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, Dark Horse, AfterShock, 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 DC Saved By The Belle Reve #1, Thunderbolts #1, Forever Forward #1, and Star Trek: Picard – Stargazer #1.
Also, in case you were curious, our ratings are simple: we give a whole or half number out of five; that's it! If you'd like to check out our previous reviews, they are all available here.
DC #1
DC SAVED BY THE BELLE REVE #1
[READ THE FULL REVIEW HERE]
Like every anthology, DC Saved By The Belle Reve is a mixed-bag, but the average skews towards the disappointing. While highlights from familiar settings like the Tiny Titans and Gotham Academy will delight their fans, and a handful of others provide some genuine laughs, the lows are very low. The tone of adults lecturing on students and schoolyards they've long been away from can be heard resonating through a number of stories, while many seek to instruct in a manner that makes it seem like this comic should have been given away. "This Is Why" provides a truly shocking low point that, as a teacher, feels particularly traitorous comparing work for a criminal president to the genuine good work teachers do in the classroom. It sames that much like in Belle Reve there's more bad than good to be found here. -- Chase Magnett
Rating: 2.5 out of 5
THE FLASH 2022 ANNUAL #1
The latest annual issue of The Flash takes the opportunity to explore Linda Park, the wife of Wally West who recently stumbles into speedster powers of her own. While this latest issue doesn't feature much of the Scarlet Speedster, it does give readers a fun twist on the world of the Flash via Linda's romance novel. It's a fun, stand-alone story that manages to explore Linda as a character through her avatar, while also hinting at some major developments for the West family. This Annual doesn't break the wheel for Keystone's Finest but it certainly strengthens it. -- Evan Valentine
Rating: 3.5 out of 5
HARLEY QUINN 2022 ANNUAL #1
The best thing I can say about Harley Quinn 2022 Annual is that it concludes the "Task Force XX" story arc. Beyond that, the same issues that have plagued that arc are present here. This isn't a Harley story; this is an everyone-else-but-Harley story and when we do get Harley involved, it's for air-headed, vapid quips with no real meaning or depth or anything approaching something that would be in-character for her. The art is not great, either, particularly in the backup story which sets up the next arc by sending Harley to Las Vegas. At least she appears to be more present in her own story this time, though whether or not she'll regain any of her intelligence next arc remains to be seen. Really, considering that most of Phillips run on Harley to this point was pretty solid, this book is just an abysmal disappointment. -- Nicole Drum
Rating: 1 out of 5
THE SANDMAN UNIVERSE: NIGHTMARE COUNTRY #5
Nightmare Country has reached the point where it has to start moving its narrative machinery more obviously. Thus, we get our first visit from Dream himself, a revelation about who may be behind events thus far, and a new mission statement. It's a pivot point, and an interesting one, but one that betrays the subtler storytelling of the previous issues. However, the reveal of the angel's identity near the end of the issue was not what I was expecting and it's hard to know what to expect from that particular turn. It all still looks beautiful, so I'm on board to find out. -- Jamie Lovett
Rating: 3.5 out of 5
SUPERMAN: WARWORLD APOCALYPSE #1
The finale of the "Warworld Saga" is a bit of a mixed bag. While it was always a story of many moving parts, it had largely narrowed its focus in the run up to the end, but Superman: Warworld Apocalypse reverses course hard and goes back to that numerous moving parts approach as it wraps up the battle in a somewhat tidy bow. The actual ending is somewhat predictable: Superman does win the day, mostly on the merits of his humanity and goodness, the Phaelosian who betrayed him in the end goes on to seek his own form of justice for his lost loved ones and people, and the other characters who were in play all do their part. It's a little messy and at times crowded, but it is decent enough. But there are also a lot of artists on the book and that makes for a lot of visual switching which only exacerbates the weakest parts of this story. The net result is a book that doesn't feel like it has the significance that it should while also feeling a bit rushed. Still, if you're a Superman fan, it leaves the reader with a lot of possibilities and that's a big win. -- Nicole Drum
Rating: 3 out of 5
WONDER GIRL 2022 ANNUAL #1
This annual is lucky that it's anchored by such a strong and charismatic protagonist, because it makes this jumbled but gorgeous reading experience so much better. The issue jumps throughout various vignettes in Yara's world, eventually trying to thread the needle of making them a singular story – but losing a sense of cohesion in the process. But when those vignettes work, they do so beautifully, and the art from the rotating arsenal of artists is consistently stunning. While this isn't a must-read for Yara Flor fans, it's still filled with fleetingly gorgeous moments nonetheless. -- Jenna Anderson
Rating: 3 out of 5
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Marvel #1
AMAZING FANTASY #1000
Published as a 60th anniversary special for your friendly neighborhood Spider-Man, Marvel Comics has assembled a murderer's row of amazing creators to tell unique tales of the hero's past and future. Ranging from a multiversal council by Jonathan Hickman and Marco Checchetto to a tremendous throwback by Anthony Caldone and Michael Cho, plus an autobiographical work by Neil Gaiman and Steve McNiven, there's something to like about all of the stories here, a rare feat for a comic of this nature. This is a must own for all Spider-Man fans. -- Spencer Perry
Rating: 5 out of 5
ANT-MAN #2
I've long been fond of the least-famed Ant-Man, Eric O'Grady, and his (ironically) short run of titles beginning with The Irredeemable Ant-Man. Ant-Man #2 captures the magic of that series brilliantly and in such a fashion that it continues the meta-narrative begun last month in deft fashion. It was Phil Hester's work that defined O'Grady's origins, and Tom Reilly plays to his style in a fashion that shows tremendous appreciation. There are obvious callbacks, like an adroit ant recapping the opening page, but it's the subtle touches like an excellent use of both 16-panel and 6-panel grids that really make this issue feel perfectly at home in the 'oughties. Al Ewing also makes neat use of the story's natural time frame to remind readers that this story is about more than one form of continuity, while crafting a tale that celebrates the Irredeemable run. That all of this occurs before building tension about the central, hidden conflict of Ant-Man showcases how much this miniseries is delivering; it's an absolute treat to behold on the surface and upon reflection. -- Chase Magnett
Rating: 4.5 out of 5
DEADPOOL: BAD BLOOD #4
Deadpool: Bad Blood sticks the landing on the emotional climax it had been building towards. Thumper is an interesting creation, but his emotional relationship with Wade makes me hope future Deadpool writers will use him for other storylines. Rob Liefeld's art struggles during some of the action scenes, but if you've made it this far you likely won't care. -- Connor Casey
Rating: 4 out of 5
FORTNITE X MARVEL: ZERO WAR #4
Fortnite x Marvel: Zero War's penultimate issue gets stolen away by Doom, though those familiar with the villain shouldn't find that hard to believe. While bits of the story are again inundated by references to past Marvel and Fortnite stories alike which sometimes feels like a bit much to ask given the sheer scope of both of their shared universe, readers can find something to latch onto through the weapon-filled battle on an icy moon. It's a picturesque setting for such a fight that fits Doom's persona perfectly, and if it's any indication of what's to come in Doom's final battle he teased, it'll be one to look forward to. -- Tanner Dedmon
Rating: 4 out of 5
GAMBIT #2
Gambit #2 largely feels quite disconnected from the first. Gone is the back and forth between Gambit and 'Ro that served as the core of the opening issue, and in steps a number of new characters and a completely different plot line. Given this somewhat jarring jump between chapters, I'm left unsure about what to think of Gambit moving forward. If nothing else, Sid Kotian's artwork in issue #2 is excellent and continues to be a highlight so far. -- Logan Moore
Rating: 3 out of 5
IRON FIST #5
The latest Iron Fist story comes to a screaming halt as Lin Lie wraps up his first tale as the Immortal Weapon of K'un-Lun. While the last issue moves all too quickly, it is a fitting end for the action-packed series. It gives Lie a solid launch as Marvel's new Iron Fist and wraps up the biggest lingering question raised throughout the previous for issues. It could have used another issue to slow things down and give things some time to breathe but all in all, a formidable ending for a solid Iron Fist story. -- Adam Barnhardt
Rating: 4 out of 5
KNIGHTS OF X #5
Knights of X concludes and mercifully so. The issue opens on some of its most potent material yet traveling within vast magical metaphors exploring their recently departed friend Gambit only to submerge that setting in endless explanations before moving quickly to a rushed series of destinations. Every concluding note is explained at length—sometimes the dialogue even literally notes what the story dictates—and is delivered in far too convenient of a fashion. To describe The Siege Perilous' application here as a shortcut undersells the final effect as every loose ends lands neatly into place. Mordred disappears only for all of this character work to occur off panel, and that's but one of many examples. Only Bob Quinn's work serves to summon up redemptive qualities at the end with an excellent spread and consistently over-performing layouts that make the abrupt endings slightly less so. -- Chase Magnett
Rating: 2 out of 5
MECH STRIKE: MONSTER HUNTERS #3
This issues shows off a handful of new mechs including an awesome bestial design for Thanos, but they're all limited to one page apiece. The next issue is promising climactic action and I'm hoping it delivers. -- Connor Casey
Rating: 3 out of 5
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Marvel #2
MOON KNIGHT: BLACK, WHITE & BLOOD #4
Black, White & Blood concludes with three of the series' best tales and provides Moon Knight fans with every sort of adventure they might crave. Christopher Cantwell delivers a typically ambitious story detailing an abundance of metaphors to touch upon mental illness and Alex Lins deftly details all of it within 10 pages—making splendid use of 16-panel grids—in "Good Morning." Providing an excellent contrast is "The Scent of Blood," which pits Moon Knight against yet another cult in a bloody frenzy packed with visceral thrills in clean inks. The final story, "Born to Be," comes from Paul Azaceta and showcases an artist with a refined eye for horror as it draws readers through a detailed series of nightmares concluding in a pair of truly awesome pages. The use of contrast and color in Azaceta's work is stunning to behold at times and with so much narrative seamlessly woven into 10 pages, it's tempting to consider what he might accomplish given more space. Altogether, Moon Knight: Black, White & Blood concludes the miniseries in great fashion – showcasing some of the best creators rising up the ranks at Marvel Comics. -- Chase Magnett
Rating: 4.5 out of 5
STAR WARS: OBI-WAN #4
Obi-Wan and Anakin are tasked with bringing a former commander to justice after he had been driven mad by war, no longer valuing life on either side, committing to transport as many people he could towards their deaths and the eventual embrace into the darkness. The work put into this issue transcends the mythology of the galaxy far, far away, reminding readers of the futility of war even in a fictional world that wouldn't exist without it literally being its namesake. Writer Christopher Cantwell and artists Madibek Musabekov and Sebastian Cheng are doing tremendous work, reflecting on the costs of conflict, plunging our heroes into its depths, and delivering a true masterwork of what can be accomplished with the allegories in science fiction. Much like how George Lucas borrowed from iconic filmmakers and storytellers, this issue channels Francis Ford Coppola's Apocalypse Now, and while that film death with the horrors of the Vietnam War, the accomplishments of this issue never draw strong enough similarities to diminish the true-life horrors of that conflict. With issue #4, Obi-Wan has truly peaked, making for unquestionably one of the best Star Wars comics of the year. -- Patrick Cavanaugh
Rating: 5 out of 5
THUNDERBOLTS #1
[READ THE FULL REVIEW HERE]
Thunderbolts #1 is a pretty extreme swing for the fences in terms of Marvel's narrative. While lambasting corporate overlords (even its own) the world over, the series' interest in being a satire of modern business convenience seems like it's going to get lost after setting up the team in this first issue. There are moments where the new series shows visual promise, the action beats in particular are fun, but overall there's an inconsistent quality to the world that sometimes makes this hard to read and interpret. Like nearly every other attempt at rebooting Thunderbolts, there's a kernel of a good idea here, but it seems to be the latest in a lineage of "Marvel has no clear idea what they want the Thunderbolts to be, but it's still time to try again." -- Spencer Perry
Rating: 3 out of 5
THE VARIANTS #3
We're officially past the midpoint of The Variants, and the miniseries is proving to be even more incredible than I'd thought possible. Jessica's quest for identity, amid an unbelievable experience of meeting alternate-universe versions of herself, is profound and thrilling at every single panel, all while twisting and turning several times over. Gail Simone's script has some of my favorite Marvel moments in recent memory, and Phil Noto's art finds so many new ways to amaze. The Variants is easily the best Marvel book on stands right now – trust me. -- Jenna Anderson
Rating: 5 out of 5
WILD CARDS: THE DRAWING OF CARDS #2
The only positive thing I have to say about this comic is that it's more coherent than the first issue. While the comic still struggles with converting its source material into a compelling 20-page comic, it at least has an understandable narrative that can be followed and some decent visuals to accompany it. This is still a weird comic, but it's better than the disaster of a first chapter. -- Christian Hoffer
Rating: 2 out of 5
X-FORCE #31
The most interesting parts of X-Force unfold in the wake of a completed mission as reactions to Omega Red delivering previously-trafficked refugees to Krakoa's shores prove revealing. Amidst the ongoing politicking of Beast and Sage, Kraven's own perspective on mutantdom develops alongside a non sequitur appearance of events in A.X.E.: Judgment Day. Deadpool finally delivers some genuinely funny lines, which makes for a nice change of pace and eventually sets up X-Force's next conflict. It's Robert Gill's artwork that elicits the biggest laughs of the issue with an appropriately gnarly style capable of playing up all of the horrors facing and within the team. -- Chase Magnett
Rating: 3.5 out of 5
X-MEN #14
X-Men #14 suffers, as its predecessor did, for being a tie-in issue to Judgment Day. X-Men was already a series that was more style and spectacle than narrative depth, but with the main movements of Judgment Day happening elsewhere these issues feel particularly thin, replaced by a framing device that's unsubtle even if its message is admirable, and perfunctory epilogue tying more directly into the event story. Again, substitute artists C.F. Villa and Matt Milla can't capture the same grandeur that Larraz and Gracia have brought to the series, but there are some cool moments where gets to show their knack for fluid motion. -- Jamie Lovett
Rating: 3 out of 5
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Other Publishers #1
ALICE EVER AFTER #5
Alice Ever After comes to a close this week with a bittersweet entry filled with gorgeous line art and pastels. As Alice's time at the hospital comes to a close, readers will be left stunned when they discover the length's Edith will go to save her sister. And in the end, a certain line about the Chesire Cat will leave fans begging for more of this fantastical take on a classic fairytale. -- Megan Peters
Rating: 4 out of 5
BARNSTORMERS #2
Barnstormers #2 picks up quite a bit in the second issue. We get some details about Bix that sort of explain some of the curious questions at the end of the first issue (the robot of it all) and we get a bit more of an understanding of why the runaway bride wanted to run away. On top of that we get the start of their grand adventure so the threads of where this is going start to really make themselves seen. The art is fantastic and goes very well with the tone of the tale, which maintains that slightly pulpy turn of the century vibe. It makes for a very slick, stylistic issue and while it still seems like Barnstormers overall is going to be a book more of style than substance, it's still a good bit of fun as things begin to pick up. -- Nicole Drum
Rating: 3 out of 5
BREAK OUT #3
After a fair amount of setup in the first two installments, Break Out #3 finally gets to the heist that we've been waiting for. The result is a fast-paced issue that does a great job of showing off all the moving parts of the mission while not feeling chaotic. And while much of issue #3 is straightforward, it also opts to shed some light on the alien invaders that have served as the antagonists at the center of this story. Sadly, this explanation is done in a heavy-handed manner that feels far too obtuse. I'm not sure how Break Out is going to end up concluding, but I'm hopeful for the series' final chapter. -- Logan Moore
Rating: 3.5 out of 5
DOGS OF LONDON #4
Dogs of London seems to finally hit its stride in the title's fourth issue, bringing lot points together in a cohesive manner for the first time. The plot moves along at a brisk pace, not falling in the drab pitfalls previous issues in the run have faced. More importantly, however, is Artecida's stellar artwork on the issue – making it look like a noir tale set in the style of FX's Archer. -- Adam Barnhardt
Rating: 4 out of 5
DUNGEONS & DRAGONS: RAVENLOFT – ORPHAN OF AGONY ISLE #3
Miranda finally tries to flee her gilded cage in the latest issue of D&D's slow-burning horror tale. It's interesting to see Elise (the reanimated creation of Viktra Mordenheim) make an appearance, however fleeting, in this issue and it's also interesting to see the more volatile relationship that she and Mordenheim share in their brief interaction. This remains a captivating story, one that uses the Ravenloft lore as a foundation but seems willing to explore new ground at the same time. -- Christian Hoffer
Rating: 4 out of 5
FIREFLY: 20TH ANNIVERSARY SPECIAL #1
Firefly comics writers tend to lean on the memory of Shepard Book when the want to get sentimental and that card is played again in the Firefly: 20th Anniversary Special. Book's attempt to provide moral guidance to a sentient AI from his mysterious past serves as the connecting thread between the issue's two stories, one set during the original Firefly television series and the other set in the future established by the Firefly: Brand New 'Verse comic book. In a way, it's a microcosmic example of the odd direction the Firefly comics have gone in since coming to Boom, with the characters behaving like cartoonish versions of themselves ("It's Jayne time"?) and a heavy reliance on sci-fi plot devices, neither of which helps to elevates a mediocre celebration. -- Jamie Lovett
Rating: 3 out of 5
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Other Publishers #2
FOREVER FORWARD #1
[READ THE FULL REVIEW HERE]
Forever Forward takes the concept of time travel and turns it on its head, by having its main cast of characters simply continue to jump further into the future with each leap, rather than ever venturing into the past. As an opening salvo for the series, this introductory issue does well at setting the stakes and introducing us to the world of this time-traveling science fiction journey but does hit a stumbling block from time to time in chronicling the adventure of Dr. Lewis Moody and company. -- Evan Valentine
Rating: 3 out of 5
HOUSE OF SLAUGHTER #8
Scarlet has been an intriguing detour into an unexplored division in the Order of St. George, though over the first two chapters the high points are held down by slow pacing and exorbitant dialogue, and that is also the case with the first half of chapter 3. Sam Johns' dialogue and plot movement in the first half moves things forward at a crawling pace and fails to deliver a satisfying payoff to justify that pace and approach. The second half clicks because that dialogue serves a purpose to both the main character and the larger plot, and Johns delivers a stellar hook towards the final few pages for a nice rebound. Artist Letizia Cadonici and colorist Francesco Segala are on their A-Game here, creating an issue that fits perfectly within the world and overall vibe of the ever-expanding Slaughter-verse and yet still stands on its own. Scarlett has been a bit hit and miss, but if chapter 4 can build on the momentum of this issue's ending, it could finally hit its stride. -- Matthew Aguilar
Rating: 3 out of 5
JOHN CARTER OF MARS #5
John Carter of Mars delivers a pretty stellar climax to its story once it gets past an admittedly clumsy revival sequence that opens the story. John Carter of Mars #5's dual-perspective setup does well to balance more serious topics of atonement with comedic relief even if it all feels a bit rushed to get to the best parts. The final moments of the issue in regards to both John Carter's dialogue and the way his foreshadowed sacrifice transpires are handled with a tangible confidence that brings the final few panels home. -- Tanner Dedmon
Rating: 4 out of 5
THE OCEAN WILL TAKE US #5
The Ocean Will Take Us comes to a close in issue #5 and it does so in great fashion. After slowly building up over the course of this series, the true villain at the center of this story reveals themselves in this issue and they do so in a comical, over-the-top manner. The only downside is that the final pages of The Ocean Will Take Us end up feeling a bit rushed and some of the more important story moments aren't given enough time to breathe. Still, given how fun The Ocean Will Take Us has been throughout, I'd be more than happy to see this series get a follow-up in the future. -- Logan Moore
Rating: 4 out of 5
POWER RANGERS UNLIMITED: THE DEATH RANGER #1
Andros and the Death Ranger have been a critical part of Power Rangers and Mighty Morphin as of late, and I've quite enjoyed the story told so far, but I can safely say that it didn't truly resonate with me until Power Rangers Unlimited: The Death Ranger #1. Paul Allor does a magnificent job of not just revealing the origin of this new addition to the mythos but also conveying Andros' trauma and grief that powers this entire story, and both aspects of this book will only serve to make the payoff in Mighty Morphin Power Rangers #100 ten times more fulfilling. While the story of a tragic death proceeding a fall from grace isn't new, it's executed effectively, and equally as effective are the callbacks to Andros' past and how Spa'ark's story of heartbreak and loss mirrors his own. This is also beautifully brought to life and tied into the flashbacks by artists Kath Logo and Anna Kekovsky as well as colorists Fabi Marques, Sara Antonellini, and Sharon Marino as well as letterer Ed Dukeshire, including one panel towards the end that I simply can't stop thinking about. The Death Ranger's story isn't over yet, but if you're invested in what happens next, this is an absolute must-read. -- Matthew Aguilar
Rating: 4.5 out of 5
RED SONJA #12
The finale (for now) of Mirka Andolfo, Luca Blengino, and company's work on Red Sonja, this issue delivers a climax that's undoubtedly entertaining, even as it's a little exposition-heavy. As Sonja and Sitha's fight for survival evolves to a fiery point, the past and future of the two women begins to be tested in some major ways. Guiseppe Cafaro's art is dynamic at every available opportunity, allowing some of the denser (and potentially less-rewarding) panels to still shine. While there's no telling what's next for the main Sonja book after this, this is a compelling note to go out on. -- Jenna Anderson
Rating: 4 out of 5
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Other Publishers #3
STAR TREK: PICARD – STARGAZER #1
[READ THE FULL REVIEW HERE]
Beyer and Johnson's storytelling is strong enough that the issue doesn't feel like a miss, despite a poor fit of artistic styles. Star Trek: Picard – Stargazer isn't the most ambitious comic—it isn't even the most ambitious Star Trek comic that IDW has published recently—and it's unlikely to transcend the expectations that come from it being a tie-in story filling the gap between two seasons of a television series, but its strong character work is enough to fulfill its mandate as worthwhile reading experience for fans of the series. -- Jamie Lovett
Rating: 3 out of 5
TRANSFORMERS: LAST BOT STANDING #4
Transformers: Last Bot Standing closes on a touching, bittersweet finale. The comparisons to similar stories like Logan and certain westerns will be unavoidable, but it manages to deliver one last fist-pumping fight for the fans that have stuck with the franchise for so many years under the IDW banner. It's hard to say what the future of Transformers comics holds, but this was an excellent end to this chapter. -- Connor Casey
Rating: 4 out of 5
TRANSFORMERS: SHATTERED GLASS II #1
Hopefully you're a reader of previous Transformers: Shattered Glass stories, because the opening of this new chapter doesn't spend much time explaining any of the major plot points. One positive example is the real-world display of politics between the rule-makers and military personnel. However, what's not clear is if Optimus Prime and Orion Pax are the same Autobot. They're clearly illustrated the same, but it could be a case of Ultra Magnus seeing visions. Speaking of Ultra Magnus, there is definitely more than meets the eye about him. -- Tim Adams
Rating: 2 out of 5
THE VAMPIRE SLAYER #5
While the inconsistent art on The Vampire Slayer remains a problem, there's something endearing about Sonia Lee's approach to the material. Her figures are simple, but on the more realistic end of the spectrum, ending up at a stylistic point that resembles what Buffy might have looked like if published as an independent comic from the days of the self-publishing boom. The story could still stand to be more focused, but Sarah Gailey's dialogue hits the mark as Buffy, Willow, and Faith begin to fracture. The issue proves to be one of the better installments of this consistently inconsistent series. -- Jamie Lovett
Rating: 3 out of 5
VAMPIRELLA: YEAR ONE #2
Vampirella: Year One carries on with another long-winded issue this week, and while its conversational tone is easy to read, the book's stale artwork will leave fans wanting. A day at school gone wrong gives readers a breather this week, but of course, there is enough gore and nudity to go around. The entry's jilted pacing is made up for at the end thanks to a wild encounter, but the issue's static palette does little for the ambitious series this week. -- Megan Peters
Rating: 2 out of 5
WE ONLY FIND THEM WHEN THEY'RE DEAD #13
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We Only Find Them When They're Dead #13 essentially boils down to a single, very taut interrogation sequence, with only the briefest of time jumps to frame it. However, that one long conversation manages to neatly connect the dots of this sprawling space saga between issue #12's cliffhanger and where it is heading for its conclusion – even if an issue like this suggests readers may never anticipate when and where exactly issue #14 might pick up. Dialogue frames the new characters and devices that build and release tension in a story formulated like a one-act play, and Di Meo plays on the austere setting, flashing red colors of warning, and violence in a gripping manner. So wherever We Only Find Them When They're Dead is bound, I'm excited to follow. -- Chase Magnett
Rating: 4 out of 5
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