Comic Book Reviews for This Week: 8/26/2020
Welcome to this week in comic book reviews! The staff have come together to read and review nearly everything that released today. It isn’t totally comprehensive, but it includes just about everything from DC and Marvel with the important books from the likes of Image, Boom, IDW, Valiant, and more.
The review blurbs you’ll find contained herein are typically supplemented in part by longform individual reviews for significant issues. This week that includes Batman: Three Jokers #1, Fantastic Four: Antithesis #1, and Locke & Key: In Pale Battalions Go #1.
Also, in case you were curious, our ratings are simple: we give a whole number out of five; that’s it! If you’d like to check out our previous reviews, they are all available here.
And with that, on to the reviews — which are listed in alphabetical order, but first by DC, Marvel, and the rest of the publishers.
DC #1
Action Comics #1024 should have been a great issue. All of the players are on the page now, so to speak, with Superman and family on the trail of the Invisible Mafia. The plot at this point in things is interesting and finally feels like it’s about to go somewhere. There are real stakes now. Even John Romita Jr.’s art, while still not great, is better this issue. Unfortunately, Brian Michael Bendis inserts humor in places where it doesn’t really fit—for as much as I enjoy Brainiac-5 getting all fanboy about the Daily Planet, it was a huge tonal misstep—and, going even further, he diminishes an truly devastating moment by more or less sweeping it under the rug with another major character arrival. With the gravity of the story being weirdly undercut by needless awkwardness, the book ends up being promising but a little to try hard. Story wise, it’s good. Execution wise, it leaves a lot to be desired. — Nicole Drum
Rating: 2 out of 5
Amy Reeder’s work on Amethyst has been outstanding and it remains so with the series’ penultimate issue this week, Amethyst #5. The issue sees the titular princess and her companions having escaped Opal but that escape comes with having to face something even more frightening: the truth. It’s a stunning reveal this issue that everything Amy Winston thought she knew about her parents and home world may well be wrong and while that certainly busts open a lot that the series has to tackle in just one more issue (something that is almost a bit of burden in this issue as well), Reeder’s storytelling also deftly gives the character massive and realistic character growth as well. Despite being fantasy, Amethyst #5 is one of the most grounded issues of comics this week. It makes a strong case for more Wonder Comics stories. — Nicole Drum
Rating: 4 out of 5
After last month’s groundbreaking “Joker War” tie-in, Batgirl continues to deliver in virtually every way. This issue sees Barbara dealing with the aftermath of her and Joker’s latest meeting, something that quickly has ripple effects on her friends and family around her. Essentially every page of this issue is packed with significant character moments from Cecil Castellucci and gorgeous art from Robbi Rodriguez, all of which culminates towards a truly unexpected cliffhanger. It’s a shame that Batgirl is nearing the end of its run, but this issue proves that it’s doing so in an excellent way. — Jenna Anderson
Rating: 4 out of 5
As fun as it is to see the future version of The Bat Family make their way through a second ice age and battle an army of ninjas, your mileage on this book will entirely depend on if you can handle Damian being written as though he’s still the same stubborn child in an adult’s body. If that doesn’t drive you nuts (and it did for me), then this is a really fun issue. Special mention goes to Sean Chen for some particularly great artwork in this issue. — Connor Casey
Rating: 3 out of 5
Batman/Superman’s “Atomic” arc got off to a promising start, but with its conclusion, it feels like we’re right back where we started. Atomic kicked off with the death of Atomic Skull, bringing some welcome humanity to Skull and giving the Ultra Humanite some edge, which resulted in a surprising cliffhanger that put Batman under his control and Superman on his heels. That’s why issue #3 is so disappointing, as all of those things are just about completely undone. Batman’s restored without a real hint of tension, Skull is back among the living without nary a word, and Humanite is effectively put on a shelf for a bit. It’s almost as if this story never happened, and while there’s some lovely art at times by artist Clayton Henry and colorist Alejandro Sanchez, that can’t raise the book above forgettable status. As it is, it’s hard to recommend giving it your time. — Matthew Aguilar
Rating: 2 out of 5
Even though only some headway is actually made in terms of plot in Batman: Three Jokers #1—learning little readers didn’t already know—there are still surprises to be found. Two moments in particular give the first issue more punch than it would possess otherwise and allow for a strong lead into the next chapter of this saga, for better or for worse. Jason Fabok does the heavy lifting throughout, particularly in granular details of the Batcave, crime scenes, and the three Jokers themselves, but there’s little momentum in these pages to carry interest and attention into issue #2. On page 1 readers already knew “There are three Jokers, now what?” and the first 45 pages of this 48 page issue don’t offer much more. One thing is for sure though, those final three will be talked about for a long time to come. — Spencer Perry
Rating: 4 out of 5
David Barnett had some fun as the new writer of Books of Magic by sending Tim Hunter on some adventures detached from the series’s overarching plot. Now that he’s returned to that main narrative throughline, the book has lost the life that he brought to it. One might think a trip to the domain of one of the Endless would make things more interesting, but the venture seems mostly pointless. This mystery of the Cold Flame and Tim’s destiny has been going on for too long without meaningful progress to keep readers invested. Tom Fowler’s artwork is, as usual, enough to make the book passable, and there are some interesting reveals toward the end. Here’s’ hoping Barnett follows through better than has been done in previous issues. — Jamie Lovett
Rating: 3 out of 5
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DC #2
Detective Comics has another one-shot this week, with Batman checking in on Killer Croc and how he was affected by the Joker War. The story itself is rather weird and rushed—Croc basically tries to start up his own underground society made up of people mutated by toxic waste poured by the Joker into the sewers—and for whatever reason, the creative team took a pass on actually showing a Croc/Batman fight in favor of a quick “cut to” in which Batman and Croc… talk about the result of the fight. This is not a good superhero comic at all. — Christian Hoffer
Rating: 1 out of 5
The final story of writer Joshua Williamson fires on all engines and proves itself to truly be one of the greatest stories for Barry Allen we’ve seen. With the “Legion of Zoom” assembled and the Flash calling in every ally he has, this arc definitely stands toe to toe with the works of Geoff Johns and Mark Waid. If you’re a Flash fan, this final arc of Williamson’s is definitely worth checking out. — Evan Valentine
Rating: 4 out of 5
This is far from the first time that John Constantine has confronted class politics, but it’s one of the finest examples. The plot ostensibly centers on a unicorn with a face like a chainsaw, but the real monsters here are the royals and issue #9 makes no qualms about pointing out the wealthy as the most perverse people in British society. It’s a message that carries across the pond in the second week of political parties celebrating grand tales of imagined purity while more and more Americans are left homeless and hopeless due to their past deeds. It’s this broader connection that makes the ugliness embedded in John Constantine #9 connects so easily, and that fits so much truth into a fantasy tale. The cynical edge is undeniably persuasive. Bergara’s depiction of monsters, both real and imagined, offers plenty of bloody spectacle but no easy solutions or catharsis. John Constantine: Hellblazer has been an absolute nightmare and issue #9 delivers an excellent thesis for the series—an assurance that even magic can’t save this world. — Chase Magnett
Rating: 5 out of 5
And just like that, Ram V and team bring Justice League Dark right back where it needs to be. This issue #25 milestone issue returns the team to their darkest places once again, setting up a conflict that seems impossible to surmount. One thing here’s for certain—not the entire team is going to make it out of this battle with the Upside-Down Man, allowing this creative team to create unbelievably high stakes. The latest art team on this title—Nahuelpan and Chung—are picturesque artists for the tale at hand, both with Zatanna’s childhood flashback and the battle for all of life in The Other Place. It’s dark, it’s grimy, it’s imperfect—just like the titular team and every one of its member heroes. Justice League Dark is building up to something fierce and sooner or later, it’s going to have no choice but explode. — Adam Barnhardt
Rating: 4 out of 5
The Last God continues its second arc as the heroes continue to follow the path followed by King Tyr and his followers in the past. The heroes encounter yet another sin of the past, this time due to Tyr’s interactions with the Dwarrow, a dwarf-like society that lives underground. I feel as though The Last God is losing itself a bit—the book has focused so much on the sins of the past, it actively robs any suspense from the story. If we see a flashback, we’re almost guaranteed to see its effects play out just a few pages later. The last couple of issues have been a bit too predictable to my liking, even though The Last God continues to forge its own path away from typical fantasy tropes. — Christian Hoffer
Rating: 3 out of 5
Legions of Super-Heroes #8 features a lineup of artists—with each contributor drawing a single page of the issue—that earns the “all-star” moniker. Every creator attached to the issue has plenty of their own work deserving of recommendation, but their deployment here is a mixed bag. Some pages, like those drawn by Allred, Moon, and Mack, provide a real showcase. Yet some of the most talented artists in comics today, like Bilquis Evely and Jeff Lemire, are provided with rote and unmemorable sequences. The flaw beneath this enormous collection of talent is the series itself as Legion of Super-Heroes struggles to move its narrative forward—the series so far only covers a couple of days—and offers only the thinnest flavors for most of its expansive cast. It’s a series with the ambitions of a shonen manga shackled to a publication schedule and price point that prevent it from flourishing. — Chase Magnett
Rating: 3 out of 5
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DC #3
(Photo: DC Entertainment)
The otherworldly being make good one their promises that they’ll leave if the underwater hatch is opened, only for this act to unleash an all-new terror on the salvage crew, forcing their captain to take drastic measures. Throughout the previous five issues, the influences of John Carpenter’s The Thing and the works of H.P. Lovecraft have been fully leaned into by the creative team, so it only makes sense that the series concludes similarly. From a narrative standpoint, readers will stay engaged without ever really being surprised, though the issue’s various reveals and monstrosities continue to let artist Stuart Immonen to shine. If you’ve made it this far into the series, you’ll surely enjoy this conclusion, even if the book ultimately feels like an homage to prolific storytellers that offered us more surprises. — Patrick Cavanaugh
Rating: 3 out of 5
The Deaths of Vic Sage has been a compelling and bizarre journey into one of DC’s weirdest characters, and its finale issue largely sticks the landing. Now that Vic has returned to the present day, he quickly becomes embroiled in a conflict that feels incredibly relevant to our times—one that completely changes his relationship with his past and his superhero persona in the process. The idea of a white male superhero trying to aid in the current fight against social injustice and racial inequality could have easily taken a turn into a cringeworthy or badly-done territory, but the issue uses that conflict to tell something nuanced and grand. When combined with Denys Cowan and Bill Sienkiewicz’s art, this issue packs an admirable punch—one that begs the entire miniseries to be reread again. — Jenna Anderson
Rating: 4 out of 5
This issue places Jason Todd squarely in the events of the Joker War, in a way that is both bombastic and slightly hollow. As Jason is forced to return to a place from his past, he gets thrown into a conflict with Punchline and a brainwashed Dick Grayson, one that quickly doesn’t go how anyone expected. The standout part of this issue is definitely the character bits for Jason himself, with a heartwarming flashback sequence between himself and Bruce Wayne. But everything else just feels like empty hype for the sake of hype, something that both is and isn’t on-brand for how Red Hood: Outlaw has been as a title. — Jenna Anderson
Rating: 2 out of 5
Reading Suicide Squad #8 after the series’ cancellation was announced feels particularly tragic. It’s the sort of issue that tells readers this concept and its characters have miles left to run—the origin of Aerie and Wink imbues both new arrivals with an abundance of life that gracefully ties into the series’ ongoing conflict. Taylor’s characters presenta real sense of kindness and the “woke” elements are well positioned, never performative. Suicide Squad addresses modern evils like climate change and mass incarceration without losing the colorful flavor of superhero comics or the beauty and wonder that defines its cast of oppressed characters. It’s often fun and tragic in the same moment, but the latter element is creeping in more and more now that readers know the best volume of Suicide Squad to be published since the original ended in 1992 doesn’t have much further to fly. — Chase Magnett
Rating: 4 out of 5
The new era of Teen Titans has come to a close much in the way it began, with Damian Wayne directly at the center of everything. We knew this combustible situation would eventually end, though I didn’t see it imploding quite like this. Writer Robbie Thompson knows how to humanize the rough around the edges hero even when he’s going against everything his father taught him, and you’ll find yourself empathizing with his loss and criticisms of Batman’s choices, both as a hero and as a parent. It doesn’t hurt that artist Eduardo Panic and colorist Marcelo Maiolo draw the hell out of him too, making the final Robin vs. Batman confrontation hit even harder. The only real drawback is how unnecessary the rest of the team feels here, as the most relevant thing they do is stay out of the family drama. This book starts and ends with Robin, but it takes the character in a direction the character needs to truly evolve, and that’s more than enough to warrant a read. — Matthew Aguilar
Rating: 4 out of 5
Wonder Woman #761 is a solid issue and Mariko Tamaki continues to do a fantastic job crafting an exciting and engaging story for Diana. There’s even the return of Maxwell Lord this issue, which is pretty great itself. However, while the issue is a fun read and is certainly of solid quality from its story to its art—Carlo Barberi’s action style is amazing here—the actual plot threads reveal so much that it’s almost too much. There’s a bit of awkward pacing with this issue and Diana feels a bit out of character at some points, both of which seem to be products of the issue’s position of setting up the “real” story—something we get a major reveal for at the end of the issue. Overall, it’s a solid issue and definitely one that is visually fantastic. — Nicole Drum
Rating: 3 out of 5
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Marvel #1
Much like the first issue of this 2020 crossover mini, 2020 iWolverine #2 features an interesting narrative from writer Larry Hama on the surface. Hama taps into one of his creations from the 1980s once again, but the issue falls apart thanks to incredibly distracting and poor artwork. Typically a master of action and character work, Roland Boschi delivers some ugly pencils that are only magnified by the cookie-cutter storyline they’re dramatizing. Combined with the totally irritating writing of the robot character Elsie this is one of the most forgettable new comics from Marvel in a long time. — Spencer Perry
Rating: 1 out of 5
Aero #11 spends a lot of its time unraveling the mysteries of the crystal beasts and their remarkable towers through exposition and flashbacks. The action takes a backseat to that, but it’s a needed trade-off to finally learn more about Madame Huang’s involvement and her motives. A guest appearance from Iron Man doesn’t show us much of his cooperative combat potential with Aero just yet, but it does give us an excellent take on Tony Stark. Stark maintains his charisma and heroism housed in an athletic, younger-looking version of the character that looks like a natural companion to Aero’s design. — Tanner Dedmon
Rating: 4 out of 5
The Amazing Spider-Man #47 moves forward with a meaty call-to-arms from a man who wishes to rid the world of sin. With the city under fire from Sin-Eater, the public is becoming more and more enamored with the so-called hero. But as Spider-Man’s research runs deeper, readers will learn why Peter was so suspicious of the man and his newfound ties to an old-school villain. — Megan Peters
Rating: 3 out of 5
Daredevil Annual #1 is a consistently engaging comic book throughout, but it doesn’t demand to be read until its very final page when Chip Zdarsky tips his hand for big future plans in Daredevil. However, each moment leading to this revelation offers readers an alternative perspective on Daredevil’s past and present through the eyes of his “twin brother” Mike Murdock—a being manufactured by magic. His absence of a past and quest to create one guides readers through the lowest points of Daredevil’s essential father-son relationship and builds a compelling portrait of guilt and grief. Even while playing with the loose rules of reality within Marvel Comics, Zdarsky and an excellent artistic team draw out powerful and lifelike emotions. It’s another excellent installment in the most riveting character portrait of Matthew Murdock since Samnee’s name was on the title. — Chase Magnett
Rating: 4 out of 5
Empyre: Avengers does a superb job of balancing such varied settings and groups of heroes in one package, but the Savage Land stands out among the rest. The battles taking place there between characters who are literally connected to the lands themselves and those who lay claim to them as invaders treat us to some dramatic and expressive displays of power. Wide, detailed scenes show both the gravity of the conflict and the powers of the defenders in their struggles while giving each of the heroes the opportunity to show off their personalities. — Tanner Dedmon
Rating: 4 out of 5
Despite rock-solid Captain America writing from Phillip Kennedy Johnson, it’s still hard to shake the feeling the stakes or story from this Empyre doesn’t really matter, either as a whole or to the larger Marvel event currently going on. Between the introduction of two iconic Marvel races—which are clearly shoehorned in here—and another long-time species to serve as the villain, nothing really fits into the grander Cap mythos and the end result is a mishmash of a handful of ideas decent enough on their own, but together create something entirely unappealing. On the bright side, Johnson’s writing with Steve Rogers increased exponentially from issue to issue and I haven’t a doubt he can handle the main Captain America book someday, there’s just too much going on here to get me excited about this event spinoff. — Adam Barnhardt
Rating: 3 out of 5
Marvel’s First Family? Check. Norrin Radd? Check. Annihilus? Check. Antithesis has every ingredient it needs to be a legendary Fantastic Four tale, yet it’s far from it. It’s hard to get around the fact this seems as if it’s nothing but a cash grab from the House of Ideas. While it still has a worthwhile plot, both the scripting and line art run stale throughout. Then, on top of everything else, Adams art combined with Martin’s colors turn the artwork into a mishmash of eras as it struggles to determine what it wants to be. The potential is there for Antithesis to redeem itself, sure—it’s just got a long way to go. — Adam Barnhardt
Rating: 2 out of 5
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Marvel #2
(Photo: Marvel Entertainment)
Hellions #2, part two continues to play out threads that were interesting when the previous issue arrived as the showdown between Hellions and Marauder zombies continues without end. It’s still a fun premise and this issue squeezes its paired characters for all their collective chemistry may be worth, but the novelty of this situation quickly fades and after two very similar issues this series is quickly losing momentum. The use of a text page for an unadorned info dump that could have provided some much needed changes in pacing within this issue is a disappointment that adds some sting to these diminishing returns. The story is still well told and the excitement this premise generated in its debut is still evident, but the best part of Hellions #1 was how quickly it introduced new characters, scenarios, and ideas. Hellions needs to rediscover that thrill. — Chase Magnett
Rating: 3 out of 5
Looking ahead to a new Iron Man #1 and the closure of Tony Stark’s A.I. period, a thought emerges: “And nothing of value was lost.” The final pages of Iron Man 2020 #6 place all of the toys neatly back into place after delivering a series of spreads that feel as inconsequential in the moment as they eventually would have after the story’s “twist” is revealed. Numerous deaths and the appearance of Nick Fury quickly give the game away and inform readers this is a wrap up, not a climax. It’s a dull overall affair with much of the dialogue written as if it were prepared solely for the wiki editors who will explain the odd years between Civil War II and whenever something interesting occurs with Iron Man again. Iron Man 2020 #6 may provide a perfectly readable issue of comics, but as the capstone for years of storytelling it seems to say that this story knew it was disposable even as it was being told. The total lack of noteworthy spectacle, character development, or consequences after years of reading makes this issue and entire run something best left unread. — Chase Magnett
Rating: 1 out of 5
The major selling point of Stohl and Ferreyrya’s take on this noir version of Peter Parker comes from both the art work and the aesthetic of the world itself. This issue introduces “Noir Electro” who is gleefully designed for the era, though I wish that the dialogue and overall story was able to keep up with the other moving parts. — Evan Valentine
Rating: 3 out of 5
With Aphra’s team now split up, their chances at finding the fabled mystical rings have doubled, as have their chances at being eradicated by Tagge’s crew. The more time the teams spend in the catacombs, the more they discover about one another, leading to a number of priorities becoming unveiled. One of the biggest setbacks the Doctor Aphra series has suffered is overly complex narratives that don’t lead to resolutions worthy of that complex journey, a risk that the first half of this issue runs. Despite jumping back and forth between various characters, some of which we’re only just allowing our minds to accept after meeting mere issues earlier, the book ends by thinning out not only the ensemble but also the overall narrative, setting up the next chapter for success, even if this installment feels more utilitarian than exciting. — Patrick Cavanaugh
Rating: 3 out of 5
Despite my personal disdain for the Mojoverse, X-Factor improves on an uneven first issue. The first issue’s big weakness was a rather unimpressive mystery (to the point that I questioned what this comic was trying to be) but the second issue provided some additional clarity. We get a new mystery for the team to actually solve, while not neglecting the strong characterization and interactions that fans enjoyed in the first issue. While there are still some lingering narrative issues (this month’s chapter just…ended), it’s still a big improvement from the opening chapter. — Christian Hoffer
Rating: 4 out of 5
One of the more intriguing angles to the new Krakoan era that Jonathan Hickman has presented in his X-Men in the building of mutant culture, including the creation of a shared mythology. In a previous issue, he used Exodus telling stories to mutant children as a means of explaining how the Scarlet Witch’s acts on M-Day. Here, he uses that framing again to depict Magneto as a living mutant hero of myth. While humanity may still think of Magneto as a terrorist, reformed at best, Exodus presents him as a mutant Achilles, Beowulf, or Gilgamesh, and it works beautifully. The mythic tone combined with an alien invasion puts this issue right in artist Leinil Yu’s wheelhouse, and he delivers. That the issue sets most of the action against an empty sky or an open sea covers Yu’s resistance to drawing backgrounds. X-Men #11 is a strong showing for the flagship “Dawn of X” title. — Jamie Lovett
Rating: 4 out of 5
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Other Publishers #1
Angel’s been quite caught up in the events of Hellmouth, but Angel #13 takes a quick detour for a straight-up mystery tale that was one of the week’s biggest surprises. The peril of Fred, Gun, and the rest of the crew is put aside for a 1960s murder mystery full of cinematic and pulpy charm. Writer Adam Smith takes a slow-burn approach, introducing you to the victim and laying out her connection to Angel while injecting the mystery with the supernatural elements that this toy box allows. Before long you have vampires, ancient weapons, ghosts, and more all in the mix, making for a lively and self-contained whodunnit. Artist Piotr Kowalski and colorist Mattia Iacono’s artwork fits the tone and setting of this story well, though I can’t help but wonder what a Gleb Melnikov version of this story could look like, as this particular style just isn’t always my cup of tea. That said, this issue was a lovely surprise, and as a result, is an easy recommend. — Matthew Aguilar
Rating: 4 out of 5
For all of its biting humor and deadly sharp satire, Billionaire Island can be an emotionally difficult comic to read at times due largely in part just how on the nose Mark Russell’s story is. This week’s Billionaire Island #5, however, is difficult because it’s the issue that pulls back the curtain, so to speak, and lets readers see how Billionaire Island came to be and the depth of regret its architect has. Balancing that heavy part of the overall story of the series are some tight action moments as we see Shelly and Trent make a pretty big play. It sounds like a lot. It is a lot, but as has been the case with Billionaire Island its entire run, Russell swings hard and does not miss. Some comics falter a little in their penultimate issue, that’s not the case here. Russell continues to craft a layered story while Steve Pugh’s art is just so spot on. — Nicole Drum
Rating: 5 out of 5
Rowan’s life as a detective continues to be a battle between what she should do and what she wants to do, leading her to make some bold decisions, regardless of the emotional toll they’ll take. Meanwhile, detective Chaffey’s past might come back to haunt him and bring real-world ramifications for his former actions, putting his whole livelihood in jeopardy. This second installment in the current storyline might not be pushing the narrative forward tremendously, but it does start the wheels spinning on what the book could be offering readers, as it connects the past to the future without having to lean too heavily on the exposition. However, because this is only the second installment, the book doesn’t get too ambitious with the narrative and largely plays it safe by only moving the story forward marginally, leaving us to hope the next chapter will bring with it more narrative momentum. — Patrick Cavanaugh
Rating: 3 out of 5
After a stellar first issue, Bliss expands on its unique worldbuilding in a more subdued, but still effective, direction. Saying anything more than that would be a bit of a disservice to the plot, which includes both intimate character moments and major revelations. This series feels perfect for anyone who wants more of the magical realism from series like Sandman and Coffin Bound, with art and visuals that both culminating in an unsettling, but moving experience. Definitely check out this series, if you haven’t already, because it might surprise you. — Jenna Anderson
Rating: 4 out of 5
If Chu had opted for a more grounded, less animated style, its brain splatters and bodily expulsions would encroach on being excessive. But the balance it’s found between the style and the subject matter make even the most off-putting characters and moments essential parts of the story without dissuading readers from getting invested in them. While most stories take a while to build up their foundations and set out on the main story, Chu’s moving at an appreciably swift pace in its second issue. — Tanner Dedmon
Rating: 3 out of 5
The greyness sets in within Dead Body Road’s third issue as more parts of characters’ pasts come to light. The revelations won’t totally change your perspective on the characters, but they provide more than some cheap nuance to their roles. I’d maintain that about half the expletives could be chopped without losing any value, but when they’re used sporadically, it helps deepen the borderline lawless, small town appeal of the setting where events unfold quickly and everyone else scrambles to keep up with one another. — Tanner Dedmon
Rating: 3 out of 5
Doctor Tomorrow gives its title character a somewhat “happy” ending, as he defeats his villainous self and becomes a hero in the process. It’s a clever superhero origin story, although it dropped the ball on addressing the real drama at the end. After all, its title character spent 20 years becoming a superhero in an alternate dimension—years that he spent away from his dad and the younger version of his best friend. While we get brief little glimpses as to how both of them are coping with this frankly humongous change, I feel like the comic missed the opportunity to do something really innovative in favor of a rather standard origin. — Christian Hoffer
Rating: 3 out of 5
Family Tree concludes its second volume and moves one (significant) step closer to the unrecognizable future of Earth first foreshadowed at the start of the year. Issue #8 embraces its role as a climax, discovering key moments at both a grand and personal scale. A shootout provides a strong throughline of action, wonderfully enhanced by Hester and Gapstur’s rough line and an elderly hero who appears hewn from oak. Each bullet carries impact and continue a trend of escalation that make it difficult to not flip a few more pages ahead. Family Tree remains a perfectly paced adventure that can indulge its strengths without ever losing sight of the odyssey ahead—the third volume already promises to be even more thrilling than the uncanny adventure so far. — Chase Magnett
Rating: 4 out of 5
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Other Publishers #2
Ghosted in L.A. may have lacked some substance, much like its characters, but the overall effort and final moments were consistently charming. It is essentially a story about kind people helping one another—with the notable exception of Maurice—and watching that play out on a comics page provides some brief escape in 2020. The finale succeeds in providing almost all of its characters with a fitting denouement, and readers a chance to imagine there being a future even for the dead. Many of the flaws I have picked at across the previous 11 issues remain, but Ghosted in L.A. #12 is a very pleasant read and the value of that experience should not be understated. — Chase Magnett
Rating: 3 out of 5
Grit’s debut issue made a strong impression, but it’s the second issue that cements this off-kilter series as one to watch.. Writer Brian Wickman changes things up a bit in the second issue, expanding the cast and with the opportunities for comedic gold, though issue #2 features plenty of blood, guts, and unsightly imagery courtesy of artist Kevin Castaniero and colorist Simon Gough. The introduction of Ari pays immediate dividends, providing a character that with a completely different skillset and someone who can check Barrow at a moment’s notice. Their back and forth is hilarious from their very first scene, and we have a feeling this odd couple is going to be one of our favorite pairings in a few short months. The dialogue is only heightened by their animated expressions, which somehow got even better between issues, though when the situation calls for moments of grief, loss, and regret, Castaniero and Gough are more than up for the occasion. Grit was already on my biggest surprises of 2020 list, but if it keeps going this direction it will be on my best of 2020 as well. — Matthew Aguilar
Rating: 5 out of 5
Zander Cannon never ceases to amaze with his ability to blend the fantastic elements of kaiju with the harsh realities of prison culture and legal systems. Sure, it’s all dialed up for drama, but he does it all with such fidelity, such confidence in his world that the truth he’s getting at with these characters remains unblemished. Here, we see Sharkmon’s choice about what to do with his new lover now that he knows the truth about his history juxtaposed against a grieving widow’s attempt to find forgiveness in her heart for the (literal) monster that killed her husband. Neither story end up where you might think, which adds up to another excellent Kaijumax issue. — Jamie Lovett
Rating: 5 out of 5
This week’s Killadelphia #7 kicks off a new story arc and, in many ways, feels like a completely different book. With the family story laid to rest last issue as well as the general “origin” for the vampiric hell descending upon the city complete, the story shifts gears with a time jump that reveals the new and terrible norm for James Sangster Jr. as well as a violent and disturbing new threat. Rodney Barnes manages to shift gears with this book so sharply but also so smoothly that it’s both like reading a whole new series and a natural extension of the first arc. Jason Shawn Alexander’s art doesn’t miss a beat, either. The only real flaw to the book is that Abigail Adams’ monologuing feels a bit bloated in places, but beyond that, it’s a fantastic issue of a series that just keeps getting better. — Nicole Drum
Rating: 4 out of 5
Locke & Key: In Pale Battalions Go is an excellent “welcome back” for fans of the original series while also providing an independent story that easily introduces new readers to its concept without ever missing a beat. Joe Hill and Gabriel Rodriguez are firing on all cylinders in this issue and it shows on every page. — Evan Valentine
Rating: 5 out of 5
A lot of modern reboots try too hard to transform a classic property by making it too edgy or incredibly cartoonish, hoping to making it feel fresh for new audiences. Mega Man: Fully Charged updates the style of the character but avoids all of the pitfalls. It’s a sleek design for the character and a well-thought out world for him to exist in. His story is one of struggle that folks can relate to and he’s a hero that isn’t difficult to support. There isn’t anything really groundbreaking happening here, but that’s okay, Mega Man is thoroughly enjoyable all the same, even if you find yourself brand new to the material. — Charlie Ridgely
Rating: 4 out of 5
The penultimate issue of Mirka Andolfo’s Mercy is out this week and while it is every bit as visually stunning as its predecessor’s issue #5 gets a little muddled in its storytelling. Lady Hellaine’s story—and Rory’s by extension—continues to be compelling, but as her plan begins to take its final form, she’s burdened by memories and conscience to the point that, at times, it’s hard to maintain the story’s plot thread. The issue is a bit more dense than previous and that makes for a bit more of a tedious read. Hopefully the finale clears up some of the confusion and delivers on that stunning cliffhanger that closes this week’s issue. — Nicole Drum
Rating: 3 out of 5
The sun is starting to set on Mighty Morphin Power Rangers, but thanks to the Dark Rangers, the series is making some noise before a new era begins. Writer Ryan Parrott knows how to bring a lighthearted touch to an action sequence, and the massive battle between the Rangers and Zedd’s new soldiers benefits greatly from that skillset. Rocky and Squatt are clearly the MVPs here, and it kind of makes one want to keep this Dark Ranger team together just so Squatt can make more spot-on commentary about clouds (he’s right you know). That said, the more we see of Grace Sterling and Billy the better. On the visuals side of things, the battle sequence is the best-looking part of the issue, as colorists Walter Baiamonte and Katia Ranalli bring out the best aspects of Moises Hidalgo’s pencils there, though other less action-packed parts of the issue don’t have the same energy and style. Getting to see these villain faves hold their own was a delight, and there’s more than enough here to warrant an addition to your pull list. — Matthew Aguilar
Rating: 3 out of 5
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Other Publishers #3
With Nailbiter and Co. trapped in a house with a number of serial killers attempting to eradicate their targets, nearly every page is covered in blood, as both heroes and villains alike encounter carnage, leading to the surprise reveal of an unexpected figure as a ruthless murderer. If you came to Nailbiter Returns for gruesome gore, then this chapter is for you, as nearly every other page has some sort of horrifying atrocity, as one might expect from a book about serial killers hunting serial killers. Those hoping for more substance in the narrative, however, might be left disappointed, as this installment leans heavily on the action and keeps the overall story progression to a minimum. — Patrick Cavanaugh
Rating: 3 out of 5
As the plot moves ever closer to its climax, it feels like this is a ghost story where the rules aren’t written and no assumption is safe. That’s for the best as it adds a layer of tension and dread to each sequence—developing an overall mood of eeriness that makes for effective horror comics. The Plot #6 specifically focuses on tying the threads of the past to the present with each member of the Blain family encountering surreal circumstances, including some flashbacks to colonial America. Sacrifice and sin rest at the center of this family’s curse (and whether there is any potential to end it), and it makes for a terror-inducing descent as even their looming mansion and sprawling swamplands are made to feel claustrophobic. The Plot excels at delivering a visceral ghost story perfectly suited to its medium and their continuation into the final chapters make it one of the most thrilling entries in the genre this year. — Chase Magnett
Rating: 4 out of 5
Sleeping Beauties #3 moves forward with its harrowing tale of death and inequality with several sobering revelations. The issue’s satisfying moments are often paired with pitfalls that echo the story’s delicious futility. And as the Mother Tree grows more important, fans can anticipate more tense moments to come. — Megan Peters
Rating: 3 out of 5
I think that at the end of the day, Todd McFarlane’s Spawn remains successful because its creator is so unabashedly himself when he writes these books. Even this latest issue it remains clear that no one gets the character of Spawn more than Todd, but issue #309 is kind of hilarious in how very TODD MCFARLANE it actually is. Though Ken Lashley provides the artwork, with serviceable quality, the issue bleeds Todd in how over the top and silly it is. The story focuses almost exclusively on the goofball character of Gunslinger Spawn and only checking in on its main characters for them to either look for some papers or argue with each other. Fun to look at but a colossally frivolous issue overall. — Spencer Perry
Rating: 3 out of 5
In Star Trek: Hell’s Mirror, J.M DeMatteis introduces the Mirror Universe Doppelgänger of classic Star Trek villain Khan Noonien Singh. In typical Mirror Universe fashion, Khan’s moral compass is inverted. He seeks not to dominate through overt fascist tyranny, but to elevate and enlighten the Terran Empire towards democratic reform. Yet, Khan is Khan, believing himself superior to all. DeMatteis depicts the genetically-engineered superhuman as a familiar archetype from history, the dictator who rises to prominence by preaching noble ideals but who clings to power as their right. It’s a fascinating mold to cast Khan in, and one that leaves me wishing Hell’s Mirror was a miniseries instead of a one-shot, as good of a one-shot it is. — Jamie Lovett
Rating: 4 out of 5
The clones were created for the sole purpose of winning wars, but they didn’t all agree with that mission, resulting in their defection from the army. When a mission arises that will allow them to totally leave the war behind, they truly discover what, and who, they’re actually fighting for. Fans of the clones will surely enjoy this action-packed issue, featuring squabbling between the soldiers as they attempt to pull off a covert mission, with plenty of twists and turns in the combat thrown in to keep us on our toes. The elements in which the story leans into the concept of fighting for your family as opposed to fighting for whoever is giving you the orders feels a little mature for an all-ages book, which is also likely why it holds back from fully leaning into the elements that would have made this book more compelling. If the clones are defied by combat, what do they do when they leave that combat behind? This book doesn’t answer that question and instead gives a relatively straightforward, albeit engaging, clone adventure. — Patrick Cavanaugh
Rating: 3 out of 5
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Other Publishers #4
(Photo: IDW Publishing)
The long-awaited final installment of “Sunshine and Roses” leads longtime readers of Stray Bullets to a very familiar destination. That’s not a reference to chaotic conclusions, unexpected reversals, and bloody bodycounts, but a story and twist from the series earliest days. Developing a backstory for these characters and filling in a long stretch of their lives has been a rewarding endeavor, even as a sense of dramatic irony looms large. It fits within the tone and history of the series so far and still reads like a standard for crime comics. While issue #42 may not hold the power of a series finale based on that issue count, it still delivers a number of high-impact moments and provides several characters with a fitting denouement. With more Stray Bullets promised in an uncertain future, it remains true that this is a series worth waiting for. — Chase Magnett
Rating: 4 out of 5
The overt density of Tartarus’ premise and plot has finally caught up to it as the conclusion to its first volume is almost incomprehensible. Writer Johnnie Christmas had a tangled plot in the preceding issues but has wound it all into a knot where only moments of sense can be gleaned by the reader. Jack T. Cole remains the saving grace as he continues to bring fun artwork that blends plenty of sci-fi looks together while keeping things interesting visually just in general. A fun tee up for the next issue manages to maintain this one as a fun read, but a roadmap is needed to make sense of this one. — Spencer Perry
Rating: 3 out of 5
Sophie Campbell’s first arc on Teenage Mutant Ninja Turtles set a new tone for the series. Her second arc, in which she teams with Ronda Pattison on scripts and colors and Nelson Daniel on art, is more of a return to basics, with the Turtles back in the sewers on a rescue mission. The themes Campbell laid out in that first arc are still present, with the Turtles growing into their new roles as the adults in the room and their allies concerned about the well-being of the nascent Mutant Town community. Nelson and Pattinson’s bright, clean artwork does a great job of selling Campbell’s simple plot while keeping it feeling exciting and fresh. All-in-all, this issue is an excellent blend of classic and new era IDW Turtles. — Jamie Lovett
Rating: 4 out of 5
The rich lore that pervaded That Texas Blood #1 has quickly drained from the series’ pages as it turns its focus to Randy, a generic protagonist drawn back to his hometown filled with past sins. Issue #3 slowly introduces a new cast of characters to surround Randy, including an old flame and literal black hat cowboy who provide no more substance than those brief descriptions. It’s all too familiar and if there are surprises on the formula coming, they cannot arrive soon enough. When Randy and Sheriff Joe Bob do encounter one another, it’s clear how ill-suited the former is to fill the latter’s role as protagonist. There’s no depth to the character, lacking Joe Bob’s world weariness and nightmares, and Randy doesn’t even provide a sheen of likability—behaving stupidly in matters of romance and investigation alike. Backgrounds for his ranchbound showdown here are as lacking in detail as the folks throwing down on the page. It seems the decision to stretch the central story of That Texas Blood into an anthology approach may have left the best elements behind, at least in the initial outing of “A Brother’s Conscience.” — Chase Magnett
Rating: 2 out of 5
Usagi finds himself in an impossible situation that places him in a similar role not dissimilar to Sanjuro Tsubaki’s appearances, and much like those classic samurai films it sets up high stakes and plenty of exciting avenues from the very start. Issue #12 serves primarily to introduce the remaining characters, plots, and elements before allowing events to unfold. Usagi is the wise man in a town filled with self-serious martyrs, and he uses his worldweary experience to create opportunities. Any reader familiar with Sakai’s work will recognize Usagi’s motives as events unfold, but it is still a pleasure to watch the first stage of this perilous plan work. “The Return” has created one of the most intriguing and personal adventures to imperil this rabbit ronin in many years, and the only certainty about what comes next is that it will be an absolutely thrilling comics experience. — Chase Magnett
Rating: 4 out of 5
It’s worth questioning the purpose of the mystery played out across Wicked Things #3 and #4. The plot shows Lottie to be more effective than the police, but also undermines the very purpose of the police she aims to support. In this story the protagonist is not Lottie or her questionable cop allies, but people forced to the fringes of society using crime to find a second chance. That reads like a great hook, but it is entirely disconnected from the thrust of the series. Wicked Things contains clever schemes, an irresistible art style, and a familiar procedural set up, but all of these elements read as being scattered on the page—briefly charming in moments, but unable to cohere into a compelling monthly read. — Chase Magnett
Rating: 3 out of 5
0commentsAfter moving at a glacial pace with its first two issues, Wynd #3 finally kicks things up a notch. We get a lengthy explanation of how this world came to what it is, why so many people hate anyone connected to magic get a hint at why Wynd is so crucial to the story, see the Bandaged Many in action (he’s like if Hush was intimidating… and interesting) and finally see our main cast unite and set off on their adventure. Honestly, I wish the series had started with this! — Connor Casey
Rating: 4 out of 5
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