Comic Book Reviews for This Week: 6/7/2023

Jul 16, 2023

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, Dynamite, 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 Steelworks #1, Loki #1, and In Hell We Fight #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.

Jon Kent continues to tour the world of "Injustice" and inform readers about this very popular alternate reality in a fashion that will be repetitive for those already familiar and direct, but dull for those who may not be. There is an action sequence stuffed in the middle that serves no purpose beyond checking off a box that superheroes fought in a mandatory trope before cooler heads prevail. The entire issue functions in a series of expository dialogues that occasionally make space for Harley or Luthor to deliver a brief one-liner straight out of an MCU script. Unfortunately, the addition of artist Darick Robertson is unable to perform a face lift on this banal endeavor in plotting. While his characters are more expressive and provide a wider array of diversity in facial expressions, no artist is capable of making the hideous Injustice-Batman design look good and the violence displayed here leans away from Robertson's strengths (as displayed in series like The Boys and, more recently, Hellblazer: Rise and Fall). "The Road to Injustice" keeps trucking along and perhaps the story will grow engaging after finally arriving at its destination next month. -- Chase Magnett

Rating: 2 out of 5

After the adventures in another reality, Batman #136 really needed to recalibrate the book and Batman himself and that is exactly what Zdarsky does here, but maybe not in the way that readers expect. And it's an excellent choice that not only sets in motion the next great challenge for Batman and Gotham, but digs deeper into Bruce Wayne as a character and offers up a rich, emotional, character-driven story that is easy to miss in the mess that Gotham can be. What Zdarsky has done well with his run is dealing on the more emotional aspects of Batman/Bruce Wayne – something that Tom King approached, but never really dug deeply enough into. This issue, we get very intimately acquainted with Bruce's anxiety and PTSD from his experiences and how that's going to play into the next big challenge. We even get Bruce and Selina back together, but Zdarsky takes a more honest approach to their relationship and dynamic and the story—and relationship—is vastly better for it. The art isn't my personal cup of tea, but it's well done and makes an interesting juxtaposition to the more serious tone of the issue. It's a home run all around. -- Nicole Drum

Rating: 5 out of 5

Battle lines are drawn and new alliances tested as the heroes of this alternate DC universe now understand the true threat they face. This issue mostly serves as a way for the collective cast to take a breath and take in and react to all the twists they've experienced over the past few issues. It's here that Taylor's writing really shines, as he finds ways to showcase his understanding of the DC characters even when they're in new and radically different environments. -- Christian Hoffer

Rating: 4 out of 5

It's time for Jeremy Adams run on the Scarlet Speedster to cross the finish line and in this "Celebration of Wally West," you couldn't ask for a better swan song. Assembling some of the biggest creators that have worked on all things Flash, this anniversary issue is one of the best to recommend to old and new fans of Wally and the Flash Family alike. With anthology comics, it can often be tough to rank them as a whole since the individual stories can potentially swing wildly in the quality department, so it's great to report on an example of one, such as this, that fires on all engines. Not only do we get a perfect cap to Adams' run, we also get a hint as to what's to come this fall with Si Spurrier and Mike Deodato's story to finish off the issue. This is one for the Flash history books and definitely plants the seeds for what's to come in an interesting way. -- Evan Valentine

Rating: 4.5 out of 5

The latest issue following the two Clown Princes of Crime is mostly here for build-up when it comes to the coming conflict to see who is the true Joker. It's a comic that feels necessary, but one that also slows down the rampage of the Harlequinn of Hate that has been on throughout the series. Ultimately, the strongest parts of the main story revolve around either Joker interacting with other villains sans-Batman or other DC heroes. Following this, the issue has an absolutely amazing side-story, as has been the case for much of The Man Who Stopped Laughing, wherein Commissioner Gordon might be unable to accept the status of the Joker. While this issue feels like one of the weaker of the series, that's only thanks to the high bar that the creators have set for themselves. -- Evan Valentine

Rating: 3.5 out of 5

Books like The Joker: Uncovered are difficult to review because they are really just art – and that's not a complaint. The Joker: Uncovered, uses the guise of someone breaking into Joker's secret vault as the frame to showcase numerous variant covers for The Joker and while that mechanism is one the book could do with out, it's a really nice volume of comic art dedicated to Batman's most iconic villain. There's a wide, wide range of styles from a large variety of artists and it makes for a really beautiful look at how diverse interpretations of the Clown Prince of Crime can be. Whether something like this is really necessary or should be done in this particular format is up for debate, but if approached strictly as an art book, it's a nice issue. -- Nicole Drum

Rating: 4 out of 5

Peacemaker Tries Hard! #2 continues everything readers enjoyed from the series' humorous and violence-filled debut featuring a John Cena-like Peacemaker and develops a hook that makes the Black Label miniseries irresistable by its end. Even though the premise was plainly introduced in issue #1—Peacemaker is blackmailed into saving his new dog—it's the layers added as Monsieur Mallah and Peacemaker go about their mission that reveal just how much fun this miniseries can be. Along the way there are plenty of gags, including a collection of helmets and superhero ephemera littering Immortus' cave, that will delight DC fans and those with an appreciation for well-delivered crude humor alike. The action is excellent, as well, including the deployment of a new Peacemaker helmet and ample opportunities for Mallah to swing his weight around. There's even a buddy cop element between the unusual allies as they're compelled to collaborate across the issue. It makes for an incredibly fun romp across the lower decks of DC Comics before ending on a note that is sure to bring readers who are already interested back for every remaining issue. Peacemaker Tries Hard! captures the incredible action and comedic tone fans of Peacemaker loved and distills them into the comics form as only Starks and Pugh can. -- Chase Magnett

Rating: 4.5 out of 5

Poison Ivy #13 starts a new chapter for this title as well as for Pamela herself and what it excels at is simultaneously giving readers a clean place to jump on the story while also carrying with it all of the character development we've seen to date. Pamela's back in Gotham, but she soon finds it's not going to be easy—which she already knew—but right out of the gate she's taking on gentrification as well as her own old enemies. While the story is definitely setup for "Knight Terrors" and loses just a little bit in terms of the issue being almost all exposition, it's a good lead in overall when you consider the full series and makes for a nice read generally. The art also continues to be strong – especially with Killer Croc. -- Nicole Drum

Rating: 4 out of 5

Shazam! continues its embrace of an updated Silver Age tone in its second issue, deploying the classic (and classically goofy) villain Psycho Pirate and introducing more talking animals to the cast. Even as the stakes are clarified and the dark possibilities of a cold-hearted Shazam wreaking havoc are considered, there's an air of fun that runs throughout the issue. Those with power approach new problems with the innocence of children, which makes the rescue of an emotionally-amped crowd and the delivery of alien paperwork (in one of the year's best page turns) a delight to behold. When things go awry, there's already an abundance of sympathy for Billy as the good-natured character is so well-defined that the strange moments of ill intent are clearly outside the norm. Waid finds inventive ways to make B-list villains like Psycho Pirate a clear threat and fill the subsequent confrontations and chases with action that is brilliantly distilled by artist Dan Mora. Mora's deft ability to deliver emotions and make exceedingly strange concepts, like a T-Rex in coattails, play within a broader context ensures that every moment of humor and excitement lands. Shazam! is quickly taking its place as the best, new all-ages comic of 2023. -- Chase Magnett

Rating: 4.5 out of 5

Steelworks has some chinks in its armor, but it's a solid start and a definite buy for both Superman and Steel die-hards alike. It's unfortunate to see that this is only a mini-series as John Henry Irons is a fundamental part of Metropolis and I hope to see more from Steel, and Steelworks, in the future of DC Comics. -- Evan Valentine

Rating: 3.5 out of 5

Bishop: War College's grand finale hits the ground running and brings the story to a satisfying close, and looks to have achieved its goal in shining a light on an eclectic and compelling group of heroes. Writer J. Holtham hits hard right from the beginning of the issue, and despite not spending much time in the other universe, it does feel as if the events of the series will have some greater effects there. While Bishop is the centerpiece of this series, it's really Tempo and the new class of mutants that steals the show on many occasions, though Bishop does see some welcome character growth by the book's end. The work of artist Sean Damien Hill, colorist Espen Grundetjern, and inker Victor Nava is thankfully featured all the way through the issue (as opposed to split teams in previous issues), giving the book some consistency, and a powered up Bishop in their hands is fantastic. The finale was satisfying and yet it does feel as if there's some unmet potential with the concept. There is definitely room to explore the concept further down the line, so perhaps this isn't the last we'll see of this powerful team. -- Matthew Aguilar

Rating: 3 out of 5

Well, the Cap vs. Cap conflict is over with a thud instead of a bang. After some fisticuffs last issue, Steve and Sam are suddenly all good, with Steve apologizing and admitting that's he's willingly heading into Bucky's trap without considering the options. The story here is…fine, but the disappointing part is really the artwork, with Peggy Carter and Black Widow looking way too similar and the artwork really lacking any sort of distinct style whatsoever. -- Christian Hoffer

Rating: 2 out of 5

The penultimate chapter of this Daredevil saga sets the stage for a titanic finale that strikes a similar chord as The Immortal Hulk. This means that much of Daredevil #12 is devoted to tying off loose ends and setting the stage for one last, unexpected twist. Longtime readers of the series may appreciate the cameo element as it flavors one last expository sequence about ancient, devil-worshipping ninja cults. There's an epilogue-like pacing in the build to this issue's climactic fight, but once that inevitable confrontation arrives, it is splendidly rendered by Marco Checchetto, whose action sequences have been a consistent highlight of the series for nearly five years now. It's a familiar conflict and one that plays out with the epic grace and scope befitting it and featuring a number of callbacks to Daredevil history. Matthew Wilson's beautiful rendering of cherry blossoms amidst the violence makes for splendidly sincere melodrama. The stage is set for one last fight and Zdarsky & Checchetto's spin on Daredevil is still throwing haymakers. -- Chase Magnett

Rating: 4.5 out of 5

If you've read a Rob Liefeld book any time since the 1990s ended, then you know exactly what you're getting into with Badder Blood. Deadpool, Cable, and Wolverine team for a story that doesn't really have much to say, but puts the trio in a bunch of potentially exciting situations. Bringing on Chad Bowers to write the actual script helps a lot, but it doesn't do enough to make it stand out from the rest of Liefeld's works. If 90s nostalgia is all you're after, this looks like those books you've been missing. Otherwise, there's not a lot of new or even interesting ground being covered. -- Charlie Ridgely

Rating: 2 out of 5

Fantastic Four #8 is slow to get started as it establishes a new status quo for the team while they take shelter at the "Fantastic Farmhouse," but once the mystery begins revealing itself things become increasingly interesting through a "To Be Continued" that's bound to keep readers hooked. There's a lot to appreciate in the issue's backhalf as the team's relationships, especially those between the Storm siblings and Alicia, are a reliable source of warmth and humor; Johnny delivers some particularly big laughs once he gets into the heat of the action. Yet the front half still suffers from the overriding issue's plaguing this series so far as the focus on gardening and running errands in a small town (that oddly shifts itself into being a small city in the background) makes for lukewarm superhero comics that are pleasant, but largely forgettable. The rollicking adventure introduced midway through that feels like a Kirby-sized clash with an antagonist seemingly pulled from Marvel Comics' early monster books provides a much-needed chang of pace. -- Chase Magnett

Rating: 3 out of 5

These retro reflections Marvel's putting out have largely seemed like cash grabs, silly one-shot stories that have no bearing on other parts of the Marvel continuity. Then Dan Abnett comes along and introduces readers to a corner of the comic world that's always existed, yet the writer gives it a fresh coat of paint to make it all accessible to new readers. Abnett's care for Marvel cosmic shines through in Groot #2, where another Centaurian character is introduced, one that may or may not have something to do with the bloodline of Yondu. Regardless, this series continues to be peak cosmic goodness, there's no doubt about it. -- Adam Barnhardt

Rating: 4.5 out of 5

"Tragedy" is Immortal X-Men #12's watchword, and writer Kieron Gillen couldn't have chosen a better point-of-view character than Colossus, who is under the sway of another mutant who warps reality with his writing. Though Piotr is not in control of his words or actions, he is fully aware of all that is happening, and it's heartwrenching to read his internal monologue as he silently pleads for those closest to him to realize that he is someone is writing him out of character, literally and literarily. Gillen leverages Colossus' Russian heritage to play into parallels with Russian literary tragedies to clever effect, and the idea that fear of terrible things happening is what causes those things rings true throughout multiple subplots. Lucas Werneck and David Curiel's artwork is mostly on point. Werneck's linework is a bit looser than usual in some spots, which leads to odd looks, and there are a couple of moments where his characters show an uncomfortable Greg Land-style of glamour. There is one questionable storytelling choice where the creators go for more in a dramatic moment where less may have had a more impact, but these are small notes on what is otherwise a masterfully crafted and tense read. -- Jamie Lovett

Rating: 4.5 out of 5

Just when you think Tony Stark can't dig himself a deeper hole, Gerry Duggan and Juan Frigeri punch ol' Iron Man hard enough the crater grows with each passing issue. I've said before that Stark is at his best when he's facing an insurmountable challenge – it's how this character was even created in the first place. Duggan's script, however, lays it on awfully thick here and the end result is a delight. Invincible Iron Man #7 is dark, grim, and void of any hope. It's sad and leaves Stark without any sense of direction or any help, and it's that much better for it. -- Adam Barnhardt

Rating: 5 out of 5

To be honest, the biggest downside of this new Loki miniseries is that it's only four issues. The tale that this first installment crafts is whimsical and surprising, but feels inherently true to the legend that Loki has developed within the Marvel universe. With a number of standout sequences, inventive but recognizable visuals, and a specific set of stakes, I am incredibly excited to see what future issues have in store. -- Jenna Anderson

Rating: 4.5 out of 5

It's important to note that Red Goblin #5 is also part four of the "Carnage Reigns" crossover event, and while there are some great moments involving Normie and Rascal, they far too often get overshadowed by all the other symbiote insanity. The moments where writer Alex Paknadel is able to spotlight Normie and Rascal interacting with each other and the moments they get to interact with Miles are fantastic, but there's just so much other real estate taken up by Cletus and a number of other characters that the issue loses a lot of what's made the series so compelling. I will say that artist Jan Bazaldua, colorist David Muriel, and letterer Joe Caramagna deliver from cover to cover, wringing every bit of tension out of each scene and presenting Cletus as a terrifying force of nature. There's moments to enjoy, but I'll be happy when Red Goblin is able to get back to what it does best. -- Matthew Aguilar

Rating: 3 out of 5

Dan Slott and Mark Bagley's Spider-Man has succeeded in capturing the tone of a classic Spider-Man adventure, with the artwork dialogue, and premise coming together beautifully at times. There are other times however where the book's tone and dialogue shift from classic to dated, and while Spider-Man #9 has plenty of stellar moments, the ever shifting balance of those two tones can't help but take you out of the story. For instance, Electro absolutely shines in every scene he's in, and early conversations between Peter and Norman Osborne are a delight as well. The core concept of an all encompassing spider-sense really clicks in the book's second half, with Slott finding fresh new ways to explore the concept while also starting to work in Spider-Boy in a significant way. The main issue though is the dinner sequence, which takes up major page real estate while not moving any of those narratives further in a substantial way. Coupled with some awkward dialogue, the issue is unfortunately hit and miss, and there aren't enough hits to complete ignore the misses. Hopefully, Spider-Man #10 can get back on track, because when the book is clicking, there's quite a bit to love. -- Matthew Aguilar

Rating: 2.5 out of 5

Luke's quest to learn more about his lightsaber and kyber crystals puts him on a journey where he collides with a figure as mysterious as the crystal itself, with what Luke learns about the Force being just as confounding as anything else he's ever learned. The book does deliver some interesting backstory for the nature of lightsabers and kyber crystals in general, some of which plays a pivotal part of the lightsaber Luke debuts in Star Wars: Return of the Jedi, but as a narrative chapter in the Jedi's journey, it reads less like prose and more like a reference book for lightsabers. We know that this issue brings with it more concrete revelations about the future of this arc, but it's a dense chapter in this storyline that tells more than it shows. What saves it from being entirely frustrating is the implication of this chapter's impact on the original trilogy, ultimately feeling like a necessary, albeit convoluted, exposition dump. -- Patrick Cavanaugh

Rating: 3 out of 5

As made famous by Kevin Smith's Clerks, the Galactic Empire would have likely had to enlist contractors to help build the Death Star II for Star Wars: Return of the Jedi, which this storyline explores to a degree. Like any citizen of the galaxy far, far away, Rilo Grenth lends his services to the Empire in their base on the Forest Moon of Endor, attempting to do his job to the best of his ability while also navigating the inner workings of the Empire. Understandably, this is a task easier said than done, with this adventure highlighting the costs that a number of seemingly neutral parties faced during the Galactic Civil War. The book might not offer any major reveals or game-changing ramifications, but feels most similar to an experience like the TV series Star Wars: Andor, demonstrating the insidious nature and all-powerful activities of Imperials. The book makes for an entertaining read, even if its not imperative to the grand scheme of the original trilogy, as it nominally showcases the treachery of the Empire and the impact the organization had on even the most innocuous residents of the galaxy. -- Patrick Cavanaugh

Rating: 4 out of 5

The discovery of a factory developing megadroids means Yoda, Anakin Skywalker, and a battalion of clone troopers set their sights on taking down the facility, which is much easier said than done. The overall trajectory of this story is a bit more action packed than the previous two arcs in Star Wars: Yoda, with this storyline also putting the pint-sized Jedi Master on the frontlines alongside Anakin. Given that we haven't seen much of how these two engage with one another when left to their own devices, it makes for an exciting journey and offers a fresh take on the two heroes. The pair drop the guards the normally have up with former allies, delivering delightful banter, even in the face of challenging threats. This Yoda series is consistently surprising us with each issue, finding ways to channel the iconic spirit of the titular character while also showing him in new lights, solidifying itself as the most consistently thrilling Star Wars comic currently being published. -- Patrick Cavanaugh

Rating: 4 out of 5

After months of unnecessary tie-in issues, Al Ewing's Venom finally gets back to the good stuff. The series has always dabbled in galaxy-brained sci-fi ideas but this month's issue shows that it can do that and have a good time. Artist Cafu brings a playful sense to the visual storytelling in the issue, channeling the things we know about Venom as a comic book character into a unique way given the symbiote twist happening inside. There's also a fluidity across action and motion in the panels that has to be respected, because not everyone is able to make it look that easy even at the Big Two. -- Spencer Perry

Rating: 4 out of 5

X-Men #23 is an issue in three parts. The first is an encounter between Mother Righteous and Doctor Statis that furthers the game between "the Sinister Four," bringing revelations and clever repartee courtesy of Gerry Duggan's dialog. It ends with a coda where Cyclops learns of a significant event in the Marvel universe involving an old friend that may shift his perspective on some issues. The middle act, which takes up most of the issue, is a traditional X-Men vs. a Sentinel battle with a twist, as this Sentinal is a giant Iron Man armor designed by Tony Stark. The beats of the fight that ensues aren't particularly compelling compared to others of its kind, but Joshua Cassara's artwork elevates it. Marvel has struggled to find the right colorist to pair with Cassara outside Dean White, but the artist's collaboration with Dee Cunniffe here yields stellar results. Cuniffe's shadows add new depth to Cassara's linework, which works well on Cassara's characters, who are hulking masses of muscle built more like wrestlers than models, and the visual team comes together to create some palpable visual drama on the page of Magik taking apart the Sentinel as only she can. The series still feels like it's in a holding pattern as it waits for Fall of X to begin, but it's a stellar issue in its own right. -- Jamie Lovett

Rating: 3.5 out of 5

The war of ideas has increasingly become a recurring theme for Marvel's X-Men line heading into the Fall of X era, and X-Men: Before the Fall -- Mutant First Strike makes it the central focus. Rather than being about a mutant geopolitical intervention, as the title may mislead one to believe, it sees Bishop forming a rapid rescue and disaster response team in the wake of a crisis in a small American town caused by ORCHIS and made to look like the work of mutants. The bulk of the issue sees a mix of mutants, from omegas to the relatively unknown, working to undo the damage to the town and provide comfort to the survivors. There's little tension in the story since the worst has already happened as it beings. Yet, something is endearing about seeing mutants applying their signature teamwork to something other than fighting giant robots or other mutants, especially with such clean and colorful artwork. The story veers close to some Pollyanna-ish territory before a hard turn to reveal that to be a feint, opening up a means of criticism of our current media landscape. The issue lacks urgency, but it makes up for that with thoughtfulness and fine craftsmanship. -- Jamie Lovett

Rating: 3.5 out of 5

Almighty draws to a conclusion in an oversized final issue that is every bit as scattered and ill-composed as the series preceding it. Fale is led into a final fight sequence against a character unmentioned until its start and whose connection to Fale is defined as they engage in a knife fight. It's an anti-climactic affair undermined further by a need to state what is happening as many transitions are difficult to distinguish on the page; oftentimes the two combatants are difficult to distinguish from one another. This lack of prior definition becomes an even greater problem when plant-zombies arrive once again to reveal new powers and a transformation process that seems to be solely driven by the needs of the plot. It's a strange series of events that barely cohere, all of which could have been addressed with a few rounds of edits or revisions. With such shoddily designed characters and settings combined with ineffective action sequences and a story that resembles a collection of notes more than a coherent narrative, Almighty is one series best left forgotten by the end of 2023. -- Chase Magnett

Rating: 1 out of 5

Blood Tree's penultimate issue sees the serial killer improvising to continue his mission to root out what he sees as blemished bloodlines due to sharing a relation to a murderer. It's an intense issue that relies a bit on a few weird ungrounded leaps in how law enforcement works to get us to the point, but we're certainly in for an interesting finale. -- Christian Hoffer

Rating: 3 out of 5

Breath of Shadows swung for the fences but couldn't make it to the warning track. The combination of breathtakingly horrifying art combined with series topics such as addiction, fame, jealously and greed made it a page-turner through its first four issues. But the finale stops short of any real answers or resolution as the book simply throws its hands up regarding the big centipede mystery before dooming all of its characters. Then it ties everything together with the same "the whole world is next" ending that so many horror tales close out with. Did you care about any of the characters? Were you interested in Jimmy's confrontation with his addiction? Were the heroine addiction and the centipedes one and the same? The book doesn't answer with more than a shrug. -- Connor Casey

Rating: 2 out of 5

Fence: Redemption launches its first chapter this week and, honestly, it feels so good to be back. The series kickstarts with a quick rundown of our fencing favorites, and a set of brisk quips pushes the story forward with ease. From its choreography to its paneling, Fence: Redemption is a sequel worthy of devotion, and it will leave followers beginning for more. -- Megan Peters

Rating: 5 out of 5

Right when you think Hairball's about to zig, Matt Kindt's script zag's so hard it damn near knocks you unconscious. Subversion has been the name of the game throughout all three issues of this title so far, with supernatural tones taking over in Hairball #3. It's surprising just how shocking this title can be even if you expect the unexpected, something that can largely be attributed to the brisk pace the comic carries, allowing you to flow between pages with incredible ease. -- Adam Barnhardt

Rating: 4 out of 5

There's simply nothing else like Hell To Pay in comics at the moment, and as writer Charles Soul and artist Will Sliney continue to build out the world, it only mesmerizes that much more. The series takes a big jump in issue #5, and that move allows not only the grander story to move forward in an unexpected way but it also shakes Maia and Sebastian's core foundation as characters. The cause they fight for comes into question and the decisions Maia makes from here on out aren't nearly as easy to predict, and that gives the book a welcome shot of energy across the board. Meanwhile Sliney, colorist Rachelle Rosenberg, and letterer Chris Crank seem to be enjoying the expansive playground the series offers, with creepy demons and fabled warriors appearing throughout and always leaving an impression. The stakes and the mission have seemingly changed, and those changes have made an already stellar series even better. -- Matthew Aguilar

Rating: 4 out of 5

I Hate This Place #9 frames the upcoming series' finale with some revelations that begin to make sense of the horrific ensemble of nightmares that occupy a lone ranch. It's a satisfying lore-drop, too, as it provides just enough information to begin weaving the various pieces together without ever losing track of Gabby and Trudy's narrative. It also provides an essential new twist that makes it clear this story is quickly drawing to a close. Throughout all of the time-travel and new sci-fi elements, the two women making it on their own remain at the story's center and their unique chemistry (and, often, sense of humor) makes the march towards an apocalypse in I Hate This Place #9 exciting to witness. When the issue ends, it reads like prologue with so many pieces of new information colliding in order to set the stage for an explosive issue #10. Wherever it goes and however it ends, I'm very excited to discover what happens next month. -- Chase Magnett

Rating: 4 out of 5

In Hell We Fight #1 introduces readers to its world through the eyes of Xander Bridgeford, a frog-smashing student from a rural school in late 20th century America who finds himself drowned and dragged to Hell by a demonic frog. It's a potent starting point for a series ostensibly about the souls of dead children and adolescents goofing around in a place of eternal damnation. No sooner has Xander met his demise than we're introduced to the rest of his gang (almost certainly more than a century later?) as they prepare to heist a truck filled with ice cream. This juxtaposition of the mundane and familiar (i.e. kids stealing candy) alongside the outlandish (i.e. children trapped in Hell) is packed with possibilities, but In Hell We Fight #1 rarely seizes upon that strangeness, instead opting to trot out a plot and approach that feel all too familiar. -- Chase Magnett

Rating: 2.5 out of 5

Junk Rabbit #3 pushes forward this week with a warning tale of consumption and human greed. Tragedy and avarice lead this chapter forward as a number of leads find themselves searching for the fabled Junk Rabbit. And when once rears its head, all eyes turn to a newcomer who promises answers where few have been found. -- Megan Peters

Rating: 3 out of 5

Love Everlasting continues to pay dividends on Joan's fixed state in the "Too Hip For Love" storyline as the title reappears and Joan proceeds through a lifetime in the year of 1963. What's most impressive in issue #8 is how her knowledge of this artificial world conflicts with acceptance of a pleasant, routine life within it. It's not exactly a depiction of mental illness, as readers are led to understand that this world is not as it seems, but Joan's unique perspective provides a challenging outlook. A fractured page filled with multi-colored panels near the issue's end is particularly effective in conveying her state of mind and draws readers into a shared state of unsettling uncertainty. With so many questions raised about the nature of reality and time moving ever onward, it frames Joan's late-life coming in Love Everlasting #9 as being a lot more exciting than retirement. Wherever this series' rabbit hole may lead, Love Everlasting #8 promises a fascinating journey. -- Chase Magnett

Rating: 4 out of 5

Nocterra #15 is an interesting issue, in that while it's relatively common for comics to have dueling storylines that mirror one another in two different locations or timelines, this one does it not with plot but with lore. There's a flashback story that deepens the characters' background, while the story taking place in the present deepens and elaborates on the mythology behind the world. It's a cool writing trick, and especially effective in the first few pages of the book, when it first hits you what Snyder is doing. Artist Tony Daniel and colorist Marcelo Maiolo hit a home run this issue, too. When Nocterra is done, it's going to be a great study in drawing and coloring light and darkness for future creators to look back on. It isn't reinventing the wheel, but executing what it does very effectively. And that same dichotomy -- suburban houses in the flashbacks, bizarre and alien-looking settings and characters in the present -- is an even bigger stretch for the art team than it is for Snyder. The issue ends on a pretty dramatic cliffhanger, and teases it to be continued in a one-shot, which might frustrate some readers, but given that the first couple of one-shots have deepened audience understanding of the characters and featured stellar guest artists, it's unlikely to be as maddening as it could be. -- Russ Burlingame

Rating: 4 out of 5

Once Upon A Time At The End of The World #6 introduces readers to "Book Two" and a new series artist, Leila Del Duca. The timeline has shifted forward in the wake of Maceo and Mezzy's victory and readers find them now as young adults desperately in love and still seeking a promised oasis. Del Duca is exceedingly well-suited to this setting; those who previously read Shutter or Sleepless will know the artist for their ability to portray fantastical landscapes and protagonists in the YA mode. The continuing journey provides plenty of opportunities to display an apocalyptic Earth stuffed with unnatural wonders in a number of spreads, and she portrays the often-nude pair of protagonists in an appropriate fashion that maintains their personality and identity amidst the issue's overt focus on their f**king. The emphasis on their amorous attitudes and developing polyamorous relationship begins to feel indulgent midway through the issue and seems like a placeholder to stall for this particular cliffhanger by the end. Whatever is ahead for the duo and their dying Earth, it's bound to be romantically-focused and readers can expect to find that those adventures will continue to appear in excellent fashion assuming there's still a story worth telling. -- Chase Magnett

Rating: 3.5 out of 5

Phantom Road #4 is exactly what you'd come to expect from this team, especially with a writer like Jeff Lemire at the helm. In true Lemir-ian fashion, this title answered plenty of questions last month only to turn around and weave a completely new web of mystery here. This world is only slightly starting to get fleshed out while almost growing too cryptic at the same time. This issue, in particularly, borders on the edge of being too quick of a read, with little progressing on both the character and story fronts. -- Adam Barnhardt

Rating: 3.5 out of 5

Brisson crafts a very compelling heist story with Sins of the Salton Sea. There's no telling where it's going just yet, but the characters are interesting and there are multiple curve balls throughout the job in this first issue that you're kept on your toes as you go along. This grounded thriller is absolutely worth keeping an eye on as it unfolds. -- Charlie Ridgely

Rating: 4 out of 5

The curtain closes on Eggman's "City of Tomorrow" in Sonic the Hedgehog #61 and it's a very busy final chapter. With a dozen heroes in various conundrums scattered about the city, there's a lot to accomplish in little space, which makes a number of solutions and turnarounds seem more convenient than exciting. The outcomes are all clear enough, but watching Sonic disappear and reappear within the span of only a few pages and the briefest of expository explanations doesn't make for a thrilling adventure. There's also the issue of Chaos Emeralds and how their ill-defined magics play into the final showdown. None of which is to say that this issue is absent some fun, humor, and excitement. The Diamond Cutters remain utterly charming and their combination of powers in action is a blast to read. Yet given the enormous scope of this project, the final chapter reads like the conclusion for a much shorter and smaller adventure. -- Chase Magnett

Rating: 3 out of 5

Starsigns manages to outdo its already-great first issue, expanding the stakes in some meaningful and clever manners. As the mystery of the disappearing constellations still lingers, we meet more of our protagonists – and lay the groundwork for an entertaining character-driven conflict. Megan Levens' art renders the ordinary and extraordinary of Saladin Ahmed's script well, and leaves me very excited to see what the future holds for this series. -- Jenna Anderson

Rating: 4 out of 5

Star Trek: Deep Space Nine – The Dog of War continues offering a decent Star Trek story, even if it's torn between two focuses. The characters' voices mostly ring true but waver when coming close to the tension between the two plot threads that are now coalescing. It's sweet to see the Deep Space 9 crew becoming attached to the dog that found its way into the midst, but that feels like a very different story from the one involving a device that could put the lives of thousands at stake. One might argue that the contrast is the point, but if that's the case, it doesn't land. The melting of Quark's heart as he bonds with his "merchandise" is a nice turn. However, Sisko declaring his intent to get their dog rather than pursuing the security of the entire alpha and beta quadrants, which consumes him as a character throughout the later seasons of Deep Space Nine, feels incongruent. The artwork, with its thick lines and saturated color palette, verges on claustrophobic at times but includes some great, shadowy panels of Worf going into battle worth lingering on for a while. – Jamie Lovett

Rating: 3 out of 5

Like the characters featured within its pages, Star Trek: Defiant wears its heart on its sleeve. The story is unabashedly sci-fi as it carves out its own spot within the larger Star Trek canon. Cantwell has experimented through the first three issues but even then, that all pales in comparison to the character risks he takes in Defiant #4. Between setting Worf on the biggest uphill battle of his life and trying to turn Lore into a babyface, the pieces really are beginning to fall into place for this one. -- Adam Barnhardt

Rating: 4 out of 5

Stoneheart #4 continues with a high-stakes issue that pushes our two leads into perils unknown. When one of their pasts rears its head in a dark fashion, it falls to the other to guide them through the trauma, and this week's update ends with a comforting reunion that readers will be happy to hear. -- Megan Peters

Rating: 3 out of 5

Writer Sean Lewis and artist Bryndon Everett's series finally starts telling the story it clearly wanted to in Survival #1, opening up the coffin to elaborate on its blood-sucking antagonists. The story manages to feel at least a little more nuanced than its debut issue, but there's a muddled lens across the entire narrative that manages to seem rushed on every page. Everett's artwork, featuring colors that he also worked on with Natalie Barahona, does most of the heavy lifting, setting a mood across the pages and making its vampiric baddies seem even more threatening. There's still not much here you haven't seen though. -- Spencer Perry

Rating: 3 out of 5

TMNT vs. Street Fighter feels like a dream for any early 90s kid come to life. Unfortunately, the opening issue is a bit of a slow start and there's not much in the way of surprises. M. Bison and Baxter Stockman have set up a tournament, Guile and Raph fight in the opener to an unsatisfying finish and Chun-Li vs. Michelangelo goes exactly how you'd expect right down to the flirtation. The book captures the right voice of each character and there's at least one interesting plot thread involving Bison trying to recruit Raph, but it won't blow you away as either a tournament arc miniseries or a major crossover -- Connor Casey

Rating: 3 out of 5