the Freedom Guard, humanizing them as characters but also helping readers understand the choices they are making in the present and what their place in this unsteady, infant liberty may really be. There is no corner here unexplored, but also simultaneously not too much is revealed. The mystery remains intact even as the bigger picture comes into focus. In Free Planet #2, that means the issue leaves us with more questions than answers, but also more of a desire than ever to find out what those answers really are.

Free Planet Challenges the Status Quo of Sci-Fi Stories (And Elevates the Comics Format)

Overall, Free Planet is doing something unexpected, especially with this second issue. By taking readers into the story not of a revolution as its happening but the impact of what “successful” revolution looks like – complete with the idea that victory may itself be a form of losing, Free Planet is challenging what stories in the vein of Star Wars tell. Readers are used to having a team of “good guys” to root for as the fight against the “bad guy” empire with the end goal of the nebulous concept of liberty. By taking the fight out of the equation, Sitterson and company have largely eliminated the good/evil dichotomy and instead are embracing a story that is very much gray. It’s a far more interesting approach and the mechanics of how they’re doing it, with detailed world-building that offers up plenty of details without giving away too much makes this a story that goes beyond the comic book format that holds it. Comics are always art, but Free Planet has a weight to it that puts it in the same conversation of other heavies that redefined the format and their genres before them – things like Watchmen and Saga and others.

Free Planet #2: 5 out of 5

The post Free Planet May Just Be Comics’ Great Sci-Fi Masterpiece (& It’s Changing the Genre) appeared first on ComicBook.com.

Absolute Superman has taken fans across the globe over the course of the past 7 issues, but Absolute Superman #8 brings things back to Smallville, and in doing so, begins to form two of Superman’s foundational relationships without sacrificing the macro-level Absolute universe storytelling that’s been happening since the series debuted. As the various factions collide, Superman continues to be the conflicted beacon of hope that grounds everything else, though the series excels at hitting the gas and raising the stakes when you least expect it. Absolute Superman consistently pushes the envelope and yet still delivers the elements that have become intrinsic to DC’s biggest icon, and that’s only about to get better now that the rest of the gang is joining in on the fun.

As you can glean from the cover, Superman shares the spotlight with Lois Lane and Jimmy Olsen as the first chapter of “Superman, Son of the Demon” begins. While we’ve spent more time with Lois to this point, both characters soon start to take on elements of their previous depictions once they occupy the same space for a while, and yet each character still retains what has made them so unique in this Absolute iteration.

Jason Aaron has already taken Lois quite a ways since we were first introduced to her, and yet her evolving approach and opinion of Superman never feels disingenuous, making the clash with Olsen that much richer and more compelling. Olsen never had the more antagonistic viewpoint of Superman, so it’s understandable that Superman would trust him more, though it’s never conveyed that he doesn’t trust Lois either. In fact, Superman seems more and more intrigued with Lois at every exchange, even when he’s not outwardly showing it, and that’s partly why seeing these three interact is easily one of the biggest highlights of the issue.

The same is true of the book’s villains, though admittedly Ra’s is the much more intriguing side of that equation. Aaron has created a Ra’s that still holds true to many of the character’s core principles, and yet this iteration still somehow feels incredibly distinct from his main universe counterpart. His motives and his methods are ruthlessly effective, and he feels like a villain worthy of going head to head with even someone of Superman’s power levels.

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There’s also Captain Smith, who has continued to fail upwards and is now an absurdly powerful Peacemaker creation that can go toe to toe with Superman, and that bloody battle simply looks fantastic. Every punch thrown feels like it holds the force of a semi thanks to the brilliant work of Rafa Sandoval, Ulises Arreola, and Becca Carey, and when the power levels start to soar off the charts the action becomes that much more intense, with beautiful reds and organs crackling swaths of energy across the page.

Some of the battle’s final moments might just land with the most impact though, both in a literal sense when it comes to Superman’s health, but also in how Carey’s lettering allows these moments to soar off the page. It all leaves off in a place that promises some much-anticipated answers, and if the series has taught us anything, it’s not going to be at all what we expect when those answers finally arrive. Absolute Superman continues the DC icon’s simply superb year, and it still feels like we’re just scratching the surface.

Rating: 5 out of 5

What did you think of Absolute Superman #8? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post The Classic Superman Trio Finally Arrives in the Absolute Universe, and It’s Glorious appeared first on ComicBook.com.

Ultimate Wolverine has been one of the more interesting Ultimate series, melding together two different plot lines — Weapon X and the Winter Soldier — into the person of Wolverine. Ultimate Wolverine #6 continues the story began the issue before, where readers got to meet Ultimate Sabretooth for the first time. Ultimate Wolverine has been introducing more Omega-level mutants, and even teased that the book’s Opposition was basically the original Ultimate version of the X-Men. Ultimate Wolverine #6 brings things to a head, as readers meet even more familiar characters, who all want one thing — to bring their friend Logan out of the Eurasian Republic’s Winter Soldier. It’s a pretty great issue, even if it’s something that long time Wolverine fans have seen before.

So far, writer Chris Condon’s style on Ultimate Wolverine has been more cerebral than anything else, and this issue plays into that quite literally. The story is happening inside his head, as he’s assisted by David Haller — the son of Professor X known as Legion — to break through the programming the Eurasian Republic put inside of him. It kicks off with a Charles Dickens quote, one that perfectly describes Wolverine at this point. The quote is about the chains we put on ourselves, and the issue goes quite far to show why this is case with Wolverine. Condon realizes something that only the best Wolverine writers realize about the character — the problem with Wolverine was never all of the mind control he’s been through, the problem has always been him.

This isn’t a new idea, but Condon does a great job of making it feel fresh. The Eurasian Republic did use multiple methods of mind control on Logan, but the reason why they were able to work is because of who Wolverine is. They choose him because he was a killer, and that desire for violence has always been the greatest lever to use against Wolverine. Condon isn’t breaking new ground here, but it’s a very interesting way to look at Wolverine and his struggles over the years. The issue is well paced and laid out, and ends with a few surprises, namely more members of the Opposition readers will find familiar. Ultimate Wolverine is about to completely change, and it’s going to get very exciting.

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Alex Lins is still on art for the issue, and I’ll be honest — I like Lins’s more stylized pencils than I do regular artist Alessandro Cappuccio’s art. That’s not to say Cappuccio’s art is bad; it’s excellent and it definitely fits the world of violence that Ultimate Wolverine has created. However, for something like this issue, a trip through Wolverine’s mind (a tried and true X-Men comic concept if there ever was one), Lins’s style just plain works better. His page layouts are sensational. The panels gutters are small and get smaller as the pages go on and Lins starts to stuff the page with panels. The panels themselves are often oblong and claw-like, fitting the type of story we’re being told. Page layout is an underrated art in comics, and Lins’s page layouts do a remarkable job of communicating to the reader.

Lins understands the symbolism of the story that Condon was trying to tell, and does a great job of bringing it to life. The jail cells and chains are powerful imagery for the cage of Wolverine’s mind, and Wolverine going after larger than life versions of Colossus, Omega Red, and Magik are great examples of visual storytelling. They are titanic, but Wolverine can beat them. However, the beast inside of him is drawn to be exactly the same as Wolverine, and that little bit of visual storytelling tells you everything you need to know. Wolverine can fight against things bigger than him, he’s been doing that his whole life; however, the fact that he’s always had to defeat himself is wonderfully outlined by him fighting his doppelganger. If there’s any complaints about the art, it’s the last couple of pages aren’t as detailed as the beginning of the book and last issue. However, this is a minor problem for an issue with such tremendous art.

Ultimate Wolverine #6 is the dividing line between what we got before and what we’re going to get. It’s the most psychological issue of Ultimate Wolverine so far, which is saying something, and shows an understanding of Wolverine that we don’t always get to see anymore. The art is perfect for the story; Condon and Lins gel wonderfully, and it would be great if he got to the regular fill-in artist for when Cappuccio needs a break. Ultimate Wolverine has set the bar high, and this sixth issue shows that the book is up to the challenge of clearing it.

Rating: 4 out of 5

Ultimate Wolverine #6 is on sale now.

The post Ultimate Wolverine #6 Gives Readers the Moments They’ve Been Waiting For appeared first on ComicBook.com.

It’s rare for me to get genuinely excited about a comic book release nowadays. There’s a constant cycle of reboots and relaunches, and everything builds towards the next big “event” crossover. Even with this in mind, the rare project can present itself that is too enticing, too tempting to straight out ignore. For me, Imperial is that type of anticipated comic. Combining the talents of Jonathan Hickman, Federico Vicentini, Iban Coello, and Federico Blee into an event series is nothing less than a winning formula. We’re talking political intrigue, mysterious puppetmasters, and an Angry Hulk. What more could you ask for?

Let’s start with the tag team of artists Iban Coello and Federico Vicentini, who are splitting art chores on Imperial. Iban’s work on various Venom stories has made him one of my all-time favorites, so it’s great seeing him on another high-profile project. His character work is always rich with energy and emotion, and that’s on display with his work on the Hulks. As for Federico Vicentini, he’s done nothing but kill it on Miles Morales: Spider-Man, and gets to push the political agenda at the core of Imperial. The coloring choices by Federico Blee originally caught me off guard when I went through the preview pages, but after thinking over it, they make sense. There are contrasting colors everywhere you look, but they often appear calmer than I expected them to be. This could be due to presenting the colors of space from a different perspective, rather than how the pages would look if the action primarily took place on Earth.

The entire time reading Imperial, I couldn’t help but think about it in comparison to Game of Thrones. You have a collection of houses/galactic empires, each with a prominent figurehead. There are secret alliances, murder, and the promise of war on the horizon. Our familiar characters are Hulk, Star-Lord, Nova (Richard Rider), Gladiator, Hulkling, and Wiccan, just to name a few. The Imperial cast is even larger and is guaranteed to grow in future issues, though we do lose certain characters through assassination attempts. There’s enough page space to allow everyone to get their time in the spotlight, making some of their deaths hit a little bit harder.

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It’s funny to think about a superhero book building drama through a murder mystery, but Imperial succeeds in this endeavor. Hulk isn’t just smashing his way through the galaxy looking for answers. Hulk and Amadeus Cho speak with medics, collect information, and build a case to help solve the murder of Hulk’s son, Hiro-Kala. That doesn’t mean Hulk is not without his trademark rage. We see that pretty early on. But it’s fun to see him reserved and in control while draped in his Worldbreaker regalia.

So there have been assassinations, and a culprit has been identified. Of course, it’s too convenient and out in the open for the killer and their empire to be the true suspect. But that isn’t going to stop Hulk and others from seeking retribution. I’m curious why this one world was possibly framed for the crimes, but my first guess is that it comes down to a precious resource only they are known for. Even if I’m wrong, I’m sure the twist will be worth the speculation.

I don’t want to wait another month for Imperial #2, but it looks like I’m forced to. One extra thing I enjoyed was the comic being split into four chapters. It made the story move along at a steady pace and helped to break up the set pieces. As our mystery gamesmasters would probably say, “Let the games begin.”

Rating: 5 out of 5

Make sure to let us know your thoughts on Imperial #1 in the comments below!

The post Imperial #1 Wages Cosmic War on the Marvel Universe (And I’m Here for It) appeared first on ComicBook.com.