In 2013, writer Greg Rucka and artist Michael Lark brought what has since become one of Image Comics’ landmark series to life: Lazarus. Set in a near-future dystopia, the world of Lazarus is one in which society has settled into feudalism, ruled by sixteen extremely powerful Families. The story follows Forever Carlyle, the genetically enhanced super-soldier military type enforcer for the powerful Carlyle Family who is controlled by her father Malcolm Carlyle. However, a dozen years later, Lazarus is entering a new — and final — chapter, one that changes everything and could see the end of not just the Carlyle Family but the social order as the world knows it. That chapter is Lazarus: Fallen, the first issue of which will hit stores on June 25^th. ComicBook had the opportunity to do an early review and, without getting into spoilers, the final chapter of the Lazarus story is one that fans of the series won’t want to miss and one that newcomers to the story will quickly find themselves engrossed in as well.

When Lazarus: Fallen #1 picks up, the Carlyle Family is on the hunt, specifically for Forever Carlyle. She’s finally broken free from her family’s control and has a new mission: burn it all down, even if that means burning her own Family down as well. It is an exciting premise and issue #1 pays off on it, wasting no time dropping readers into the situation as it sets up the early hours after Forever is declared rogue by the Carlyle Family. This is not a spoiler; first looks at Lazarus: Fallen reveal a strike team infiltrating the Hock Wellness and Preservation Facility 074 on the hunt for Forever only to find that she’s not there, having been aided by her own mother in escape. From there, the story moves forward to reveal time passing with Forever still rogue and the brutal lengths Malcolm is willing to go to get her back, lengths that include manipulation and control of his own family.

[RELATED: No, The Power Fantasy Isn’t Watchmen (But It Might Be Better)]

I can’t get into more details about what those lengths entail — or about the twist in the final pages of issue #1; we’re doing this spoiler free. What I can get into is how seamless the story is. It’s been three years since the last issue of Lazarus (Lazarus: Risen #7 arrived in 2022,) but Rucka hasn’t missed a beat with the storytelling. For those already familiar with Lazarus, this latest installment fits in perfectly with everything readers already know and one can nicely hit the ground running. For readers coming to the world of Lazarus with Fallen #1 as their starting point, while going back to the beginning is an absolute must so as to get the full story, you still get an intriguing hook and the turn on the final page will have you quite literally trying to turn the page to get more (don’t worry, a second issue will follow in July, you’ll get more and what Rucka is doing here is already very much worth the wait.)

But while Rucka’s writing is impeccable — The Old Guard creator is highly regarded for a reason — it’s not the only element of Lazarus: Fallen #1 that stands out. Lark’s art here is superb. The book has a look and feel that is both realistic — there are moments when Lark’s work almost looks like a photograph, it’s so crisp and clean — and beautifully textured. It’s the balance between these two elements that give the book a cinematic feel, reminding readers that this is a big story told on a big scale even within the more intimate parameters of the comic book format. That, interestingly, is particularly noticeable when you get into the details: freckles smattered across a character’s nose, the way a body crumples on the floor, the look of resignation in the eyes of one character and the sort of conspiratorial gleam in another’s. Lazarus has always been good, with both Rucka and Lark delivering fantastic work, but Fallen is not only the story at its peak, but both creators doing some of their absolute career-best work. The result is something that is gritty and elevated in equal measure.

To put a finer point on things, Lazarus changed what is possible with sci-fi dystopian stories in comics and created something really special when it arrived in 2013 and now, the final chapter Lazarus: Fallen is not only starting off as a very worthy next part but is poised to perhaps be even better than the original. With excellent writing and art that may be some of the best of both creators to date, Lazarus: Fallen #1 may see Forever Carlyle on a mission to burn everything down, but it looks like this story is going to go out in a blaze of glory.

Rating: 5 out of 5

Lazarus: Fallen #1 goes on sale June 25th from Image Comics.

The post Lazarus: Fallen #1 Is an Epic Beginning of the End appeared first on ComicBook.com.

The enthralling roller coaster of DC’s Absolute Universe kicks off the next chapter of Wonder Woman’s story in it with Absolute Wonder Woman #8, itself part one of the book’s new story “As My Mothers Made Me”. While not as action heavy as Diana’s literal emergence from Hell itself in the beginning of Absolute Wonder Woman, that’s by design with Diana finding her footing in mankind’s world in the aftermath of her first big battle. The issue’s biggest asset, however, are the multiple twists it introduces that set up Diana’s journey in the Absolute Universe as one that is just getting started.

When “As My Mothers Made Me” begins, Diana has made a new home for herself in Gateway City after here defeat of the monstrous creature, the Tetracide, but while she has several new human friends including Steve Trevor, Etta Candy, and Barbara Minerva, Diana still yearns to find her Amazonian sisters from her homeland of Themyscira whom she never got to meet due to her upbringing in Hell. Meanwhile, the sinister director of Area 41, Veronica Cale, prepares to throw a curveball in Diana’s direction with help from the captive Doctor Poison, the two having both a secret weapon and a tool of enticement to catch Diana off guard.

Absolute DC has excelled as a collective Elseworlds story for all of DC, and Absolute Wonder Woman #8 picks up the ball from Diana’s Absolute debut in both an understated and impactful way. If the first seven issues of Absolute Wonder Woman placed great emphasis on Diana as a warrior, the eighth is all about achieving peace in her new home as she primarily focuses on finding the sisters she never met in the home she’s building for herself.

RELATED: 7 Biggest Changes Absolute DC Has Made To DC’s Trinity

While Steve, Etta, and Barbara don’t have a big role to play other than being impressed by Diana’s big magic trick of the issue, the villainous cabal that Veronica Cale and Doctor Poison more than makes up for it. Re-imaging Doctor Poison as a sentient cloud of gas assuming a rough human form through a containment suit is just the latest brilliant DC character makeover the Absolute Universe has treated readers to, while Veronica’s role in the story shows her with a surprisingly Amanda Waller-esque persona in her talent for pulling strings to make villains into her pawns.

Hayden Sherman and Jordan Bellaire’s artwork keeps the cave painting-like quality that has been Absolute Wonder Woman‘s visual bedrock enthrallingly vivid, but like any great part one of a comic book story, “As My Mothers Made Me” saves its strongest punch for its last couple of pages. Suffice it to say, Diana being called upon to face an old enemy is just the appetizer to the real shocker of the twist in its final panel. An absolutely splendid cliffhanger is how Absolute Wonder Woman #8 chooses to wrap up part one of “As My Mother Made Me” – one that sets the stage for Diana’s new big challenge and that reminded me of how and why DC’s Absolute Universe has been consistently knocking it out of the park from day one, as it is sure to do for millions of other readers.

Rating: 4 out of 5

Absolute Wonder Woman #8 is on sale now from DC.

The post Absolute Wonder Woman Was Already Great And It’s Only Getting Better appeared first on ComicBook.com.

A new chapter in the thrilling saga of DC’s Man of Steel is now underway in Superman #26, and while all eyes are on the future, Superman never abandons the critical threads of the past. This key element has made Superman one of the most gratifying series in DC’s current library, as past events always feel meaningful without becoming obstacles to fresh concepts and ideas. It’s resulted in a book that rewards longtime readers with additive layers to characters, relationships, and alliances while also consistently pushing the story forward into new territory, and over two years in this series still feels as powerful as ever.

Superman #26 deals directly with the fallout of Mercy’s big gamble that set a murderous and crazed clone (X-El) on a rampage across Metropolis, and writer Joshua Williamson takes some time to catch up with several different areas of the Superman family and the book’s extended cast. It’s become a trademark of the series and is a credit to how much investment has been made in the rest of the cast, as Lois, Lex, Mercy, and Lena have all become just as important to the overall story and just as compelling as Big Blue.

Lena Luthor is especially great throughout the issue and makes an immediate impact during the book’s opening pages thanks to the brilliant work of Eddy Barrows, Alejandro Sanchez, and Ariana Maher. Luthor has been on the receiving end of no shortage of scoldings over the years, but you feel every painful word in Lena’s justified evisceration of him, just as you can’t shake the feeling that something is off with Lois after her back-to-business shrug-off of not having powers. Everyone feels remarkably human in this series, and it’s part of what successfully grounds the bigger superhero spectacle of it all.

That leads us to the direct threat of this issue, which isn’t actually coming from Lex or Mercy this time around. Williamson leans into other aspects of Superman and his personality that we don’t always get to see and creates a freight train of internal conflict in the process, and then we also get key characters from earlier in the run (including one of my absolute favorites) showing back up in unexpected ways.

[RELATED: DC Reveals Four New Kryptonites in Black Label Superman Series]

There’s also a grand plan in place, with two interludes building upon the two most recent arcs and setting up big confrontations down the line. Those who have been paying attention to not only Superman’s main series but also All In overall will be excited to see both of these story elements in play, and it once again goes to show how deftly the series balances its macro level storytelling and the moments in between that gets you invested in the first place. Superman has been on an all-time run over these last two years, and as the next era begins in earnest, I can’t see a future where that is going to change.

Rating: 4.5 out of 5

Superman #26 is on sale now.

What did you think of Superman #26, and what do you want to see next from the series? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Superman Makes the Man of Steel His Own Worst Enemy and I’ve Never Been So Excited appeared first on ComicBook.com.

Uncanny X-Men has been setting the bar very high for the rest of the “From the Ashes” X-Men books. The book’s latest story has seen the Outliers discovering the truth about their new base, Haven House, and Uncanny X-Men #15 shows exactly what the X-Men have been sitting on since they moved her. “Dark Artery” has introduced readers to Lady Henrietta, a powerful mutant who has been around for a century, guarding a mutant secret unlike anything readers have ever experienced. Uncanny X-Men is the best current X-Men book, and this newest issue shows off exactly why, as Gail Simone and David Marquez take readers on a terrifying ride through the past.

Simone promised that Uncanny X-Men would be something of a Southern Gothic horror book, and Uncanny X-Men #15 does a tremendous job of capturing that feel. The truth about Haven House is revealed both through flashbacks and current day exposition, as Lady Henrietta tells the Outliers the story of the Penumbra, a Hell-like place for the dead who hurt mutants. A big problem with “From the Ashes” since the beginning has been the way the majority of the books rehashed Marvel’s merry mutants’ history. Uncanny X-Men has done a tremendous job of sidestepping this; while Simone has definitely captured the flavor of the past — specifically the more character focused of X-Men legend Chris Claremont — she’s been telling stories that aren’t as obviously rehashes as some of the other X-Men books. “Dark Artery” is yet another example of that.

The mystery of Haven House and why Gambit chose it as the X-Men’s newest base has been one of the major questions of the book, and the answer is so much cooler than readers could have imagined. Simone’s ability to weave together character and plot is one of the reasons this story works so well. A big focus of the issue is the camaraderie between the Outliers, as the four young mutants show just how much they care about each other when Deathdream makes a decision that could change his life forever. The Outliers are some of the coolest new mutants ever, and Simone has done a great job of giving each of them distinct personalities. They are the majority of the focus of the issue, and it’s great to see the way they work together and play off each other. One of the best things with Simone’s writing has always been her ability to do a lot with a little, and she does that with Outliers. Ransom is the leader, Deathdream is the weird one, Calico is the one with secrets, and Jitter is the group sweetheart. Simone is able to show off who each of them are with some simple dialogue, and she’s able to fit in so much character all while creating a great plot and dropping lore on the readers.

RELATED: Ms. Marvel Meets the Age of Apocalypse’s X-Men in First Look at Marvel Event (Exclusive)

Marquez’s art is fantastic, but that’s no surprise. This is a very dark issue, lighting wise, but Marquez never slacks on the detail. His character acting is amazing, really selling the emotion of every scene. There’s a moment between Jitter and Calico that works so much better because of Marquez’s art, capturing love, fear, and surprise in two panels. This issue has some great action scenes, and Marquez is able to capture the sense of motion that action scenes need to work.

The Penumbra, the otherworldly place under Haven House, has a simple design and it works so well because of Marquez’s art. Anyone entering the Penumbra gets gothed up — there’s a dress code for Hell apparently — and Marquez creates great alternate costumes for both the Outliers and the X-Men. One of the things that fans have loved about this book is the sexiness of the characters (the last issue with everyone in their underwear was talked about constantly in X-Men fan spaces), and Marquez keeps that up in this issue as well. Looking at Marquez’s Wolverine in his cut-off jean shorts will definitely make readers realize why Wolverine is such a ladies man. His Man-Thing looks sensational, and it’s enough to make readers want him to draw the character more.

There’s so much to love about Uncanny X-Men #15. Team books have gone through a lot of changes over the years, but Uncanny X-Men is an example of borrowing the structure of the past and making it work in the present. This issue has everything a reader could want — expert character work, fun lore, exciting action, and tremendous art. “Dark Artery” has been a blockbuster so far, and this penultimate issue will definitely hype readers up for the story’s end.

Rating: 4.5 out of 5

Uncanny X-Men is on sale now.

The post Uncanny X-Men #15 Is a Master Class of Borrowing From the Past to Tell New Stories appeared first on ComicBook.com.

When it comes to the biggest Batman comic book storylines of all time, Batman: Hush is always in the conversation. Stories such as The Dark Knight Returns, The Long Halloween, Death In The Family, The Killing Joke, and Batman: Year One stand at the top of the food chain for the Dark Knight, with the introduction of the villainous Hush standing side-by-side with many of them. Thanks to DC announcing that the original creative team of writer Jeph Loeb and artist Jim Lee returning for a sequel storyline, many were expecting a new golden era of the Bat but unfortunately, they might get anything but with the latest issue, Batman #160.

Much like the title of this review suggests, Batman #160 throws an incalculable amount of characters, storylines, and action-packed scenes readers’ way. To start, Bruce is having some difficulty in wrapping his head around the Red Hood’s current alliance as Jason Todd and Hush seem to be working in tandem. On top of this, Tommy Elliott’s big comeback has spawned new villains for the Dark Knight to fight as Hush has been putting his surgical skill to good use. The issue also injects subplots involving Commissioner Gordon, Nightwing and Batgirl teaming up with the Riddler, Damien Wayne hitting the scene with Bane, Tommy creating new villains for Bruce to fight, and all these elements stirred into a chaotic pot. Unfortunately, all of these plotlines find themselves almost doing battle with one another by the issue’s end.

[RELATED: This Fan Favorite Batman Story Isn’t The Masterpiece It’s Made Out to Be (And I Will Die on This Hill)]

The original Hush storyline, much like The Long Halloween and its sequel Dark Victory, did an adept job of juggling an avalanche of Batman’s villains into one storyline. Specifically, it did this by typically spending an issue seeing the Dark Knight take on one of his rogues gallery within the backdrop of an overarching mystery that is unfurling. Here, Loeb takes a far more chaotic approach in that countless villains are smacking against one another for panel time in a way that might have seemed more in line with the grand finales of these respective stories. This methodology worked as something of a pay-off to what had transpired before in the original Long Halloween but unfortunately, it almost appears as though Hush 2 is throwing everything at the wall relatively early.

The Hush sequel has an issue in giving you time to breathe and percolate on the many plots that are interweaving with one another. It’s all too fast and far too furious in comparison to Loeb’s past mysteries that worked so well, such as The Long Halloween with the methodology for introducing the nefarious Holiday. To say nothing of the fact that we are once again retreading the idea of whether or not the Joker should still be alive and how far Bruce Wayne should go in saving the villain’s life. This of course leads me to my next big issue with the issue.

We really need to have a discussion about Jason Todd in the DC Universe. For me personally, I think that there has never been a good enough storyline, aside from Batman: Under The Red Hood, that felt like Jason’s resurrection was justified in the face of his initial death’s impact on the DC universe. That’s a personal preference for yours truly but it’s one that feels exacerbated here in Hush 2 because readers are once again dragged into a villainous take on the Red Hood, which is territory that has been explored time and time again. Yes, Jason wants the Joker dead but that fact has been mined to death, and seeing him once again coming to blows with Bruce over this fact doesn’t feel fresh anymore. It’s a hard sell that Jason, who is a murderer, is allowed to walk free and fight for Gotham but him switching sides again pushes the believability of the universe to its breaking point.

On a positive note, Jim Lee once again proves himself to have not missed a beat since he was drawing far more often for both DC and Marvel Comics. Lee’s work makes each of these characters truly feel as though they are gods walking the Earth, which is fantastic for the DC universe as a whole. There’s a reason why in plenty of marketing and promotional material, Jim Lee’s artwork feels like the “go-to” for Batman and his villains and the artist proves that here. Scott Williams’ inks and Alex Sinclair’s colors on the issue greatly accentuate Lee’s linework here, and if nothing else, I really am looking forward to seeing more of what Hush 2 has to offer in the art department.

Hush 2 is a storyline that I believe will need to be judged when all is said and done, ie once the arc is finished and readers can read it in a single afternoon. Reviewing the arc piecemeal feels like a tough scenario though it’s one that still needs to be done. As it stands, I wouldn’t recommend this sequel for readers looking for the next big Batman book and while it is flawed, there are good enough aspects to bring me back to see how it all wraps.

Rating: 2.5 out of 5

Batman #160 is on sale now from DC.

The post Batman’s Hush Sequel’s “Everything But the Kitchen Sink” Approach Just Isn’t Working appeared first on ComicBook.com.

In both reality and fiction there may be one thing that is more dangerous than power and its secrets. On their face, the idea of secrets — information withheld or concealed, usually to avoid a consequence — doesn’t seem like such a terrible thing. People keep relatively harmless secrets every day in the name of basic privacy. But not all secrets are benign and when you combine secrets with the volatility of a world containing superpowered beings it’s not just feelings that could be in the balance but the fate of the entire world. This is where The Power Fantasy from Kieron Gillen and Caspar Wijngaard brings us in issue #9 and it’s the revelation of a couple of secrets in particular that could save the world or be its entire undoing.

The Power Fantasy sees the Superpowers in a strange and strained situation. Jacky Magus has previously entered into an alliance with the U.S. government after Etienne killed the president, it’s discovered that Heavy has a secret Superpower son who could end up being a dangerous player in the mix, and Masumi is already hanging by a very delicate emotional thread. All of that threatens to blow up in everyone’s faces in the issue (potentially literally). We start to realize that Heavy may not have the biggest handle on things when it comes to his secret son and that he’s not necessarily entirely confident about his own stance. We also finally see Isabella be honest with Masumi, revealing their own bitter feelings about how the Atomics (and particularly Masumi) survive over and over while humans die in droves when things go wrong. It’s a huge risk, but opening up that secret both unburdens Isabella and seems to do some good for Masumi as well.

[RELATED: No, The Power Fantasy Isn’t Watchmen (But It Might Be Better)]

But it’s the big secret that gets revealed in The Power Fantasy #9 that may be the most dangerous thing the story has faced to date, something that is poised to be more of an issue for how it could upset the balance of power and what it means for the already delicate dance the Atomics are doing. Jacky Magus has been doing some sneaky stuff for a while and everyone’s been trying to get Eliza on their side, but as it turns out, what’s really going on with Jacky goes back to the catastrophic Second Summer of Love in 1989. It also turns out to have major, major connection to Eliza and how she’s ended up the way she is. The issue hits Eliza — and the reader — with the gut punch that Jacky isn’t exactly who he seems to be.

I’m not going to spoil the reveal — that should be read for itself — but it’s one that changes everything and not only does Gillen set it up brilliantly with the writing but Wijngaard’s art, particularly as Eliza realizes what she’s being told, is absolutely phenomenal. Gillen tees things up perfectly, with Etienne commenting on the random nature of how big revelations of truth really are. He’s speaking about Matsumi when he talks about luck and stakes, but he may as well be speaking about what Jacky reveals to Eliza except while we see how Matsumi’s luck plays out the reader is left to wonder what will come with Eliza. Wijngaard’s art gives nothing away, but somehow simultaneously captures every nuance of relief and horror in Eliza’s face as so many pieces start to fall into place for her. She’s very much our window into this moment and it in a way that feels like screaming without a sound. To put it another way, it’s a cliffhanger that hits as though you’ve already fallen right into the ground at top speed. You know something has broken, but you’re also in no position just yet to take stock of just what.

That is perhaps what makes The Power Fantasy as a title work so well generally, but this issue specifically excel. The things you expect to be catastrophic — powers, Matsumi having to deal with emotional distress, Heavy’s secret son — are somehow less dangerous than the thing you didn’t really see coming, the secret so well-kept that it’s really more of a bomb, one that no one might survive. The Power Fantasy has always been a story of layers and complicated relationships, but issue #9 takes things to a completely different level — and it may be the best of the series to date.

Rating: 5 out of 5

The Power Fantasy #9 is on sale now from Image Comics.

The post I Don’t Know How The Power Fantasy is Gonna Top That Latest Gut Punch Reveal appeared first on ComicBook.com.

Fantastic Four has been going like gangbusters since writer Ryan North took over the book, and One World Under Doom has seen the team become more important than ever. Doom has stolen the Thing’s powers, leading to the gradual depowering of the Fantastic Four. The only hope is a time travel mission to get his powers back, but the Thing ruins everything and accidentally makes sure the Fantastic Four never existed. Fantastic Four #32 takes place in this new universe, as Valeria Richards tries to figure out a way to save the day against the greatest odds she’s ever faced. This is yet another excellent issue of Fantastic Four, leading to the end of the the current story before the upcoming relaunch of the book.

Fantastic Four #31 ended with the destruction of the timeline and the new issue picks up afterwards, as Valeria Richards’s mind is somehow transported to a world where the Fantastic Four never existed. North sets things up rather quickly, using Valeria’s narration to continue to tell the story. Unlike Marvel’s other two major teams, the X-Men and the Avengers, the Fantastic Four usually doesn’t go in for dystopian realities, but North finds a clever way to make this new timeline a very scary place to be using two ideas, one from older Marvel comics and one from the show The Twilight Zone. Franklin’s mind didn’t travel to this world, but his powers did, creating a God from a child. Franklin eventually became Galactus on this world and uses his power to ensure the safety and happiness of everyone, whether they want it or not.

The way North threads all of this through the story is wonderful. This is definitely a Fantastic Four comic, but he finds way to work a strand of cosmic horror through the whole thing. What would happen to a baby forced to use his godlike powers to save the world in the Fantastic Four’s stead? North answers that question beautifully throughout the issue, showing just how scary Franklin Richards can be. This also may be a sly way to give Franklin back his powers in the restored timeline, but that remains to be seen.

North does a great job of setting out the stakes, all while using Valeria as his cat’s paw. Valeria’s plan — a somewhat complicated plan that is partly the X-Men’s plan to stop a terrible future from happening in “Days of Future Past” and partly something completely unexpected — shows off just how intelligent Valeria can be and what a force she is as a character. Valeria Richards is a great character, and this story so far has done a great job of showing off why the adventures of the Fantastic Four aren’t as good without her.

RELATED: A Member of the Fantastic Four Is Going to Fight the Entire Marvel Universe

Cory Smith, along with inkers Wayne Fauncher and Oren Junior, supplies the art for the book and it’s pretty great. There aren’t any big fights in the comics, but they’re able to find the creepy vibe that North’s script is putting down. The blank smiles on the faces of Reed and Sue when Valeria tells them the truth are perfect, and it all leads to a great looking reveal of Franklin as Galactus, with more “happy” people looking up at their savior. It’s all played beautifully. Faces like this can be hard to do — the artist has to capture the falseness of the smile — and the art works with North’s script perfectly to give readers an idea of what this kind of world would be like.

The change in inkers is pretty apparent later in the issue, when the linework gets a little heavier, but it doesn’t really hurt the art as much as having multiple inkers can. There are some really great panels in this issue, especially the ones showing Franklin’s actions over the years. This isn’t the flashiest art in the world, but it doesn’t need to be because it’s extremely sound. Great character acting, well-rendered figures, and expert page layouts do a great job of making reading this issue into a near-perfect reading experience.

Fantastic Four #32 is another example of pitch-perfect Fantastic Four. North is able to make a Fantastic Four story that has tastes of cosmic horror, and it works wonderfully. This is exactly the way a Fantastic Four multiverse story should go, and North and company knock it out of the park. It was hard to predict where the book would go after the last issue’s cliffhanger, and the place the creative team took the book was perfect from start to finish. Valeria still has one chance to save the universe and her family, and if it’s as good as this, it will be one for the ages.

Rating: 5 out of 5

Published by Marvel

Released on May 21, 2025

Written by Ryan North

Pencils by Cory Smith

Inks by Wayne Faucher and Oren Junior

Colors by Jesus Aburtov

Letters by Joe Caramagna

What did you think of Fantastic Four #32? Sound off in the comments below.

The post Fantastic Four #32 Shows Off the Intelligence of the Youngest Richards Child appeared first on ComicBook.com.

Marvel is teaming up its two most popular superheroes for a new series by Marc Guggenheim and Kaare Andrews. This wouldn’t be the first time the two would team up, having been part of Jason Aaron’s and Adam Kubert’s amazing 2010s miniseries, The Astonishing Spider-Man and Wolverine. While Aaron’s and Kubert’s Astonishing was over-the-top and wild, Guggenheim and Andrews keep things relatively grounded with their Spider-Man & Wolverine #1, focusing on the espionage angle that ties both characters. A database of the Marvel world’s double agents is in danger of getting into the wrong hands.

It’s up to everyone’s favorite webhead and angry Canadian to find the database to secure the safety of every past and present agent and ensure secret missions from the past aren’t leaked. Spider-Man & Wolverine #1 offers plenty of fun banter between the two heroes and dynamic artwork from Kaare Andrews. Peter Parker and Logan are such polar opposites that their interactions are typically fun to read, especially when they have conflicting views. Some of the story is bland, with the plot being fairly straightforward. The issue is primarily an extended fight sequence between the two heroes’ rogues’ gallery, but the comic has enough fluff and satisfying action sequences that make it a worthwhile investment for any fan of the Big Two.

[RELATED – Ultimate Spider-Man Teases Another Classic Marvel Villain]

Spider-Man & Wolverine #1 Is a Light Yet Good Read

Spider-Man & Wolverine #1‘s main hook is a huge twist borrowed from Captain America: Civil War. Before the ending twist, most of the issue is a slightly generic action story with Peter and Logan. Andrew’s artwork enhances the comic, yet his work can be divisive for some readers. Andrew’s intentionally wonky limbs and large, muscular torsos can be off-putting. Nonetheless, it is also so stylistically distinct that it is hard not to admire. Even though Andrew’s work is a clear throwback to the works of Todd McFarlane, the artwork is still evidently a Kaare Andrews comic. Andrew brings enough vigor to the comic, imbuing it with personality and dynamism, elevating the material. Your opinion on Spider-Man & Wolverine #1 would determine how much you enjoy Kaare Andrews.

Marc Guggenheim, who has a long history working on The Amazing Spider-Man, paces the issue well and gives equal focus to both heroes. His dialogue can be expository, particularly during a scene where Peter’s girlfriend Shay randomly brings up his dead parents. That scene sets up Peter’s connection to the spy world, but it is very clumsy and hand-fisted. Furthermore, the Spider-Man comics attempt to incorporate Shay in so many issues doesn’t endear the character to readers in a way Marvel is probably hoping. It doesn’t help that Shay has yet to feature any defining personality besides being upset with Peter’s lateness, which only makes him look bad. Some of the internal dialogue from both heroes can also veer into heavy-handedness.

Nevertheless, Guggenheim gets the voices right for both leads, especially Logan. Spider-Man sometimes feels as if he’s taking a backseat to the story, but the two leads’ contrasting personalities are on full display. Although the heroes don’t share much in common, Guggenheim firmly establishes that the two are friends. This comic does feel like an appropriate point in the characters’ journeys, with both accepting each other for who they are after spending so many years fighting together. Peter has a wildly out-of-character moment against Logan in the closing pages, yet given the twist, there’s some justification to Peter’s reactions. Spider-Man & Wolverine #1 isn’t the most revolutionary comic on the stand, but if you want an enjoyable comic where Marvel’s Big Two partners up, this issue delivers.

Rating: 3.5 out of 5

Published by Marvel

Released on May 21, 2025

Written by Marc Guggenheim

Art by Kaare Andrews

Colors by Brian Reber

Letters by VC’s Travis Lanham

What did you think of Marc Guggenheim and Kaare Andrews’ Spider-Man & Wolverine #1? Let us know in the comments!

The post Spider-Man & Wolverine #1 Reminds Me How Fun This Team-Up Can Be appeared first on ComicBook.com.

DC got fans buzzing when it was revealed that Dan Slott would be making his DC debut on the company’s biggest icon, and now the heavily anticipated debut of Superman Unlimited is finally here. With that debut obviously comes expectations, and I’m delighted to say that Superman Unlimited #1 impressively lives up to those expectations and then proceeds to blow the doors wide open on the way out, shaking up Superman’s world while also creating seismic shifts across the rest of the DCU. Slott has never shied away from big swings, and with an all-star team around him, Superman Unlimited is shaping up to be a home run.

Fans got their first look at Superman Unlimited in the Free Comic Book Day special, which revealed that a meteor-sized rock of Kryptonite was on a collision course with Earth. The setup is a compelling one on its own, but while it does dictate much of the moment-to-moment action of the issue, it’s merely a prelude to the real story Slott wants to tell. If it were just that setup, this issue might not have landed as well, but the issue also acts as a way for Slott to bring lapsed readers up to speed while also giving him a chance to showcase the moments of Superman’s history and mythology to resonate with him most.

The first half of the issue spends just as much time examining Superman’s journey from Smallville to fatherhood as it does with the immediate threat, but it all weaves together to pull you into Superman’s increasingly dire circumstances. It’s emotional, heartfelt, and powerful seeing one of the most powerful heroes in the universe facing mortality once more, and the artwork of Rafael Albuquerque, colorist Marcelo Maiolo, and letterer Dave Sharpe is a huge reason why those moments resonate and land with so much impact.

Maiolo’s colors are out of this world, and while Kryptonite is as deadly as ever, it’s also rarely looked this stunning. We’re dealing with epic stakes after all, so it stands to reason these sequences should feel grand and epic in scale, which they absolutely do. The same is true of more poignant moments, which paint an impressively vivid picture of what these moments have meant to him and how they have informed the hero he continues to be. While the dialogue paints the picture extremely well, the artwork makes you feel it.

[RELATED: Absolute Superman Introduces Kryptonite & Sets Up Kal-El’s Darkest Defeat]

It’s funny, though, because as previously mentioned, that’s just the prologue. Those last few pages shake up everything, and the ripple effects go far beyond the boundaries of Metropolis. It’s almost like Slott told us this story so he could get to this other story, and it’s kind of ridiculous that both work and both managed to sink their hooks in by issue’s end.

Superman Unlimited is off to a soaring start, and if this is just the introduction, we could be in for something truly out of this world.

Rating: 4.5 out of 5

Written by Dan Slott with art by Rafael Albuquerque, colors by Marcelo Maiolo, and letters by Dave Sharpe, Superman Unlimited #1 is in comic stores now.

What did you think of Superman Unlimited #1? Let us know in the comments, and you can talk all things comics and DC with me on Bluesky @knightofoa!

The post Superman Unlimited Has Me More Excited For the DC Hero Than Ever Before appeared first on ComicBook.com.

2025 has been a banner year for the Superman family, and now Supergirl is rightfully stepping into the spotlight for a brand new series from the talented team of Sophie Campbell, Tamra Bonvillain, and Becca Carey. In many ways, this is a homecoming for Kara as she returns to Midvale with rather relatable hesitation, only to step into a nightmare scenario. That said, this issue couldn’t be further from a nightmare, embracing classic concepts with a story rooted in mystery and charm, and all with sensational artwork to boot. Supergirl kicks the door down in her debut, and it feels as if the fun is truly just beginning.

It doesn’t take long for Supergirl to make a killer impression thanks to the delightful appearance of Princess Shark, and after this, I’m going to need far more Princess Shark in the mix, so consider this my plea to DC on her behalf. Granted, the gorgeous artwork isn’t just a spotlight for Princess Shark, as Krypto, Streaky, Lar-on, and the two Supergirls all look fantastic and leap off the page.

Carey’s lettering and Bonvillain’s coloring raise the bar on fight scenes and general conversations alike, so whether it’s the Kshoom of a derailed train, the Ploosh of flying chemicals, or the Zornn of a mysterious blast, you can’t help but lose yourself in this world and the moments along the way.

The same is true of Campbell’s artwork overall throughout the issue, which captures not just Supergirl but the person behind the famous red and blue suit. While the circumstances that led Kara to Earth are obviously far different than what most have gone through, returning to one’s hometown after years away is something far more are able to relate to. The time warp aspect of returning to somewhere meaningful in a specific point of your life comes through loud and clear, and that allows the bigger mystery to have something to root itself in as the issue presents more and more questions.

[RELATED: DC Reveals the Most Sadistic Brainiac Ever in Absolute Superman]

That mystery is compelling too, and as the scenario starts to build in the book’s latter half, the hook has already been set. There are also other characters in the mix with big question marks as to what role they will play as the story moves forward, but I’m already invested in seeing that play out, especially with Lar-on, because you know who wants to see a Lar-on Supergirl team-up? The correct answer is everyone, and I’ve got my fingers crossed as we speak.

Supergirl embodies the All In era, mixing in vintage elements of the mythology with a fresh and modern tone, and it always feels unquestionably Supergirl. If you want a perfect place to begin your Supergirl journey or are simply looking to get lost in a new adventure, you can’t go wrong with Supergirl #1.

Rating: 4.5 out of 5

Published by DC Comics

Released on May 14, 2025

Written by Sophie Campbell

Art by Sophie Campbell

Colors by Tamra Bonvillain

Letters by Becca Carey

What did you think of Supergirl #1? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post I Can’t Stop Smiling Over How Good the New Supergirl Is (Review) appeared first on ComicBook.com.

Godzilla vs. X-Men #1 continues the fun ride of the King of Monsters fighting against Marvel’s greatest heroes. This issue delivers plenty of enjoyable moments and solid art, even though it feels almost like false advertising, as Godzilla doesn’t really fight Marvel’s Children of the Atom. He fights a Super-Adaptoid with all the powers of the X-Men. Super-Adaptoid, similarly to Amazo from the DC Universe, is a machine that copies the abilities of Marvel Superheroes. Gambit steals a Super-Adaptoid so that Professor X can use it against Godzilla, who is attacking the cargo of a Japanese company, Tsugunai Robotics.

The issue features the classic X-Men line-up from the 90s – Cyclops, Jean Grey, Storm, Wolverine, Beast, and Gambit. Sunfire also plays a supporting role in the comic, finally having Godzilla fight against a Japanese superhero. However, despite this all-star line-up, the X-Men are nothing more than background players in their own issue. Professor X carries most of the dialogue, with the rest of the team shouting one-liners or light exposition. The comic also doesn’t provide a scene where the X-Men confront Godzilla as detailed on the covers. The X-Men’s interaction with Godzilla stays strictly through Super-Adaptoid, limiting the heroes’ overall presence. Despite that, Godzilla vs. X-Men #1 is a joy to read.

[RELATED – Godzilla vs Spider-Man Is as Flimsy as You Expect (Review)]

Godzilla vs. X-Men is Filled with Plenty of Great Callbacks

The issue is written by X-Men veteran Fabian Nicieza and drawn by Emilio Laiso. Nicieza attempts to imbue some pathos to the story, trying to connect the prejudice Godzilla faces with that of the mutants. Nonetheless, this connection between Godzilla and mutants feels tenuous at best. Godzilla is more of a force of nature who rarely cares about humanity. He is the consequence of man’s hubris and constant nuclear testing. Conversely, mutants’ prejudice is an allegory towards minority representation. Godzilla does not care about humans, whereas mutants want to live among them. While Nicieza makes an effort to provide some thematic depth between the two, claiming Godzilla is just like a mutant feels weak.

Fortunately, Nicieza excels when it comes to the action, and Laiso pencils it all beautifully. Even though the X-Men take a backseat to the Super-Adaptoid, the robot is portrayed heroically and epically. Super-Adaptoid takes the appearance of all the X-Men, gifted with Wolverine’s claws, Cyclops’ visor, and Jean Grey’s Phoenix wings. The Super-Adaptoid with all the X-Men’s abilities is an image to behold, becoming one of the most visually interesting things conveyed in these Godzilla vs. comics from Marvel. Nicieza also infuses plenty of over-the-top fun in the issue, having the Super-Adaptoid grow in size with Pym particles to fight Godzilla on equal footing. Although the X-Men had powerhouses like Storm and Phoenix, having Godzilla fight something more kaiju-height is more appropriate.

Nicieza also knows his Godzilla history, incorporating connections to multiple films from various periods. A new type of Sentinel is revealed in this issue, and it is a robotic combination of three different Godzilla villains from his history. Tsugunai Robotics is even directly connected with Godzilla Raids Again, the second film in the character’s history. Whilst the narrative of Godzilla vs. X-Men #1 doesn’t fully jell with the mutant pathos, the comic is still incredibly pleasurable to read front and back, featuring some of the most amusing action scenes yet in the Godzilla vs. Marvel comics line.

Rating: 3.5 out of 5

Published by Marvel

Released on May 14, 2025

Written by Fabian Nicieza

Art by Emilio Laiso

Colors by Federico Blee

Letters by VC’s Clayton Cowles

What did you think of Fabian Nicieza’s and Emilio Laiso’s Godzilla vs. X-Men #1? Let us know in the comments!

The post I Don’t Think Godzilla Taking on the X-Men Was the Best Idea, But at Least It’s Fun (Review) appeared first on ComicBook.com.

One World Under Doom has reached its fourth issue, and things get even crazier than ever. Doom has taken over the world, and has been handing out defeats to everyone who stands in his way — whether it be Hydra, the Avengers, or the Fantastic Four — all while doing his best to gain the love of the populace. One World Under Doom #3 ended with a major cliffhanger — Dormammu wants to test the new Sorcerer Supreme. That’s where One World Under Doom #4 kicks off. Doom has to embrace his inner hero and battle against the lord of the Dark Dimension. This book has been a treat every issue so far, and this issue is more of the same, but there are some problems with the book.

So, this issue is basically just a fight between Doom and Dormammu right from the start and that’s a very good thing. Writer Ryan North puts us into Doom’s head as he and Dormammu battle, and does a perfect job of capturing Doom’s voice. North has proven that he deserves his place in the upper echelons of Fantastic Four writers, and his Doom is one of the coolest versions of the character ever. North does an excellent job of showing off Doom’s resolve, his intelligence, his arrogance, and something that no one ever thought they’d see from Doom: his desperation. North gives Doom the role as the issue’s narrator, and it’s cool to finally get a look inside of Doom’s head after three issues of having to see him through everyone else’s eyes.

North does a great job of showing Doom’s tactical side, as he fights against an enemy that is definitely out of his league. There are a lot of cool little moments where each of them gets the upper hand, shifting the momentum of the battle sometimes multiple times on a single page. North builds this battle excellently, giving it the epic feel that a fight between Doctor Doom and Dormammu needs to have.

RELATED: Rainbow Rowell Returns to Runaways to Steer the Team Through Doctor Doom Drama

R.B. Silva’s art is… well, there’s no easy way to say this, and I’ll explain, but his art is the only problem with his book. Silva is an excellent artist and there are some awesome pages throughout this issue. One World Under Doom #4 is a fight issue, and the art is very, very important to this type of comic. Silva’s pencils do a lot to make the fight look good, but there’s something cluttered about his panels. When he pulls out for long shots, his detail on the figures of Doom and Dormammu starts to slide. Sometimes, the panels feel way too busy; there’s so much debris and energy effects that distract the eye. The page layout is also a bit of the problem. There are a lot of little panels focusing on the minutiae of the fight, but Silva kind of drops the ball with these panels.

David Curiel’s color affects can also be a problem with the art, as well. Coloring plays a huge role in setting a scene and establishing a tone, and Curiel is usually pretty good at this. But this type of battle, with energy flying everywhere, has a lot of color changes all over the place. Sometimes, it works, but other times it just adds to the busy nature of the panels. Silva’s art hasn’t been as crisp as it was in the book’s inaugural issues, and the coloring doesn’t do it any favors in this issue. The art is the weakest part of this issue; it’s not terrible art, but there are a lot of little problems with it.

One World Under Doom #4 has A-list writing that easily outpaces the art. North’s Doom is perfect, and he plays the arrogant villain expertly off of Dormammu. North’s Doom is the best Doom has been since Hickman wrote the character, and this issue shows a lot of that off. The battle at the center of the book is an exciting fight, but the art pumps the brakes on reader excitement. Silva and Curiel have been a good team throughout this book so far, but their art in this one has a million little problems that hurt the fight. There are still some great visuals in this issue, but the art’s problems drag the rest of the book down.

Rating: 3.5 out of 5

Published by Marvel

Released on May 14 2025

Written by Ryan North

Art by R.B. Silva

Colors by David Curiel

Letters by Travis Lanham

What did you think about One World Under Doom #4? Sound off in the comments below.

The post We Finally Get Doom’s Perspective in One World Under Doom And It’s About Time (Review) appeared first on ComicBook.com.

DC’s Absolute line of comics has been ruling the sales charts, all kicked off by Absolute Batman. Absolute Batman is the best Batman series in years, taking the Batman mythos and completely changing them for this new universe. Fans have gotten to see amazing new versions of Batman, Alfred, and many of Batman’s foes, as well as learning the history of Bruce Wayne and how different it is. The book’s first six issues pit Batman against the Black Mask, but the book’s next storyarc is all about Mr. Freeze. Mr. Freeze is something of a Batman icon, with fans loving the villain for his tragic origin. However, Absolute Mr. Freeze isn’t Batman: The Animated Series‘s Mr. Freeze, something Absolute Batman #8 makes perfectly clear.

Writer Scott Snyder is many Bat-fans’ favorite Batman writer of the 21st century, and this issue shows off why. Snyder tells a story on multiple levels in this issue — we get the horrific Mr. Freeze capturing “Matches Malone”, really Batman in disguise, while the issue gives a flashback with Batman and friends talking about their friend Matches and why he was the way he was, paying homage to him after his death, while also showing scenes from when Alfred was training Bruce. Snyder is dealing with three distinct time periods in this issue, and does an excellent job of moving back and forth between the three periods in order to heighten the tension of the story, as Freeze drops Batman into tube of coolant. It’s beautifully paced, giving the issue a lot of narrative heft.

Snyder has always been amazing at taking what you expect from Batman stories and subverting it, and he does that beautifully with Mr. Freeze. There is a lot of baggage to using Mr. Freeze, because fans have a lot of expectations about a Mr. Freeze story. In a lot of ways, Mr. Freeze is one of Batman’s least intimidating villains. It’s not that he’s not dangerous or tough, it’s that his whole deal — the obsession with his wife Nora — make it easy for fans to like the character. Snyder throws all of that away with this new version of Freeze. This isn’t the somewhat cuddly villain of the main universe, this is a monster, and Snyder does a beautiful job of showing us that we aren’t going to get what we expected with this version of Freeze. One of the greatest strengths of the Absolute Universe so far has been the way it constantly surprises readers with the new versions of familiar characters, and this Freeze is yet another example of that.

RELATED: Absolute Batman Just Got Bruce Wayne’s Best Alter Ego Killed

However, Snyder’s new Freeze wouldn’t be nearly as special without the art of Marcos Martin. Martin does a beautiful job of making this version of Freeze into something terrible. The lanky, tightly muscled body, the blue veins everywhere, and the horror show face are all examples of Martin’s wonderful eye for design. One of the coolest part of the book is the way Martin keeps Freeze’s face in shadow for so much of the issue, building up this mythic sort of facelessness for Freeze. This is perfect villain art; Martin takes all of Snyder’s ideas for this new Mr. Freeze and brings them to life beautifully.

Martin’s art, with color artist Muntsa Vicente, is beautiful throughout. Martin’s page layouts are a key part of Snyder’s pacing, combining the different time periods, sometimes all three on the one page. I love the title page — with Bruce’s frightened eyes, with blue veins racing along his face, in the word “Zero”, a neat little way of showing Batman’s fear. Martin’s linework is sensational, his detailed pages really capturing Batman’s terror as he tries to escape Freeze’s trap. The book’s action scenes are sensational as well, as he battles against what can only be described as Freeze’s ice zombies. Regular Absolute Batman artist Nick Dragotta, left some big shoes to fill, and Martin does a tremendous job of not only filling those shows, but making the book his own. Vicente’s colors are gorgeous. He understands how to use color to set the scene, and that helps bring Martin’s art to the next level. This issue’s art is gorgeous.

Absolute Batman #8 has a lot riding on it, and it impresses with every page. It’s hard to imagine a world where a comic from Scott Snyder and Marcos Martin could be bad, because it’s definitely not this one. Absolute Batman #8 is a suspenseful masterpiece with art that needs to be seen to be believed. This is a perfect way to introduce Mr. Freeze to the Absolute Universe, and it fits into the horror vibe that Snyder and Dragotta built in the book’s first story arc. Absolute Batman has a lot of competition in the Absolute line, but this issue shows that the book isn’t ready to give up its crown any time soon.

Rating: 5 out of 5

Published by DC Comics

Released on May 14th 2025

Written by Scott Snyder

Art by Marcos Martin

Color Art by Muntsa Vicente

Letters by Clayton Cowles

What did you think of Absolute Mr. Freeze? Sound off in the comments below.

The post Absolute Batman’s New Mr. Freeze is Chillingly Horrific (Review) appeared first on ComicBook.com.

Godzilla fans are about to experience a whole new side of the MonsterVerse. Much of the Godzilla content has been taking place on the big screen with fights (and team-ups) with Kong, but the comics are finally getting in on the action. The MonsterVerse is giving way to a Godzilla shared universe at IDW, beginning with a new Godzilla ongoing series. This is obviously a big deal since Godzilla hasn’t headlined a comic book in over a decade. But if any kaiju is up for the challenge, it’s Godzilla. Luckily, Godzilla‘s supporting cast and premise offer enough intrigue to captivate new and longtime fans.

I went into Godzilla #1 being familiar with the property, but I wouldn’t call myself the biggest kaiju fan. I’ve watched none of the latest theatrical movies starring Godzilla and Kong, yet I was able to pick up this first issue and fully understand what was in front of me. A lot of this is helped by a prologue that introduces the world that Godzilla exists in, and who our key players are. Of course, we start with the massive kaiju, which gets an awesome redesign brimming with Kai-Sei energy. Godzilla is only seen in a couple of pages, but its presence is felt throughout the issue. Next, we have the members of G-Force tasked with protecting the United States from titan threats. Some characters get a larger spotlight than others, but they are all fleshed out enough so the reader understands their personalities.

One member of G-Force is arguably the most intriguing. Their mere presence and abilities feel like something that can only be told in a comic. This person is a newbie on G-Force but easily acclimates to this new environment. We have someone who is mysterious and likeable at the same time. Their story could go one of two ways: either they help defeat and kill titans like Godzilla, or bring about the end of the world. Talk about a lot of responsibility on one kid’s shoulders.

The entire creative team does an excellent job of keeping the story moving and providing eye-catching visuals. Each page is bright and colorful, with the character acting being parallel to something you’d see on an animated project. IDW did a great job gathering the likes of Tim Seeley, Nikola Čižmešija, Francesco Segala, and Nathan Widick to work together on Godzilla. Hopefully the team can stay together for a long run because what they’ve put out so far is worthy of more entries.

Godzilla is the headliner and has its name on the front of the comic, but all of the kaiju (and one character in particular) are linked together by a larger mystery that Godzilla #1 teases. This “family” is dysfunctional and deadly, which is the kind of drama that makes for the best stories. It’ll be fun to see how this shared universe continues to grow and expand.

Rating: 5 out of 5

Published by IDW Publishing

On July 23, 2025

Written by Tim Seeley

Art by Nikola Čižmešija

Colors by Francesco Segala

Letters by Nathan Widick

The post Godzilla #1 Is an Exciting Entry Point for the King of Monster’s Kai-Sei Era (Review) appeared first on ComicBook.com.

Eight years ago, the delightful town of Woodbrook was changed forever as two serial killers dueled for supremacy, and Samantha walked away the victor. That said, a lot has changed in 8 years, and with the era of the internet having fully arrived, Samantha now has to navigate a whole set of new challenges to keep her trail of death a secret. That’s the premise of Patrick Horvath and Hassan Otsmane-Elhaou’s much-anticipated sequel series, Beneath the Trees Where Nobody Sees: Rite of Spring, and the IDW Publishing series is off to an absolutely killer start.

In the wake of what happened in the first series, it would be easy to just jump in time and kick off a new story with some of the same main characters, but that’s not the case with Rite of Spring #1. Instead, it pulls directly from the first series and highlights the changes that time and technology can have on just about anything, regardless of how well covered those old tracks may be.

We are introduced relatively quickly to a duck named Monica, who has spent the last eight years searching for her missing brother. The lengths she has gone to in looking for any sign of her brother Danny after he suddenly vanished are extreme to some, but you can’t help but envision yourself in that situation as she attempts to live her life almost solely for closure. The success of that is a credit to Horvath’s commitment to showing all sides of the toll this has taken on Monica, exploring the mental, physical, and even financial sides of essentially pausing your life.

It goes a long way to drawing you into Monica’s world as she navigates unhelpful police, a quickly degrading city populace, and the dark web in hopes of finding any light at the end of the tunnel. While Danny is the mission, Monica is the heart of this story, and it doesn’t take long to become incredibly invested in her sarcasm and cigarette-filled journey. That’s also due to the vibrant artwork and big pops of color that populate each page, and seeing some of the brutal violence paired with crazy pops of greens, reds, and yellows makes for an interesting contrast.

[RELATED: IDW Publishing Heads Tease Big 2025 for TMNT, Star Trek, Godzilla, & More]

Sam actually doesn’t have a huge role in the first issue, but obviously her actions are the cause of every domino that continues to fall, and when she does show up, it turns what you thought was the direction on its head. Her role is going to be much different than expected, and you can already get a sense of the tension that will be in play as we move forward in the story.

Beneath the Trees Where Nobody Sees: Rite of Spring #1 might have jumped forward in time, but it effortlessly picks up where the last series left off in terms of storytelling, intrigue, tension, and stakes, and it without a doubt deserves a spot on your pull list.

Rating: 5 out of 5

Published By: Image Comics
Written, Illustrated, and Colored By: Patrick Horvath
Lettered By: Hassan Otsmane-Elhaou

What did you think of the original series, and are you excited for the sequel? Let us know in the comments, and you can talk all things comics with me on bluesky @knightofoa!

The post Woodbrook’s Killer Bear is Back and Deadlier Than Ever in Beneath the Trees Where Nobody Sees: Rite of Spring #1 (Review) appeared first on ComicBook.com.

All-New Venom, for its first five issues, teased who was the new symbiote host to Marvel’s most popular living costume. At the tail end of issue five, the shocking secret was revealed as Mary Jane Watson had bonded with Peter Park and Eddie Brock’s old costume, creating a very new Venom as a part of the Marvel Universe. Now, for the latest issue, writer Al Ewing and artist Carlos Gomez are documenting how MJ became the new Venom and what that means for the future as Marvel takes a very dynamic route to the character who has been villain, anti-hero, and nearly everything in-between.

The lion’s share of the issue, as stated above, focuses on the fallout from The Venom War crossover and how Mary Jane became permanently bonded with the symbiote. Using both Robbie Robertson and Paul as exposition dumps here, MJ and Venom explain that thanks to the events of the previous symbiote conflict, both beings were in dire straits. The symbiote had been struggling with both an anti-symbiote poison and “Time-Travel Reverse-Carnage Goop” while Mary Jane’s Jackpot gear had been altered to unleash her full power, but in doing so, making it drastically more dangerous. With MJ and the symbiote having little recourse, they not only bonded but were fused on a molecular level to save both of their lives, creating a brand-new Venom unlike anything before.

[RELATED: Mary Jane and Venom’s Origin Story Includes One Major Detail That Will Change Everything]

The Good, The Bad, And The Paul

Let’s get the good elements out of the way to kick this review off right. Robbie Robertson has the best selling points for this new union in that we never have actually seen a Venom that is a straight-up superhero before. We’ve seen anti-heroes and military men like Eddie Brock and Flash Thompson wear the symbiote, but a more light-hearted take on Venom. Ewing has a good understanding of the characters involved here and creates some witty banter between all parties involved. Gomez’s art here also works well in terms of the quieter, conversational moments as well as some of the more horrific elements in the issue.

Speaking of the horrific elements, Ewing and Gomez capture MJ’s current predicament in some of the creepiest body horror seen in recent Marvel comics. Thanks to her Jackpot tech going awry, Mary Jane’s skin is falling off, her bones are breaking, and her atoms are being turned into dust, sometimes all at once. These elements work well in setting the stage for why this new Venom needed to be created in the first place, though all isn’t sunny for this new status quo.

Mary Venom Watson

Unfortunately, All-New Venom’s latest entry is bogged down far more in the negative than the positive. Mary Jane’s current status quo is so reliant on the events of the Venom War that it seems quite confusing if you didn’t read that crossover. This is to say nothing of MJ’s current status as Jackpot, which requires tomes of knowledge to understand how she got super powers and decided to patrol the streets of New York City. Normally, continuity is something that can be overcome but it feels much more like an anchor around a reader’s neck than a benefit.

Of course, the biggest negative here is Paul and I’m not even approaching this from the idea of the general hatred of the character himself. Obviously, many Spider-Man fans haven’t been big Paul-enthusiasts since the character was introduced as little more than a barrier between Peter and Mary Jane being together and it certainly appears as though Al Ewing himself falls into that camp. The idea of making Paul less likable is one thing, but All-New Venom turns him into an annoying caricature where you can’t help but feel that it’s only a matter of time until he hits the bricks in this relationship.

Ewing makes Paul come across as something of a simpering, love-struck hindrance to Mary Jane herself, to say nothing of Dylan Brock taking the chance to drive the stake that much deeper into his heart. While Mary Jane’s character works well in this quagmire, it feels as though Paul and Dylan make for a gruesome twosome of a supporting cast. All-New Venom has promise in that it presents plenty of enticing story beats for the future but where the series is now? Something needs to change.

Rating: 2.5 Out Of 5

Published by Marvel

Released on May 7th, 2025

Written by Al Ewing

Art by Carlos Gomez

Color Art by Frank D’Armata

Letters by VC Clayton Cowles

How have you felt about the All-New Venom? Let us know in the comments!

The post All-New Venom #6 Reveals How Mary Jane Fused With The Symbiote (Review) appeared first on ComicBook.com.

The events of Absolute Green Lantern #1 were truly shocking in any number of ways, turning everything we have come to understand about the Green Lantern Corps and the power they wield upside down. That brings us to Absolute Green Lantern #2, and if you expected any recovery time, that’s not happening, as issue #2 just slams the gas and runs right through whatever expectations you had left. The Green Lantern mythology truly feels otherworldly in this series, and what’s scary is that this is only the beginning.

The issue is primarily split between two main points in time, those being a sit-down conversation between Hal and Jo and a step back in time to when the world first met Abin Sur. There’s a genuine sense of unease throughout both of these moments in time, but both have their unique slant, beautifully conveyed through the art and lettering of Jahnoy Lindsay and Lucas Gattoni.

While each vibe is different, they are both incredibly effective. As the conversation between Hal and Jo plays out, Al Ewing’s dialogue and the various offbeat mannerisms from one side indicate a deteriorating pretense, and as that gives way, you feel a more sinister presence start to emerge.

Meanwhile, in the past, Abin Sur is an absolute beast and puts every other version to shame. Lindsay has created the new de facto standard for this character from a visual standpoint, and Ewing leans into it wholeheartedly, creating one of the most bluntly lethal powerhouses we’ve ever seen in the DCU. You don’t understand everything behind what he’s doing, but the gears are already spinning to figure it out, and the mystery of what it means and what’s behind his methods is insanely compelling.

[RELATED: 33 Years On, The Death of Superman Is Still DC’s Greatest Ever Story]

Absolute Green Lantern takes place on Earth and features quite a few human characters, but it also feels much bigger than this one small planet at the same time. A big part of that is how the series pairs these epic beings and abilities with incredibly relatable everyday characters, so while you are dealing with ancient entities and powerful alien species, you are also dealing with two friends just trying to make sense of what’s happened to them, and all of the small annoyances and issues of life still rear their head even in those bigger than life circumstances.

It all goes to make Absolute Green Lantern feel like a truly cosmic story and yet incredibly human as well, creating a one-of-a-kind combination that has me glued to every single page. Where the series goes from here is anyone’s guess, but it’s already created a stellar foundation that feels like nothing we’ve seen in the franchise before and yet still true to some of the hallmarks we’ve always loved, and that feat is nothing short of amazing.

Rating: 4.5 out of 5

Published by DC Comics

Released on May 7, 2025

Written by Al Ewing

Art and Colors by Jahnoy Lindsay

Letters by Lucas Gattoni

What did you think of Absolute Green Lantern #2? Let us know in the comments and you can talk all things comics with me on Bluesky @knightofoa!

The post Absolute Green Lantern #2 Blazes a Path Through Your Expectations (Review) appeared first on ComicBook.com.

The X-Men‘s “From the Ashes” publishing initiative has had its ups and downs, and X-Men is ground zero for all the problems with it. While Uncanny X-Men has found a way to tap into the core of the X-Men and tell great stories, X-Men has been stuck rehashing the ’90s and ’00s and issue #16 keeps up this distressing tendency. X-Men owes a lot to the greatness of New X-Men, but this issue also shows a callback to a classic ’90s story. It’s definitely an action-packed comic, but it’s ultimately empty on a story level, one of the main problems with this comic over its run so far.

If there’s anything nice I can say about the writing of this issue, it’s that MacKay knows how to make a superhero/supervillain fight work. This issue pits Cyclops’s X-Men against 3K’s version of the team, and MacKay comes up with a lot of really interesting action set pieces in this issue. However, that’s basically the only good thing about the writing of this issue. It all starts right at the beginning, with the introduction of 3K’s X-Men. They’re just sort of dropped onto readers, with no introduction other than their names. In the past, we would have gotten at least a description of their powers in the caption boxes that give readers their names, but that’s not a thing here. It kind of hurts the whole fight, because despite seeing their powers during the fight, it would have been better for newer readers to get that little bit of an introduction. X-Men #15 was definitely a jumping on point, and this issue squanders all of that by explaining nothing that a new reader would needs to know.

From there, we get the rehashes. So, as a long time X-Men reader, I remember a little story called “Children of the Atom”, which pit the X-Men against a team of X-Men brought together by a villain. It’s a great story, and this issue often feels like a pale reflection of that story. It’s an evil team of X-Men trying to take the place of the main team, all while being led by an enemy who pretends to want to help mutants. Then, there’s Magneto’s use of a drug that enhances his powers and allows him control them again… which anyone who read Morrison’s New X-Men will recognize as sort of like Kick. MacKay has been generally plundering Morrison’s New X-Men, and this is yet another example of that. This book often feels like a generic X-Men comic, one that seems to know it can’t stand on its own, but is trying to fool readers that it can.

RELATED: Marvel’s Plan for the X-Men May Reveal the Next MCU Phase Title

Netho Diaz, working with inkers Sean Parsons, JP Mayer, and Livesay with colorist Fer Sifuentes-Sujo, does a pretty good job with the art. This issue definitely revolves around the central action scene and Diaz and the art team deliver a pretty good looking fight scene, taking MacKay’s ideas for the fight, and bringing them to life. The action is fluid and detailed. The last double-paged spread is pretty great, really hyping fans for the next issue’s big kaiju fight between a Magneto controlled Sentinel and a massive mutant under the control of Cassandra Nova.

However, while the art is mostly good, there’s something about Diaz’s pencils that feels very ’90s, but not in a good way. A lot of gritted teeth and pinched faces that can feel very weird. It’s never a good thing for the art when a book has three inkers, and anyone who has read comics for a while will be able to see the inconsistencies in inking in this issue. The art is the best part of the book, but it can’t save it from a lackluster plot.

MacKay’s X-Men has been something of a disappointment and this issue illustrates why. While it does everything right from a structure standpoint, it feels anemic when it comes to ideas. This is a bog standard X-Men comic that stands on the shoulders of much better runs that came before it. This is the kind of comic where you’re definitely better off just thumbing through the issue; the art is good enough that you’ll get a bunch of cool action imagery and not have to read a story that has nothing new going on under the hood. Ever since Hickman left the Krakoa Era, X-Men has become a book defined by good art and so-so writing and MacKay seems to be keeping that going. Maybe this is a good comic if you know nothing about the X-Men. Otherwise, it’s an exercise in rehashing.

Rating: 2 out of 5

Published by Marvel

Released on May 7, 2025

Written by Jed MacKay

Art by Netho Diaz

Inks by Sean Parsons, JP Mayer, and Livesay

Colors by Fer Sifuentes-Sujo

Letters by Clayton Cowles

X-Men #16 is on sale now.

The post Big Action and No Soul Drags Down X-Men #16 (Review) appeared first on ComicBook.com.

Batgirl‘s first arc established a new foundation for the mother and daughter duo of Shiva and Cassandra Cain, and not even death can stand in the way of that continuing to evolve. Batgirl #7 takes us into Shiva’s past to provide an even greater level of context for not just Shiva as an individual but also in her approach to family, and that directly feeds into her approach to being a mother as well. While Cassandra does take a step back from her own series, it’s difficult to argue with the effectiveness of The Book of Shiva’s first chapter, and it’s a story I can’t help but want to see through to the end.

Shiva’s backstory is unsurprisingly tragic, but you can already start to see how one of the deadliest people in the world was forged as these events play out. Every step of the way, you see a little bit more of that internal warrior start to emerge, and that is brilliantly conveyed through the artwork, colors, and lettering of Isaac Goodhart, Mike Spicer, and Tom Napolitano. When the action hits, there’s a genuine intensity to every action and movement, and you simply can’t turn away.

That’s true of the big finale as well, and several sequences are not only intense but also incredibly creative in execution. That final confrontation is set up wonderfully through a celebration sequence that captivates through movement, color, and sound, making the action switch hit that much harder.

What’s perhaps even more impressive is seeing the arc over time, as the issue moves across a decade, so seeing what happens towards the beginning of the issue and how that plays into what happens towards the end paints a vivid picture of Mei and Ming and their constant struggle to simply survive. After all, the love between two sisters is at the heart of this story, and throughout the issue written Tate Brombal explores their dynamic and relationship from a variety of angles and viewpoints, and all of them are compelling.

[RELATED: 33 Years On, The Death of Superman Is Still DC’s Greatest Ever Story]

They are sisters in the truest sense of the word, with both taking lessons and learning from the other as the story moves forward. Mei-Xing and Ming-Yue may approach things differently, but their understanding of what family means is unparalleled, as they’ve come to understand in the harshest way possible that after everyone else falls, they only have themselves to rely on. The book does play on ideas and themes that could seemingly fracture them down the line, but as of now, those attempts never see to stick, and that’s part of what keeps you invested in their next steps and what happens to them in the future.

Granted, I would have loved a bit more Cassandra in this story, as I just adore the character, and it is her book after all. That said, this still feels incredibly important to the previous arc that set a new understanding for Cassandra about who her mother really is, and as that looks to be a continuing part of the series, this all feels important and worthwhile as well. I didn’t necessarily expect to be as captivated by The Book of Shiva as I was, but I’m glad to be wrong about that assumption, and I’m pretty much completely invested from here on out.

Rating: 4 out of 5

Published by DC Comics

Released on May 7, 2025

Written by Tate Brombal

Art by Isaac Goodhart

Colors by Mike Spicer

Letters by Tom Napolitano

What did you think of Batgirl #7? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Batgirl’s The Book of Shiva Takes a Riveting Step into the Past (Review) appeared first on ComicBook.com.

Captain Planet and the Planeteers was a beloved ’90s animated series. A lot of ’90s kids have fond memories of the cartoon, a cheesy action figure commercial of a show — as was common with animated series back then — with a pretty good message at its core. Captain Planet reboots have been teased over the years, but the comic industry has gotten there first. Dynamite announced a Captain Planet comic for Earth Day and put it in the capable hands of writer David Pepose, who has been killing it on Space Ghost, hyping fans up. After some unexpected delays, the first issue is out and it was worth the wait. It’s everything fans could have wanted.

So, right off the bat, we have to talk about how well Pepose did with reintroducing the mythos of Captain Planet. Captain Planet and the Planeteers ran for about two years in the early ’90s, but it doesn’t have the cultural footprint that other ’80s and ’90s cartoons have. Pepose realizes that, and lays out everything you may have forgotten about the Captain Planet mythos in this first issue. There’s something classic about the way that Pepose structures this issue; there’s a lot of old school comic feel here that works brilliantly. From the opening action scene to the introduction of the Planeteers, this comic feels like a comic that could have been published back in the day. This is a high compliment, because those old comics had an understanding of giving readers what they needed in one issue. Pepose pulls this off expertly.

However, while the book has a classic structure, Pepose doesn’t forget that we’re in the 21st century. Pepose isn’t just copying the old stories, he’s taking the cores of these characters and tweaking them for the present. I had completely forgotten who each of the characters were when I picked up this book, but Pepose’s writing not only reminded me of who these characters are, but gives them something new to make them intriguing. If this was the first episode of a Captain Planet show, it would definitely get fans interested in it.

RELATED: SDCC 2024: Dynamite Announces New Terminator Comic From Declan Shalvey

Penciler Eman Casallos and colorist Jorge Sutil do a wonderful job of rendering the issue. Pepose likes to jump right into the action with his work, and this issue is no different, kicking off with an action scene. Casallos captures the excitement of this scene and does a great job of laying the pages out for maximum impact. The art stays strong from there; each scene introduces our Planeteers in a situation that says a lot about who they are, and Casallos and Sutil’s art is does a lot of heavy lifting in that regard. The new design of Captain Planet is much better than what we had before; the added roots and rocks gave him a more a naturalistic feel than the original version.

Casallos also does a good job of modernizing the Planeteers. While it remains to be seen if they don outfits that mirror their Planeteer fighting togs, their appearances in the first issue are another example of bringing the concept into the 21st century. Linka, a Russian punk rocker with a heaping helping of the band Pussy Riot to her design and character, and Ma-Ti, the Brazilian holder of the Heart Ring, look the best, taking the original designs and vastly improving on them. If there’s any weaknesses to the art, it comes in the Gi part of the story. The detail of the art slips a little bit, not enough to call the art bad, but enough to be noticeable.

Pepose was able to reintroduce the Captain Planet mythos in the most entertaining manner possible, doing a great job of bringing a story that is over thirty years old into the present. This is an exciting comic with a lot of storytelling in its pages and does a wonderful job of getting people interested in the story. Casallos and Sutil’s art works well for the most part, taking the excitement of Pepose’s script and bringing it to life. Captain Planet and the Planeteers #1 is a great way to bring back a group of classic characters, giving readers some nostalgia while also introducing something fresh and new and very worth getting excited about.

Rating: 4 out of 5

Published by Dynamite Entertainment

Released on May 7, 2025

Written by David Pepose

Art by Eman Casallos

Colors by Jorge Sutil

Letters by Jeff Eckleberry

Captain Planet and the Planeteers #1 is on sale now.

The post Captain Planet Is Back and Better Than Ever (Review) appeared first on ComicBook.com.

One of the best thing about heist stories is that they are generally predictable in their structure, but even if you know what to expect, when done right the reveals always feel like surprise twists. That’s been the case with Godzilla: Heist over its first two issues and in issue #3, that remains especially true. Godzilla: Heist #3 sees the actual heist play out and while the story delivers some pretty genre-specific who-is-crossing-who twists, there’s also a good amount of heart and plenty of action to make readers want even more.

In Godzilla: Heist #3, the heist is well underway but what is notable is that we see — or rather have revealed to us in the narration — that Jai is struggling a little with the reality of what he’s doing. While things are going to his carefully laid out plans, the actual consequences of certain actions are very different once he’s faced with it in person — particularly the collateral damage and casualties both inside the base and outside with Godzilla rampaging through London. It’s an interesting juxtaposition, Jai’s conscience and trying to deal with the reality of what he’s carrying out as well as how he pushes it all down to keep his eye on the prize with the art of a rampaging Godzilla outside and the fight between soldiers and the heist team inside.

Speaking of the art, the best panels in Godzilla: Heist aren’t the action or even Godzilla. Instead, it’s the ultimate destination for the heist crew, the clean lines of the internal structure of the secret base and the hidden secret base beneath it. Kelsey Ramsay’s lines give a real sense of how big this mission is and it’s stunning. It’s almost cinematic at times, to the point that a reader might thing that we’re getting to some sort of grand conclusion, but while the art swells and pushes that feeling, we’re not done just yet. Van Jensen’s story hits us with the well-worn and well-loved trope many heist stories have: a major triple cross. Jai gets his ultimate goal just within his grasp only to discover that all of his plans haven’t been so clever after all. It’s a reveal that flips the story on its head and sets up for Godzilla: Heist to potentially become a more traditional Godzilla story thanks to the reveal of Mechagodzilla and the very real threat of global domination.

That might be the brilliance of Godzilla: Heist #3. It takes the heist trope and flips it to set the stage for a full-on classic Godzilla adventure, in the process giving readers a flawed character to want to root for despite the fact that they’ve unleashed Godzilla on London for personal gain. This is a story that, while cliche in certain aspects, has a surprising amount of gravity to it and keeps the whole thing fresh. Simply put, Godzilla: Heist is a blast — and not the atomic breath kind.

Rating: 4 out of 5

Published by IDW

Released on May 7, 2025

Written by Van Jensen

Art by Kelsey Ramsay

Colors by Heather Breckel

Letters by Sandy Tanaka

The post Godzilla: Heist #3 Flips the Script and Sets Up an Epic Fight (Review) appeared first on ComicBook.com.

Absolute Superman has provided glimpses of its marquee villain, but the curtain is finally pulled back with Absolute Superman #7, revealing one of the most unhinged villains we’ve seen in the Absolute Universe to date. Jason Aaron, Carmine Di Giandomenico, Ulses Arreola, and Becca Carrey have now introduced the world to a truly nightmarish version of Brainiac, and while it is a grisly picture they paint at times, the gripping character piece that this issue showcases absolutely shines from beginning to end, even as Superman is mostly a footnote. That’s not a slight either, as this sets the stage for what should be a truly epic confrontation, and that wouldn’t be the case without this spotlight.

Absolute Superman has had no issue shaking up the traditional mythology in any number of ways, whether that be Kal’s time on Krypton, the Kents, his powers, and Lois, to name but a few. That said, this might be the biggest shake-up yet, as while the core elements of Brainiac remain intact, this really does feel like a completely different character than we’ve come to know in the past.

First and foremost, the design of Brainiac indicates so much about the character right at first glance, though your understanding of that will not take full effect until you learn about his history and how he came to be this disturbingly powerful force for Lazarus. As Aaron takes you through moments in Brainiac’s history, you will start to see the true nature of what’s reflected in that present design, and it will all click into place. While he comes across as a bit crazed and unbelievably vicious in that introduction, getting the full context makes that initial imagery even more powerful and disturbing.

Immense praise is due to Giandomenico and Carey, who turn later scenes into something altogether more unhinged and sinister, and yet Aaron somehow finds a way to insert some level of empathy for what really set Brainiac off in the first place. The face close-ups of Brainiac truly set the standard for how far this version will go to get his way, and even as the tethers are established between Brainiac and Superman, Brainiac still remains his own distinct character and not just Superman’s nemesis.

[RELATED: 33 Years On, The Death of Superman Is Still DC’s Greatest Ever Story]

Aaron has crafted a villain that’s altogether compelling on his own, even if Superman is removed from the equation. Brainiac has long been one of Superman’s most popular enemies, but this version could easily have his own story with the rest of the Collective that I’d be fully invested in at this point, and that’s all from just one issue.

Absolute Superman continues to work wonders with the Superman mythology, and as that work expands to the rest of Superman’s supporting cast, it truly showcases just how special this series is shaping up to be.

Rating: 4.5 out of 5

Published by DC Comics

Released on May 7, 2025

Written by Jason Aaron

Art by Carmine Di Giandomenico

Letters by Becca Carey

What did you think of Absolute Superman #7? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Absolute Superman’s Unhinged Brainiac Steals the Show (Review) appeared first on ComicBook.com.

JSA has a lot riding on its shoulders. The Justice Society is very much a storied team, and fans have loved them since the 1999 reboot of the team. The newest series is named after that legendary reboot, and luckily has been able to fill that title’s boots. JSA has revolved around the Injustice Society’s latest attack on the team, and it has already had a major casualty — Wildcat sacrificed his life to save Doctor Fate in JSA #6. That leads up to the latest issue. JSA #7 is the funeral for Wildcat, a poignant event that is ripe with drama. This issue is another win for the title, a high drama quiet moment after the insane battles of the book so far.

Jeff Lemire is a writer whose indie work has always revolved around emotion. Royal City is about a broken family, the events that broke them, and how they came back. Descender/Ascender is all about family, and the associated problems with it. Lemire knows his way around team dynamics and JSA #7 is a perfect example of that. Funerals are emotional events; sometimes that’s a good thing and other times, not so great. The funeral for Wildcat is definitely one of the latter. After a great speech from Jay Garrick about his friend, readers get dropped into the messy morass of the JSA at this moment, and it’s all perfectly rendered. Lemire has been steadily breaking the Justice Society throughout this run, and this issue shatters them even more, with Yolanda Montez, Wildcat II, trying to give up the mantle, the once perfect Hourman II/Jessie Quick marriage falling even further apart, Jade and Sandman trying to figure out who the traitor on the team is, and a contentious conversation with Superman, Batman, Wonder Woman, and Mister Terrific.

Too many times in the past, the Justice Society has been portrayed as the perfect team, one that always gets along for the most part. Lemire smashing the team up is a big change and it’s so far worked very well. There is a lot of meat to this story, and it’s presented wonderfully. Lemire is expertly breaking down the team, and it will be a joy to see him build them back up.

RELATED: DC Has Their Own Wolverine (And It’s Not Who You Think)

Guest artist Rafael De Latorre has some big shoes to fill in this issue. Regular artist Diego Olortegui has been impressing since 2023’s The Flash: Jay Garrick, and fans have gotten used to his pencils on JSA. Luckily, De Latorre sticks the landing. This is a quiet issue, with very little action, depending mostly on the character drama to entertain. De Latorre is able to sell the emotion of each scene perfectly. His character acting is top notch, and that’s very important for the story that Lemire wrote for this issue. De Latorre’s style is close to Olortegui’s, and this allows the book to keep a continuity of artistic style that keeps the change of artists from being too jarring.

The colors by Luis Guerrero do a lot of heavy lifting for the art as well; Guerrero knows how to use lighting to set the emotional tone of a scene. De Latorre and Guerrero are able to take a quiet, drama-filled issue, and make it sing. Every artist wants to draw the big fights, but the true test of a comic artist are issues like this. De Latorre and Guerrero pass that test with this issue’s art.

JSA #7 is yet another triumph for this series. Lemire has set out to break one of the most beloved teams in comics, and has been doing an expert job of it. Lemire is showing that he has the goods with JSA. De Latorre and Guerrero do an excellent job with his issue. They don’t get any big action scenes like the book had in the first six issues, instead having to render a drama-filled comic. They knock it out of the park, really selling the emotion of the issue. JSA #7 keeps the hit coming.

Rating: 4 out of 5

Published by DC Comics

Released on May 7, 2025

Written by Jeff Lemire

Art by Rafael De Latorre

Colors by Luis Guerrero

Letters by Steve Wands

JSA #6 is on sale now.

The post Even Heroes Have Drama at Funerals in JSA #7 (Review) appeared first on ComicBook.com.

In a sea of amazing comics, a new series has to find a way to immediately stand out from the crowd and showcase what makes it special. Image Comics and Skybound look to do just that with its new series Blood & Thunder, pairing the core elements of a buddy cop movie with the lovely insanity that is the world of Metro 1. Oh, did we mention that the buddy cop of it all is actually a cop and her sentient gun? Yeah, that’s right, and it’s where the series not only gets its name but also where it gets its sense of charm, humor, and history, making for one of the most delightful debuts of 2025 so far.

Before we get to the two protagonists, we need to first highlight the insanely cool world that the team of Benito Cereno, E.J. Su, Msassyk, and Rus Wooton have brought to life. Metro 1 is a tiered city where life gets progressively more difficult and challenging as you continue to go through each tier, and there’s also another city on the other side of the planet that seemingly has its own tiers, though we don’t get to see much of that yet.

If that sounds like an idea rife with possibilities, it absolutely is, and the first few pages set about introducing you to the various structures and way of life on various tiers. Meanwhile, Su and Msassyk make a grand first impression with a two-page spread that is just absolutely stunning, instantly giving you a sense of this mysterious place without even setting foot on it. Their work continues to impress throughout the issue, with each tier conveying its own distinct personality even in the briefest of appearances.

Their work is also impressive in the characters that populate this world. While there are humanoid-looking characters and actual humans living in the city, there are a host of other aliens that call this place home, and their character designs don’t just feel like human offshoots with a different coat of paint. Some of the designs are really creative, and it bodes well for what we’ll see from the series as it progresses.

[RELATED: 2025 Comic Preview – All the Biggest Storylines & New Series to Know About]

While the world is fantastic, it doesn’t matter if you aren’t compelled by the book’s main heroes, and that’s where Blood and Thunder come in. Blood is a bounty hunter who excels at operating in the lower levels, and she uses a gun named Thunder. The thing is, Thunder is a full sentient gun who talks to Blood, and this forms the buddy cop dynamic throughout the series. The opening fight sequence is fun to watch from an action perspective, but the dynamic between the two is what really makes these sequences shine, as Thunder continues to want to use non-lethal measures whenever possible, and Blood is a bit more on the aggressive side.

That ties into a key point of history with Blood, as Thunder was her father’s old weapon before he died, and he was also a part of the IPPF (the police force on Metro 1). That promises to be rich with complex issues for Blood, as she holds her father in high esteem, and while her mother is hinted at here, there’s a lot said in what is unsaid if that makes sense. That’s even before we get to bigger mysteries revealed towards the end of the issue, so the future is quite bright.

There are a few odd moments in regards to facial expressions, but that’s a relatively minor nitpick. One thing I would have loved to see is more time with Blood and Thunder after the big action sequence. All that amazing world-building at the beginning has to trade off somewhere after all, but I’m sure we’ll get plenty of time with them as we continue the series.

It’s not easy for a new series to truly showcase who it is and who it wants to be in just one issue, but Blood & Thunder did that exceptionally well, and it’s created an adventure full of action, charm, and mystery that already has its hooks in. If you give it a try, I think it just might hook you, too.

Rating: 4 out of 5

Published by Skybound and Image Comics

Released on May 7, 2025

Written by Benito Cereno

Art by E.J. Su

Colors by Msassyk

Letters by Rus Wooton

What did you think of Blood & Thunder #1? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Blood & Thunder #1 Is the Buddy Cop Adventure I Didn’t Know I Needed (Review) appeared first on ComicBook.com.

The Star Wars brand has been doing plenty of celebrating these last few weeks. Revenge of the Sith had a successful re-release in theaters to commemorate its 20th anniversary. Star Wars Celebration Japan unveiled many new projects for the franchise. May the 4th released a new set of animated shorts, Tales of the Underworld, and Andor Season 2 has been ongoing to rave reviews. All those Star Wars projects don’t even touch on all the High Republic novels. This plethora of Star Wars content can be overwhelming, especially if you’re a fan who wants to consume it all. Marvel Comics has taken advantage of the May the 4th weekend to release a new Star Wars #1 issue this week. With so much Star Wars to consume, does the new number one from Alex Segura and Phil Noto stand out?

The new number one takes place not long after the Battle of Jakku, the trio of mini-series Segura helped usher in. The issue is split into three storylines told through the perspective of Luke, Leia, and Han Solo. Segura carries over the character Rynn Zenat from Battle of Jakku, serving as the co-protagonist with Luke’s sideplot. Luke and Rynn also partnered up in the Free Comic Book Day Star Wars comic, highlighting the two’s search for pirates. Rynn’s sudden rise to importance may irk some fans, as she takes away panel time from the characters we care about. She has yet to endure in the same way as other comic characters like Doctor Aphra, but it is still too early to judge her. At the moment, she’s a decent character with potential.

[RELATED – Star Wars: Marvel Announces New Mandalorian Series]

Meanwhile, Han Solo rescues Beilert Valance from a group of criminals. It’s always good to see Valance once again, especially since the end of the Star Wars: Bounty Hunter comics made fans fear the character wouldn’t be seen again for a while. Valance’s and Han’s dynamic continues to evolve, showcasing how far the two men’s relationship has become. Their friendly banter provides the only comedic relief in the issue, with everything else being self-serious and dire.

Leia’s subplot is the most interesting and layered in the comic, spotlighting the growing difficulties of rebuilding the Republic. Leia and Mon Mothma try to sway the Pirrosi, an assembly of plants in a specific sector, back to the new Republic. The tension between Leia and the Prime Minister of Pirrosi is apparent, with the latter refusing to budge on their stance against the republic. It’s the most interesting part of the comic, foreshadowing future conflicts while potentially introducing a new villain that isn’t directly connected to the Empire. It makes logical sense that the protagonists would face other problems beyond the Empire, and it would be nice to see the franchise branch out.

Part of Star Wars’ ongoing celebrations this year is the tenth anniversary of the new Star Wars comics from Marvel. The comics company initially had the rights to the Star Wars comics in the 70s, returning after Disney purchased Lucasfilm. Ten years in, Segura’s and Noto’s Star Wars #1 is Marvel’s third relaunch of the mainline title. This new number one isn’t as exciting as when Marvel originally launched the comic line with Jason Aaron and the late John Cassaday’s Star Wars #1 in 2015. Something was electrifying about that new era of Star Wars in 2015 that Segura couldn’t really capture again. Segura still achieves a good story, capturing the voices of all the major characters well enough that nothing stood out as incorrect.

He brings in plenty of sci-fi action, with Noto supplying some of his most beautiful work yet. Noto has had a storied career with Star Wars, providing multiple fan art and covers for a franchise that clearly means so much to him. Noto’s early pages are thrilling, featuring Luke and Rynn’s space battle against a surprise attack. Everything about Segura’s and Noto’s Star Wars #1 is fulfilling and satisfying, but it didn’t reach the heights of previous comics published by Marvel. The era between Episode VI: Return of the Jedi and Episode VII: The Force Awakens is still mostly unexplored by the Star Wars extended media, so it’s interesting to see what direction Segura will take the characters.

Rating: 3.5 out of 5

Published by Marvel

Released on May 7, 2025

Written by Alex Segura

Art by Phil Noto

Letters by VC’s Clayton Cowles

What did you think of Alex Segura’s and Phil Noto’s Star Wars #1? Let us know in the comments!

The post Star Wars #1 Is Fulfilling and Satisfying, But Lacks Spark (Review) appeared first on ComicBook.com.

The Amazing Spider-Man‘s latest reboot has been going swimmingly so far. The Amazing Spider-Man hasn’t had a good reputation for a long time, so this current run has a lot riding on it. The new creative team of Joe Kelly and Pepe Larraz has been doing a pretty good job with the last few issues of The Amazing Spider-Man, and The Amazing Spider-Man #3 keeps building that plot. Last issue, we got the return of Itsy Bitsy, a villain from Kelly’s Spider-Man/Deadpool series, and issue #3 continues the confrontation between Spider-Man and the villain, as well as revealing even more about her and Hobgoblin’s plot. However, this issue doesn’t really reach the heights that the book has reached so far.

So, to begin, this isn’t really a bad comic, it’s just sort of mystifyingly structured. Spider-Man has been hallucinating since the end of The Amazing Spider-Man #1, which has played a huge factor in the series so far. This issue continues that and it’s honestly getting a little tiring. It’s a fun gimmick for a Spider-Man story, but it’s been going on way too long. The Amazing Spider-Man #3 shows this possibly false flashback of Peter’s early teenage years that doesn’t really fit anything we know about Spider-Man’s history and it feels so out of place. Kelly has played a lot with this idea of young Peter becoming a bit of a hellion with his friend Brian, but there’s always been something off about that idea, and this issue really pushes further than it already has.

This feels like a pretty standard issue of a Spider-Man comic — some action, some civilian Peter shenanigans, and an ending that sets up the next big fight — but it just never seems to gel into something interesting. Kelly makes a very weird choice with Itsy Bitsy, and it doesn’t at all feel right. The pacing of the issue is off as well; so many of the book’s events feel like filler that had to be stretched out for the purposes of the overall story. There’s a lot of little things wrong with the writing of this issue. It’s not enough to make it a terrible comic, but it feels like the book has already run out of steam, which is unfortunate after such a good start.

RELATED: Marvel Teases Amazing Spider-Man Milestone Issue With New Villain Hellgate

However, the art from Pepe Larraz and Marte Gracia is gorgeous. From the opening flashback to the inaugural opening scene, Larraz shows off his expert character acting, as well as his penchant for action scenes. From there, we get an exciting battle between Spider-Man and Itsy Bitsy, with a very cool double page spread, and then most of the rest of the issue is quiet moments dealing with the aftermath of the fight with Itsy Bitsy and more flashback scenes. The highlight of the issue’s art is the beginning and the end, with some really good Spider-Man swinging through the city panels in between. The issue’s weird pacing is a problem with the writing, but it’s always nice to spend more time with Larraz and Gracia’s art.

The last page of the issue is the best. It’s the first meeting between Hobgoblin and Spider-Man in a while and it’s hype. Larraz’s Hobgoblin has a touch of Humberto Ramos’s version of the villain, and looks perfect. Larraz doesn’t really change the design of the character too much, but he definitely captures the core of the character. The lighting on the scene, supplied by Gracia’s beautiful colors, give this moment the right amount of light and shadow.

The Amazing Spider-Man #3 takes all of the cool work in the first two issues and squanders it, to an extent. This is definitely a build-up issue of the current story, without a lot of things happening, but the problem is that it feels like it. Every story arc has issues that are just meant to build the story, which isn’t a bad thing; not every issue of a story arc needs to be full of action and big moments. However, other than the art, there’s really not much to actually enjoy in the issue. It’s a middling comic, not really good, not really bad, just sort of there, even with the fantastic art.

Rating: 2.5 out of 5

Published by Marvel Comics

Released May 7, 2025

Written by Joe Kelly

Art by Pepe Larraz

Colors by Marte Gracia

Letters by Joe Caramagna

The post More Flashbacks and Some Weird Choices Makes The Amazing Spider-Man #3 A Real Drag (Review) appeared first on ComicBook.com.

Two of my biggest passions in life are Godzilla and Spider-Man. A comic starring both should be a slam dunk, yet the outcome is only a resounding okay. The biggest problem with Godzilla vs Spider-Man #1 is that Godzilla doesn’t mesh well with Spidey’s world. Adding the King of Monsters in a Spider-Man comic feels like pushing a circle peg down a square hole. It’s not exactly like the expression, “a square peg in a round hole,” because you can fit a circle peg in a square hole. You can put a Godzilla-sized peg in a spider-shaped hole, but why would you? Godzilla vs Spider-Man #1 doesn’t really answer this question other than “why not?”

Admittedly, Spider-Man has faced giant monsters before, with villains like Gog. Reptile-based enemies are also his specialty, having been fighting against The Lizard and Stegron for decades. Nonetheless, Godzilla feels so far out of Peter’s depth that it’s hard to justify why the two will fight in the first place. The comic doesn’t really offer much justification other than Spider-Man just so happened to be around, with the comic suggesting Godzilla may have been targeting Spidey specifically for his alien suit. However, given that the epilogue reveals the symbiote remained in New York after Godzilla left, it exposed that theory to be as flimsy as it was when it was first brought up.

Godzilla vs Spider-Man #1 takes place at a specific moment within the Marvel Universe timeline, just like in the other Godzilla vs. comics. The comic book takes place in the 80s, right after Peter got his alien symbiote suit. Writer Joe Kelly makes an admirable attempt to make the comic feel as if it comes from the 80s, flourishing the comic with cheesy dialogue and narration overexplaining necessary backstory. The issue even takes place in an exact moment within the Spider-Man timeline. Godzilla attacks New York before Peter realizes the suit is a symbiote, he’s still dating Black Cat, and Mary Jane has just returned to the city.

Godzilla vs Spider-Man even reveals Mary Jane has already figured out Spider-Man’s identity, fitting in nicely within the original Symbiote Saga, where Mary Jane returns to reveal that she knew his secret identity for a long time. It’s always appreciated when writers and editors figure out these timeline placements, even though they didn’t need to since the comic takes place in an alternate universe. Kelly’s attempts at 80s dialogue don’t always land, with some characterizations suffering. Mary Jane’s and Black Cat’s instant rivalry makes both women seem petty, even though it was a clear throwback to the soap opera drama that was a touchstone to the Spider-Man comics for many decades. Nevertheless, there’s a reason why we left that kind of characterization for women in the 80s.

Despite criticism, the comic is certainly not bland. It would take a lot of work to make a comic book with Spider-Man and Godzilla seem boring. The comic features rare interior artwork from Nick Bradshaw, injecting much-needed life into the story. While some people criticize Bradshaw’s art for being too cartoony and making characters short, his linework and details are impeccable. Some of the perspectives in certain panels don’t always match, yet the characters and monsters are full of personality. There’s even a moment where the Venom Symbiote takes over Godzilla, so there’s that too.

Godzilla vs Spider-Man isn’t a highlight of this line of Godzilla Marvel comics, with the 80s throwback being more of a hindrance than anything. The issue is still filled with plenty of fun webhead action that makes the story fun, but superficial.

Rating: 3 out of 5

Published by Marvel

Released on April 30, 2025

Written by Joe Kelly

Art by Nick Bradshaw

Color Art by Rachelle Rosenberg

Letters by Joe Caramagna

What did you think of Godzilla vs Spider-Man? Let us know in the comments!

The post Godzilla vs Spider-Man Is as Flimsy as You Expect (Review) appeared first on ComicBook.com.

Power Rangers Prime has successfully established a new team of Rangers, but has only scratched the surface of what they are capable of as characters. Enter Power Rangers Prime #6, which pushes Mark into the spotlight and instantly becomes one of the most gripping and likely important issues of the series to date. While there are well-known characters in the book like Rita and Lauren, the series needed one of the new characters to truly step into a linchpin role to reach its potential. Well, ladies and gentlemen, that person has now stepped on the stage, and the future looks as promising as ever.

Writer Melissa Flores shifts from the thrilling chaos of the last issue and focuses solely on Mark, who was the book’s main tether character from the very first issue. He’s the one who made first contact with Lauren after all, but despite being in that lead spot, there were still a lot of questions regarding his past and what informed his beliefs, but all that changes with issue #6.

Around half of the issue is a conversation between Ryan and Mark after his capture, while the other half is within Mark’s mind, slowly revealing the tragic circumstances that led to his arrival on Earth. It was already rather easy to empathize with Mark as a refugee in an Eltarian-controlled Earth, but you don’t really understand the profound effect his interactions with Eltar have had until you understand his relationship with his mother, and these are some of the most profound moments of the issue.

Flores paints a very different picture of Earth and Eltar through the lens of Aquitar and their views on freedom. It allows you to decontextualize those early issues and Mark’s initial interactions with the rest of the team, and it also feels like a satisfying and well-earned evolution of his character by issue’s end. He’s not at the finish line yet, mind you, but you can see that arc and its trajectory, and that should only endear Mark to fans even more.

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The work of Jo Mi-Gyeong, Ellie Wright, and Ed Dukeshire is superb throughout, though it’s their exceptional storytelling that stands out most. The team shifts seamlessly between various times in the past and back to the present, and every past moment feeds directly into Mark’s mindset in the present without it feeling disjointed. You feel understand his heartbreak and feel his anger, and when the action does kick into gear, it’s as stylish and thrilling as you’d hope for.

There are a few odd moments on the art side, mostly with certain close-ups of Ryan and Mark towards the end, but those are incredibly minor nitpicks, and it didn’t rob any enjoyment of the issue overall. Power Rangers Prime hit the ground running, but it’s now starting to truly hit its stride.

Rating: 4.5 out of 5

Published by BOOM! Studios

On April 30, 2025

Written by Melissa Flores

Art by Jo Mi-Gyeong

Colors by Ellie Wright

Letters by Ed Dukeshire

What did you think of Power Rangers Prime #6? Let us know in the comments, and you can talk all things comics and Power Rangers with me on Bluesky @knightofoa!

The post Power Rangers Prime Is Hitting Its Stride at the Perfect Time (Review) appeared first on ComicBook.com.

Something is Killing the Children is finally set to address one of its biggest mysteries, and it all begins here. Issue #41 kicks off part one of All Her Monsters, and from the looks of it, James Tynion, Werther Dell’Edera, Miquel Muerto, and Andworld Design are finally pulling the curtain back on a pivotal and tragic moment in Erica’s past. A hallmark of the series has been its ability to define its characters and convey a wealth of backstory and lore in the quieter moments, and issue #41 once again showcases that in spades. This is the calm before the storm, but the series has consistently shown that the calm can be and often is just as compelling.

One of several critical events in Erica’s life is the loss of her mentor Jessica, and over the course of the past 40 issues, fans have seen how much Jessica’s presence meant to Erica and how Jessica’s death has affected her from that point on. While we’ve seen glimpses of the aftermath, the series has never revealed what happened to Jessica or the events that led up to that fateful encounter, which is why issue 41 means so much to longtime fans.

Tynion is a master at creating small moments that leave big impressions, and issue 41’s first few pages are a brilliant example of that in action. An encounter at a funeral early on epitomizes this, being equal parts heartwarming, intensely awkward, and delightfully funny, and Dell’Edera’s animated expressions and Muerto’s crisp colors breathe life into these moments and raise them to an entirely new level.

The same is true of Erica’s interactions with Aaron, or Aaron’s brief exchanges with Adda, though those take on a different tone. Those sequences dip into an eerie tension that starts to build towards the end of the issue, and those small moments will likely feel massive as more revelations are made about Jessica and Erica’s next mission.

[RELATED: 2025 Comic Preview – All the Biggest Storylines & New Series to Know About]

These interactions are also the primary way you learn more about the world, and it’s always impressive how much you can glean from small asides in the midst of bigger conversations. Adda, for instance, doesn’t say a word, and yet not only do we have a better understanding of her relationship with Jessica, but we also might have a hint as to what happened to her and Jessica in the past, as well as a better understanding of how Adda sees Erica and Aaron. All of that is conveyed through expressions, eye movement, and one-way conversations, and while the series has pulled this off in the past, this is simply on another tier.

Something Is Killing the Children #41 is revealing some long-awaited answers, but there’s no doubt that even more compelling questions will follow, as there are few books I trust more implicitly to deliver than this one.

Rating: 5 out of 5

Published by BOOM! Studios

On April 30, 2025

Written by James Tynion IV

Art by Werther Dell’Edera

Colors by Miquel Muerto

Letters by AndWorld Design

What did you think of Something Is Killing the Children #41? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Something Is Killing the Children Sets the Stage for Its Grandest Moment Yet (Review) appeared first on ComicBook.com.

A new super-team is back on the grind in the DC Universe. The Justice League may be back together to take on threats on a global scale, but there are plenty of criminals and villains out there who need to be dealt with. This is where The Power Company steps in. DC has slowly been building to The Power Company: Recharged #1 in the pages of Black Lightning and DC Power: Rise of the Power Company, and this newest one-shot brings together a collection of DC’s finest Black superheroes. Funded by Josiah Power, the Power Company all seem to be on the same page… except for Batman.

Jace Fox is our Dark Knight in The Power Company: Recharged #1, and he perfectly portrays how a Batman would act if he were recruited for something he never asked for. My only problem is that Jace leans a little too much into being the dark, brooding outsider amongst the team. Signal and Vixen are the field agents alongside Batman, but he refuses to work with them. Even Bruce Wayne has learned to work inside the confines of the Justice League, and he has several allies like Red Hood, Nightwing, and Robin. Jace Fox wants none of that, and it really brings down the positive vibes that The Power Company: Recharged is aiming for.

Black Lightning barely appears in the issue, but since he’s running oversight on the team, you would think that he’d confront Batman about his bad attitude. But nope. Josiah barely calls Batman out. That job is left up to Vixen, but she can only get so far with him. With a family being murdered by an anti-metahuman hate group, you would think our heroes would put aside their differences to change the narrative and bring the killer to justice.

Batman gets to be the conquering hero by defeating Agent Liberty alone. I understand that Batman is the big name in The Power Company, so he should get more of the spotlight, but it ends up devaluing the other members. I will say I enjoyed Agent Liberty’s costume. He looks like a mix of Captain America, Peacemaker, and Guardian from the Young Justice cartoon. With Agent Liberty defeated, we’re left with a tease of more The Power Company stories in the future. Batman gives Josiah Power the ol’ “I don’t trust you” line, but says they can call if they need him. What has Josiah done that would make Batman not trust him? If Batman is the detective he claims to be, he would have already researched everything there is to know about Josiah Power. There’s a lot of “trying too hard” going on with Batman.

Hopefully, future iterations of The Power Company flesh the team out even more, and builds them into a team that can stand side-by-side with the Justice League and Titans. Highlights of the comic are the art, and those duties are split among several A-list talents who deliver some entertaining pages. The choice of characters to start with makes sense, and they each bring something different to the team. Seeing them actually working together should have been more of a priority.

Rating: 3 out of 5

Published by DC

On April 30, 2025

Written by Bryan Edward Hill

Art by Khary Randolph, Alitha Martinez, Norm Rapmund, Ray Anthony Height, Studio Skye Tiger

Colors by Emilio Lopez, Alex Guimaraes

Letters by AndWorld Design

The post The Power Company Recharged Builds a Formidable Team With One Glaring Weakness (Review) appeared first on ComicBook.com.

Ultimate Spider-Man #16 proves why this book is considered the best Marvel book. Ultimate Spider-Man has always found ways to impress readers, and the book has been dropping huge shocks on readers in the last several issues. Ultimate Spider-Man #15 started a new life for the Parkers, and Ultimate Spider-Man #16 finally gives readers the Gwen Stacy focused issue that they have been waiting for. What follows is yet another shocking book that completely changes everything about the story so far. Things have changed in the comic industry since Ultimate Spider-Man kicked off, with DC’s Absolute books sucking a lot of air out of the room, but Ultimate Spider-Man #16 is exactly the kind of attention-grabbing comic the book needed. As most of the plot revolves around the biggest reveals of the issue, just be aware that there are SPOILERS FOR ULTIMATE SPIDER-MAN #16 BEYOND THIS POINT.

Jonathan Hickman has a reputation for being the best writer in comics, and Ultimate Spider-Man #16 is an example of why. Gwen Stacy is something of a controversial character in recent years. She’s always been considered one of the most important Spider-Man characters, but Marvel’s insistence on her as the most important Spider-Man girlfriend has angered a lot of readers, most of whom never read a story starring the original Gwen. Ultimate Spider-Man is the book for people who don’t want what Marvel editorial is selling in the 616, so Hickman has to walk a delicate path with Gwen. So, in Ultimate Spider-Man #16, he blasts everything we thought we knew about Gwen Stacy to pieces and uses it to change the book, setting it on an entirely new path.

In fact, Hickman also uses Ultimate Spider-Man #16 to completely change another Spider-Man villain, Mysterio. There are five Mysterios in the Ultimate Universe, and the Stacy family is a part of that number. Gwen’s father, a police captain in the 616, was a Mysterio, and upon his death, Gwen takes his place. This is a massive bombshell, and it gets bigger from there. Hickman has built this Gwen in an entirely different direction throughout the book; Ultimate Gwen has definitely been hiding something. Giving readers Gwen as Mysterio is a brilliant idea, and the mission of Mysterio — to reveal the truth about the Maker to the world — gives us an idea of why Gwen has acted the way she has. We get to see her throughout her life in the issue, and the role she’s played in Harry’s mission as the Green Goblin. It honestly feels like there’s a great surprise on every page of the issue. Writing like this is why fans love this book so much, and that’s before you even get to the end of the issue (which I won’t spoil because you need to see it for yourself). This is peak Hickman.

RELATED: Ultimate Spider-Man: Marvel Previews Miles Morales Crossover With the New Ultimate Universe

Marco Checchetto is back on pencils for this issue and it’s obviously gorgeous. This is a mostly quiet issue — there’s not much action at all in the issue — so the script lives and dies by Checchetto’s ability to sell the emotion and the shock of the moment. He does a spectacular job on every single page. Checchetto perfectly captures every moment in this book. He brings to life a date between Gwen and Harry. He sells us Gwen’s sadness upon the death of each of her parents. We get to see the resolve of the character, the iron that has been under Gwen’s facade since she first appeared in the book. There’s a scene between Norman Osborn and Gwen where they seem to bond over their shared secrets, that just feels so momentous, all because of the way they look at each other. This is pitch perfect character acting.

But that’s not the only reason that the art is amazing. The introduction of the Mysterios has the perfect vibes, all dark and mysterious which fits into the idea of a group who have bought into their own mystique. Later in the book, we get to moments we’ve already we’ve seen in the book, with a Mysterio over Gwen’s shoulder. It’s an interesting way to show both sides of Gwen in each scene, and Checchetto really nails it. Also, the new Mysterio design? Awesome. It’s still very obviously Mysterio, but Checchetto makes changes to it that fit the new Mysterio ideas that Hickman introduces in this issue.

Ultimate Spider-Man #16 is brilliant. There’s really no other way to say it. Hickman takes two separate classic Spider-Man characters, mixes them together, and creates something new and exciting. Issues like this are we love Ultimate Spider-Man. Checchetto’s art is the icing on the cake, really selling everything that Hickman puts down in the book. Gushing over Ultimate Spider-Man can seem a little cliche at this point, but issues like this keep giving us reasons to.

Rating: 5 out of 5

Published by Marvel

Released on April 30, 2025

Written by Jonthan Hickman

Art by Marco Checcetto

Colors by Matthew Wilson

Letters by Cory Petit

Ultimate Spider-Man #16 is on sale now.

The post Ultimate Spider-Man #16 Changes Everything You Thought You Knew about the Book’s Events (Review) appeared first on ComicBook.com.

Fantastic Four has been experiencing a renaissance since writer Ryan North has taken over the book. This is the best the Fantastic Four have been in over a decade, and their central role in One World Under Doom has helped raise their profile even more. With Doom ruling the world, the Fantastic Four immediately jump into action, but Doom did something that the Fantastic Four never could — cure Ben Grimm of his mutation. That’s where Fantastic Four #31 kicks off. The Thing is at his lowest ebb, and the team makes a fateful decision in order to help him get his powers back. What follows is everything that a Fantastic Four should be.

North’s run has been spectacular so far, because he gets what makes the team work. The Fantastic Four is a sci-fi family, and both of those things are equally important. Fantastic Four #31 does a wonderful job of presenting them as a family, working together to solve their problems. The team has been through a lot since One World Under Doom has started, and North brings back an idea from 2017’s Marvel Two-In-One that recasts Doom’s action of curing Ben into a fatal blow to the Fantastic Four. It’s something that most fans haven’t thought of since that book ended, and shows that North is always doing his homework on the team.

From there, we get a perfect Fantastic Four plot — the team traveling through time and the multiverse to get Ben’s power back. This is exactly the kind of thing that should be happening in a Fantastic Four. It’s a great sci-fi idea, and what makes this work so well is that it’s informed by the Fantastic Four’s familial relationship. The team isn’t just going to take their dangerous trip through time and space just to get Ben’s powers back, all while theirs fade, because they’re teammates. They care about Ben and the toll that transforming back to human has had on him, and want him to feel better. This is actually a pretty fun twist on the old idea of Ben hating his Thing form. Ben has reached a point where being the Thing is no longer the curse that it was; he’s grown to love it. Losing those powers has had a negative impact on his life. This is frankly fantastic writing from North. This issue is exactly the way a Fantastic Four comic should be written, and it’s why this is the most acclaimed Marvel book without the word “Ultimate” in the title.

RELATED: One of Marvel’s Strangest Fantastic Four Villains Returns

Cory Smith and Oren Junior showed off what they could do in last year’s “Sabretooth War”, which was a bloody masterpiece. Luckily, they’re just as good here. From the book’s opening pages — a replaying of the events of the original Fantastic Four #1 — it looks sensational and it stays great from there. Because of the focus on familial relationships in Fantastic Four, the character acting has to be especially good. Smith is able to supply that on every page. Davos the Devastator, a nice deep cut Fantastic Four villain, shows up and there’s a cool little action scene that works out beautifully. Junior’s inks give the lines a nice heft to them, really helping enhance Smith’s pencils.

There’s a scene after the fight of Johnny trying to convince everyone that his powers aren’t on the fritz and it hits so well because of Smith and Junior. They’re able to sell Johnny’s acting, and Susan’s eye roll is just perfect. The first time that Ben doesn’t get his powers back from the cosmic radiation bath is wonderfully rendered, capturing Ben’s disappointment, which builds in every subsequent failure. This is exactly what art for a Fantastic Four should do. Smith and Junior are able to hit all the right points with the sci-fi and the action — when the team starts traveling through the multiverse, there are some really cool panels of alternate universes of the team — and they’re also able to sell the feelings of the characters, helping to illustrate the relationships of the team.

One of the biggest problems with Fantastic Four in the years since the end of the Hickman run (other than Marvel marginalizing them because they didn’t have the film rights until recently) has been that most of the time, one aspect of the team was pushed beyond the other, and the book was never able to do what a Fantastic Four comic should do. It was either too sci-fi, too superhero, or too family oriented. North’s run has succeeded so well because he has found the perfect balance of all the things that a Fantastic Four comic should have. Fantastic Four #31 is basically a perfect Fantastic Four comic in every way. The writing is constantly impressive, doing some deep lore digs and using them to inform the story he set up in One World Under Doom, hitting the right emotional notes, and giving readers an awesome cliffhanger ending. The art brings it all to life wonderfully. Future Fantastic Four creative teams need to take a look at this issue and follow it as a blueprint.

Rating: 4.8 out of 5

Published by Marvel

Released on April 30, 2025

Written by Ryan North

Art by Cory Smith

Inks by Oren Junior

Colors by Jesus Aburtov

Letters by Joe Caramagan

Fantastic Four #31 is on sale now.

The post Fantastic Four #31 Is the Epitome of What a Fantastic Four Comic Should Be (Review) appeared first on ComicBook.com.

R.L. Stine is one of America’s most well-known horror authors. While there are some who would say that Stephen King is better, Stine’s Goosebumps series is a cultural icon. Stine has written over 300 books, and many of his works have been adapted to television and movies. Stine’s work runs the gamut of horror, with books for children and for adults, something many other horror writers don’t do. Stine is a fan of comics, having written several over the years, and announced The Graveyard Club last April. The Graveyard Club: Fresh Blood #1 is the latest chapter in the series focusing on a group of teens in the town of Grave’s End. It’s a welcome return, with a deep scoop of old-school horror comic charm.

The first thing that struck me about the book — other than a feeling of keep these particular teens off my lawn, the true sign of aging — is how much fun this issue is. The foursome of Patti, Trip, Rhonda, and Parker is immediately entertaining, the perfect little group of teen heroes for this kind of story. A lot of the dialogue feels like it’s out of an old Marvel or Archie horror comic, a heaping helping of horror cheese that gives the book a charm it wouldn’t have if this was a more hard-edged horror style. The book presents some interesting mysteries, with the disappearance of Parker and Rhonda’s fathers being the central bit leading to the reveal of one of the dark secrets at the center of Grave’s End.

This is classic outcast storytelling, which has its strengths and weaknesses. There’s a lot of teenage shenanigans, with the foursome coming up with interesting ways to have fun. These are the rebel kids, but instead of making them into sad little nerds, they give as good as they got. This is sort of a problem — the foursome sometimes seems to take their revenge against their targets a little too far — but it also makes for a lively comic. The main plot is pretty interesting, and really made me wonder what exactly the kids had found in town. All in all, Stine does a great job with the characters and the plots, keeping the reader’s attention throughout the book. This is a long comic, but it’s paced well-enough that it never feels as long as it is.

RELATED: R.L. Stine Confirms Even More Fear Street Movies Are on the Way (Even After Prom Queen)

The art by Carola Borelli and Francesco Segala, with assistance from Gloria Martinelli, is the MVP of the book. Borelli’s style lends itself very well to the story, capturing the right atmosphere for this little horror tale. Her linework is sensational, and she does a great job with the characters. It can be hard in comics to render anyone younger than an adult and make them look their age, but Borelli’s detailed art does a great job. These are teens, not just younger adults, and there’s an energy to them that jumps off the page to the reader. Her monster design is pretty great, and she’s able to put you right there in the town. The backgrounds have a nice amount of detail to them; Borelli doesn’t skimp on her panels.

Borelli’s art is great through and through, and a big reason that is the colors from Segala and Martinelli. Color is very important to establishing atmosphere, probably more important than the pencils honestly, and the coloring on this book is out of this world. Grave’s End is supposed to be a spooky place, and the color washes on the scene do a great job of giving anything indoors the right kind of atmosphere. For example, when they go into the pharmacy so Patti can apply for a job, there’s a bluish color wash to the scene. It captures the feel of artificial lighting and gives the scene a feeling of menace that wouldn’t be there if the book had more natural coloring. This extends across the book; the colors in this comic are very important to establishing the mood and they constantly succeed. YA horror has to use different tricks to get across its vibes, and the coloring is a key part of why The Graveyard Club: Fresh Blood #1 looks so sensational.

YA horror can have its problems, but very few of them are apparent in The Graveyard Club: Fresh Blood #1. Stine is a master of this kind of storytelling, and this issue sees him flex some familiar muscles. While the story itself isn’t perfect, it’s pretty entertaining, and it keeps fans hooked and wanting to know what’s going to happen next. The art is the key factor to the entire equation. It’s spooky and atmospheric, wonderfully detailed, and brings the characters to life perfectly. This is YA horror done right.

Rating: 3.8 out of 5

Published by BOOM! Studios

Released on April 30, 2025

Written by R.L. Stine

Art by Carola Borelli

Colors by Francesco Borelli and Gloria Martinelli

Letters by Jim Campbell

The Graveyard Club: Fresh Blood #1 is on sale now.

The post The Graveyard Club: Fresh Blood #1 Is Old-Fashioned Horror Comic Goodness (Review) appeared first on ComicBook.com.

While a Superman vs Lex Luthor showdown is anything but unusual, it has never played out like the epic confrontation seen in Superman #25, and that couldn’t be a bigger compliment. One of the hallmarks of this Superman run has been that every character and big idea ultimately mean something in the long run, and that once again is the case in Superman #25, paying off a host of story threads in satisfying ways and then turning those into compelling new threads that will continue to make Superman must read every single month.

Superman #24 ended with a rather massive reveal that Lex’s backup plan was lying in wait this entire time, and Mercy has now put the aptly named X-EL into action. What wasn’t clear until now though is that Luthor never actually planned to use X-EL due to its flawed nature, and we see that play out in an epic battle across the Metropolis skyline.

That battle truly lives up to that description by the way, even with several different artists piecing it together. It helps that the team is made up of a talented roster, including Jamal Campbell, Eddy Barrows, Eber Ferreira, Dan Mora, Alejandro Sanchez, and Dave Sharpe. Lex is always intimidating, but there’s an eerily menacing quality to X-EL that the team captures throughout the issue, especially as he starts to become more unglued.

The action itself fits with X-EL’s more unhinged nature, and it allows for some of the hardest-hitting Superman and Superwoman battles yet. That’s especially true of Superwoman, who really gets to unleash in a way she’s not been able to in the past. That said, there’s always a cost, and just like in past issues, Joshua Williamson ties it all together in a way that feels earned and also pushes the story forward in new directions.

[RELATED: These Are the Best Krypto Stories Ever]

That brings us to Lex, who is just as important to the issue’s success as X-EL is. Lex’s amnesia seemed at first like it could have been a plot device that was easily moved past when convenient, and yet over time, that’s proved to be far from the case. Instead, Williamson has used that narrative switch to explore Lex’s past and the possibilities of what he could be if so much of that baggage was removed, and it’s resulted in a compelling battle between two versions of the same character that actually changes how you look at one of DC’s most iconic villains.

That’s part of what makes this issue so powerful, though it’s also where its main flaw can be found. Lex makes a decision towards the end of this issue that feels important to the character internally, as it represents a key shift in his approach after so much change. What doesn’t change though is Superman’s reaction, and it can’t help but feel a little out of pocket given the nature of who X-EL is and isn’t. It’s a very black and white viewpoint for someone who has grown to show that he also understands the grey, even if he doesn’t choose to live there, so this just comes off as misplaced.

That’s a tiny flaw, mind you, and depending on proper context in future issues could end up making more sense. Even if it doesn’t, it’s a small complaint regarding a book that is simply fantastic through and through, and I don’t see Superman’s stellar run coming to an end anytime soon.

Rating: 4.5 out of 5

Published by DC Comics

Released on April 23, 2025

Written by Joshua Williamson

Art by Jamal Campbell, Eddy Barrows, Eber Ferreira, and Dan Mora

Colors by Alejandro Sanchez and Jamal Campbell

Letters by Dave Sharpe

Superman #25 is in comic stores now.

What did you think of Superman #25? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Superman #25 Promised An Epic Showdown, and It Lived Up To the Hype (Review) appeared first on ComicBook.com.

Absolute Martian Manhunter is already a phenomena after a mindbending first issue. The first issue sold out immediately, and Absolute Martian Manhunter was extended to twelve issues off the monumental success. Deniz Camp and Javier Rodriguez introduced readers to John Jones, an FBI agent whose life changes forever after surviving an explosion. Suddenly he can see minds, the city becoming a tangle of the colored smoke of people’s thoughts. He soon learned the reason for this — his body is home to the Martian Mindhunter. Absolute Martian Manhunter #1 was a perfect synthesis of words and images, and it raised the bar high on what a comic book could be. Absolute Martian Manhunter #2 has some big boots to fill, and luckily it’s up to the challenge.

Absolute Martian Manhunter #1 was a singular comic reading experience, and it honestly feels like we’re in a new world of what comics can do to tell stories. Absolute Martian Manhunter #2 doesn’t do anything like that; it’s not going to change the nature of comic book storytelling for a second issue in a row. However, that doesn’t mean that this isn’t an excellent comic, because it is. Honestly, if Camp and Rodriguez would have just went back to the well with this one, giving us the exact same kind of ideas and imagery, it would have been a little disappointing. This issue has more structure to it, with less pages devolving into masses of color contorting themselves into images, and more panel grid storytelling. It’s a subtle nod to the fact that this issue is more of an ordered story. John is more in control of his faculties than he was before, and is seeing the world in a new way, making sense of it. Camp and Rodriguez understand how to use the structure of the page to tell a story in a way that barely registers on a conscious level, but is nonetheless there.

This is more of an info dump issue than the last one, all while the Mindhunter pushes John to go after the “trigger” — a heavily armed man on a killing spree to reveal that aliens have taken over everyone. John and the readers both learn more about the relationship between John and the Mindhunter, establishing a new kind of Martian Manhunter story. Suddenly, we’re in a buddy comedy of sorts, as straight-laced FBI agent John Jones is forced to share a body with an alien who lives in the chaos of thoughts. Where the last issue was more freeform chaos, as readers and Jones alike were bombarded by this new relationship, this issue goes a long way in establishing the order of the book. We get to see the way John and the Mindhunter work together, and watch the Mindhunter at work, using thoughts, memories, and the nature of brains themselves as weapons. This issue gives us the prototype of what these stories are going to be like from this point on, giving us a story to go with the chaos. The final page teases the big bad as well, bringing some of the mythology of Martians in the DC Universe over to the Absolute Universe.

RELATED: Absolute Martian Mahunter Isn’t Just a Great Comic, It’s Fine Art

Rodriguez’s art is, much like in the last issue, the most important part of the puzzle for the comic. Rodriguez could have just copied the ways he used imagery in the last issue to tell the story and we would have been satisfied, but he finds new ways to use the artistic ideas that he established in issue #1. There aren’t as many pages of the minds of everyone overtaking the entire image; instead, because of the more ordered relationship between John and Mindhunter, he uses the panels to contain the thoughtscapes, much like our minds do. Telepathy has always been one of the visually boring superpowers, but Rodriguez keeps coming up with new ways to make it into the most exciting visual power in comics. Even something as simple as the Mindhunter calming John down with his memories is a sensational little piece of art, fragments of thought overtaking the reality around him. Rodriguez finds a way to use the comic page to show how the insides of all of our minds work, and it’s a feast for the senses.

There are a lot of sensational pages and panels in this book. From the introduction of Trigger Taylor on the first page to Mindhunter explaining why humans go bad by visually representing the vices of the mind with neon signs to portraying the scenery of Trigger Taylor’s rampage in ways that no one else has before, Rodriguez keeps finding ways to go above and beyond with comic art. We’ve seen scenes like this a million times before, but we’ve never seen them like this. Last, but definitely not least, is Hassan Otsame-Elhaou’s letters. The lettering of this book is constantly outstanding, with the evocative script of the Mindhunter’s dialogue allowing readers to actually hear his voice. This is grade-A lettering. This bravura storytelling at its finest, and it’s why Absolute Martian Manhunter is the most exciting book on the stands.

Absolute Martian Manhunter #2 is able to follow up a masterpiece of a comic with a continuation that brings order to the beautiful chaos of what came before. This comic is visual storytelling at its finest, using page composition and art to bring a world to life. Absolute Martian Manhunter #2 brings together the disparate elements of comic storytelling, weaving them together into a mass of words and images that is completely unlike anything on the market. It’s hard to imagine a comic can be this good, but here it is. Books like Absolute Martian Manhunter show just what comics can be.

Rating: 5 out of 5

Published by DC Comics

Released on April 23, 2025

Written by Deniz Camp

Art by Javier Rodriguez

Letters by Hassan Otsame-Elhaou

Absolute Martian Manhunter #2 is on sale.

The post Absolute Martian Manhunter #2 Gives Readers Mindblowing Answers (Review) appeared first on ComicBook.com.

One World Under Doom is the best that a Marvel event has been in a long time. The first issue was a pitch perfect kick-off, and things have only got better from there. The Avengers have joined forces with the Masters of Evil, the Fantastic Four have been put in their place by Doom, who cures Ben Grimm of his Thing form, and Doom just keeps winning. One World Under Doom #3 sees the heroes in the worst possible place — on the back foot against a villain who holds all the cards. Ryan North and R.B. Silva do a tremendous job of not only raising the stakes, but continue to bring complexity to a plot that has hooked fans, as they reveal how Doom has been able to do what he’s did, as well as showing that he’s fallible. The issues does have some problems, but that doesn’t stop it from being entertaining.

This issue is a typical issue of One World Under Doom, which is one of the problems with the comic. The first two issues of the book had two major points in each one — Doom outsmarting the heroes when they come for him and Doom being proven to actually to be right. These are repeated in issue #3, with the Avengers and the Masters of Evil attacking Doom, who outsmarts them again. Meanwhile, Scarlet Witch, Madelyne Pryor, and Baron Mordo learn the secret of how Doom got the world leaders to join his side — he used magic to slow down time and negotiate with them. This is a cool idea, but it also shows the problem with this story so far.

Before I get to that, I want to point out that North is doing a tremendous job with this book. There’s a definitely a formula developing, but it’s an entertaining one. North does a great job capturing the different voices of the characters, the dialogue is great, the jokes land, and it’s an exciting book. There are problems with the comic, but it’s not a bad comic. However, it’s starting to get to be a little much how hard this book glazes Doom. Yes, Doom is the Sorcerer Supreme, but the way he’s able to outsmart the heroes constantly and smack them around with little difficulty feels like it’s a bit much. Yes, Doom is a good leader who wants the best for his people, but he’s not altruistic, yet we’re still getting an altruistic Doom. Obviously, the book is building anticipation on when Doom is going to turn out actually be evil, but so far, One World Under Doom is in a holding pattern because of the story’s structure. It’s not good that this is noticeable.

RELATED: Marvel Teases Doom’s Dark Secret (and a Fantastic Four Member Knows It)

Meanwhile, the art isn’t as great as it was in the first two issues. Silva is known for his very clean linework, but looking at his lines in this issue, it kind of looks like he was on a deadline crunch. Some of the faces look weird, the action can get a little static, and the detail slips at times. Much like the missteps in the issue’s story, this isn’t bad art by any stretch of the imagination, but it’s not as polished as it was in previous issues. Plus, color artist David Curiel keeps giving redhead Madelyne Pryor more auburn tinted hair, which is kind of annoying for this Maddie fan.

There is still a lot to love about the art. Silva draws such a great MODOK that it isn’t funny; every time MODOK shows up is a cheerworthy moment. The fight between the Avengers and Doom is mostly well-rendered, although some panels aren’t perfect, and is full of exciting action set pieces, especially whenever tyrannosaur Doom shows up. Silva may not be at his best with this issue, but there’s still highpoints, especially once we get to the end of the issue and see the price of Doom’s hubris, with Silva rendering an amazing version of a classic Marvel villain that hasn’t shown up in a story like this in ages. Silva sticks the landing, even if every move of his floor program weren’t as good as it has been before.

One World Under Doom #3 has a lot of predictable moments and some art problems, but it’s still worth a read. North is repeating himself, but he knows how to make even formula interesting. The issue ends promises a big change to the book, which it definitely needs, so that’s good. Silva and Curiel makes some mistakes in the art, but overall, everything looks good enough. This is a slightly above average comic, a solid yet imperfect read.

Rating 3 out of 5

Published by Marvel

Released on April 23, 2025

Written by Ryan North

Art by R.B. Silva

Colors by David Curiel

Letters by Travis Lanham

One World Under Doom #3 is on sale now.

The post One World Under Doom #3 Shows the Genius and Hubris of Doom (Review) appeared first on ComicBook.com.

The Amazing Spider-Man can be a tough sell. However, The Amazing Spider-Man #1 was a great little romp, with writer Joe Kelly and artist Pepe Larraz giving readers an extremely interesting new chapter in Spider-Man’s life. Fans have been conditioned to distrust the quality of The Amazing Spider-Man, even when the creators onboard are on the level of Kelly and Larraz — remember how excited fans were for fresh off Hellions Zeb Wells to start writing The Amazing Spider-Man — and many fans weren’t sure if the next issue could keep up the quality of the first. Luckily, The Amazing Spider-Man #2 is another entertaining Spider-Man romp with a wonderfully classic feeling to it.

Kelly has long been a fantastic writer, and has a grasp on this kind of Spider-Man. Marvel seems to want more of a blank slate Spider-Man with this run, a timeless Peter Parker that just works, and Kelly gives that on every page. He knows how to write Peter Parker, from the opening monologue as Spider-Man battles his greatest foes to the way he interacts with everyone throughout the issue, and his final dumb decision. This is just plain good Spider-Man writing, and that helps a lot.

This issue doesn’t really have the same big action set piece like the first issue’s Rhino fight; while it does open with Spider-Man under attack, it’s obvious that it’s a hallucination and it doesn’t really land in the same way the Rhino fight does. However, that doesn’t mean it isn’t an awesome moment, one that plays into the overall vibe of the issue. This issue is all about a drugged Peter trying to figure out exactly what’s been going on since he started his search to learn why the Rhino went crazy last issue. Each scene in the book feels like a time jump, with Peter not knowing where he is or how he got there. It’s a great way to get the reader in Peter’s head, as we’re also trying to figure out what is going on. It all comes to a head at the Ravencroft Institute, where Kelly gives readers a cool little conversation between Spider-Man and the girl he dates as Peter. It’s not momentous or anything, but it’s charming. The issue ends with another big cliffhanger, one that fans of Kelly’s work on Spider-Man will be very surprised to see.

RELATED: New Amazing Spider-Man Issue Has a Seinfeld Easter Egg

Larraz and colorist Marte Gracia are back with more tremendous art. The opening “fight” looks sensational, the red color overlay of the action scene giving the readers the idea that things aren’t what they seem. Larraz can make any character look like a million bucks, so getting to see him drawn Spider-Man’s rogues in their beautiful classic costumes is a treat. His Kraven and Lizard are standout — and later we get a Green Goblin hallucination that will make everyone want to see Larraz draw Spider-Man’s greatest villain — and Larraz does a great job of showing the aftermath of what would happen if Spider-Man cut loose on a bunch of inanimate objects that he thinks are his greatest villains. It’s a great way to start the issue, and the art’s quality never flags from there.

The script needs the reader to believe that Peter doesn’t know what’s going on and Larraz’s character acting sells that perfectly. In fact, the character acting throughout the issue is outstanding, especially Peter’s new boss and Norman Osborn when he shows up in the issue. Larraz’s Green Goblin is great, as his design for Norman Osborn. Anyone looking for the classic JR Jr. Norman hair rendered by Larraz is going to be disappointed, since Larraz draws Osborn’s hair differently than anyone has in years. Kudos to the team on their rendering of the Ravencroft Institute. Ravencroft has always been Arkham Asylum light, but Larraz and Gracia are able to give the building the right kind of grandeur. Ravencroft is a gothic nightmare brought to life from Larraz and Gracia, and it’s a shame it hasn’t always looked this good.

The Amazing Spider-Man #2 is a fantastic follow up to the last issue. It pays off the ending of the first issue, using that to inform the rest of the issue’s plot, as Spider-Man being drugged keeps coming back throughout the issue. The humor is classic Spider-Man, and the character interactions are always entertaining. The central mysteries of the issues — what is Hellgate and Hobgooblin’s plan, how did Spider-Man get drugged, and who was after Rhino — are built up well. Kelly and Larraz are doing their best to make readers forget about the mistakes of The Amazing Spider-Man‘s recent past, and succeeding pretty well. I didn’t think that Marvel would be able to sell me on liking the mainline Spider-Man book after so many years of making me hate it, but Kelly and Larraz are showing that The Amazing Spider-Man can still recapture some of the glory of the past.

Rating: 4.1 out of 5

Published by Marvel

Released on April 23, 2025

Written by Joe Kelly

Art by Pepe Larraz

Color Art by Marte Gracia

Letters by Joe Caramagna

The Amazing Spider-Man #2 is on sale now.

The post Amazing Spider-Man #2 Continues Giving Readers Classic Spider-Man Cool (Review) appeared first on ComicBook.com.

Absolute Wonder Woman #6 switched gears from the surface-world focus and delved into Diana’s relationship with the Gods, but we see in The Lady or The Tiger part 2 that was really only scratching the surface. Absolute Wonder Woman paints a vivid picture of who Diana thinks she is, who the Gods see her as, and who she actually is, and to achieve all that in one issue is absurdly impressive, let alone to do so in simply stunning fashion. Absolute Wonder Woman #7 might just be one of my favorite issues of a series that has continually set the bar since its debut, and it only seems to be getting better.

The Lady or The Tiger part 1 set up a showdown with Hades with extremely personal stakes, but part 2 quickly establishes that the showdown isn’t going to happen as you might expect. Kelly Thompson is one of the best at mining the past to recontextualize the present, and once again, that is achieved brilliantly throughout the issue.

Diana’s relationship with the Gods has been equal parts valuable and contentious, and Thompson adds even more complexities to the equation with Hades, Persephone, and Hecate. That said, they never outshine Diana and are always used to build her up in some way rather than steal the spotlight. It’s all additive, and by extension, provides even more layers to Circe and Diana’s bond.

The story of The Lady and The Tiger is brought back into focus at several points throughout the issue, and each time, the viewpoint of that story from both Circe and Diana changes ever so slightly. By the time the point clicks into place, the characters and the reader are brought to the same point of understanding, and it changes how you look at the story’s ending completely, bringing the story full circle in an incredibly satisfying way.

[RELATED: These Are the Best Krypto Stories Ever]

Absolute Wonder Woman #7 also holds the distinction of being one of the best-looking issues in the series to date, which couldn’t be a bigger compliment given how stunning this book has been since the very beginning. Mattia De Iulis and Becca Carey deliver a master class in setting mood and tension, and then shift to all-out stunning brutality when the scene shifts to the battlefield. There’s a majestic quality to the Gods that makes them truly feel otherworldly, but in most cases, there’s also far more to them than initially meets the eye.

As for that final showdown with Hades, it absolutely delivers, and I’m not sure you can get owned more than Hades does by Diana, and moments of hope and tragedy are also laced all the way through. Absolute Wonder Woman #7 is a triumph and deserves all the praise.

Rating: 5 out of 5

Published by DC Comics

Released on April 23, 2025

Written by Kelly Thompson

Art by Mattia De Iulis

Letters by Becca Carey

Absolute Wonder Woman #7 is in comic stores now.

What did you think of Absolute Wonder Woman #7? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Absolute Wonder Woman #7 is a Triumph of the Gods (Review) appeared first on ComicBook.com.

Marvel continues its Predator crossovers with Predator vs. Spider-Man, a new mini-series where everyone’s favorite wall-crawler faces off against the universe’s ultimate hunter. While Miles Morales is having “fun” fighting against the Xenomorphs in Aliens Vs. Avengers, it’s Peter Parker’s turn to fight off the other half of the AVP species. Benjamin Percy returns to write the latest installment in the Marvel Predator Versus mini-series, having already scripted the Predator vs. Wolverine and vs. Black Panther minis. Percy is joined this time with penciler Marcelo Ferreira, who imbues the first issue with strong linework and violent gravitas.

Percy quickly sets up the series with an opening narration describing the unbearable heat hitting the city. Characters and figures are constantly dripping with sweat, selling the uncomfortable nature of the story. You feel unease reading this first issue, stemming from the bright coloring and gruesome scenes the Predator leaves behind. The urban setting and boiling atmosphere make it clear that Predator vs. Spider-Man is a throwback to the black sheep of the Predator franchise, Predator II. The sequel film took the infamous alien creature away from the jungle and into the populated city of Los Angeles.

[RELATED – Predator: Badlands Gets Official Release Date]

However, Predator vs. Spider-Man features a totally different Predator and replaces Danny Glover with a superhero. The Predator in the comic, given the nickname Skinner, is far more sadistic than the Predators in the films. Whereas the film Predators had a sense of honor, Skinner gleefully skins his victims alive, and he then wears the skin on his face. It’s a grisly scene, not for the faint of heart. Spider-Man seems like an odd fit for this violent and gritty comic at first. Nonetheless, given the hero’s track record of facing the ultimate hunter with Kraven, he is probably the hero with the most experience when being hunted.

Even though there are plenty of pages of Spidey swinging through the scorching city, the webhead surprisingly doesn’t come face-to-face with the alien hunter in this first issue. Most of the issue focuses on Peter reporting on the Skinner serial killer, with most of the action coming from the Predator slaying criminals. Percy has a knack for constructing gnarly and violent panels, yet his voices for Spider-Man and his supporting cast feel flat. Percy portrays Spidey with an inherent sense of altruism that loses the character’s self-loathing and comedy. J. Jonah Jameson, who always had a colorful vocabulary, has more of a potty mouth that doesn’t always fit for the character. Jameson is always a person who easily gets flustered and bursting into long tirades, but he typically works better when he uses Stan Lee-like vernacular that help sells his colorful personality.

The violence in Predator vs. Spider-Man may go overboard for some people, with several readers potentially finding it too edgy or try-hard. Nevertheless, the excessive violence gives these Predator vs. miniseries its identity. Readers should know what they’re getting into by the time of the third miniseries. There’s a particular standout moment where Skinner rips off the skin of a man’s face with his bare hands. If that seems too much, it’s probably best to skip this mini. Yet this may be the perfect mini, if that is more up your style.

Rating: 3.5 out of 5

Published by Marvel

Released on April 23, 2025

Written by Benjamin Percy

Art by Marcelo Ferreira

Inked by Jay Leisten

Color Art by Frank D’Armata

Letters by Clayton Cowles

What did you think of the Predator vs. Spider-Man? Let us know in the comments!

The post Predator vs. Spider-Man #1 Is Not For Faint of Heart (Review) appeared first on ComicBook.com.

Kieron Gillen is one of the foremost voices in the comic industry. His work at Marvel made him popular, but his best works have been his indie books, like Phonogram, The Wicked + The Divine, and Once and Future. Gillen is an amazing artist, and when The Power Fantasy was announced, fans were very happy. After WicDiv‘s ending, Gillen had returned to Marvel, but fans were ready for something like The Power Fantasy, with Gillen unleashed to work in his own way on his own characters. The Power Fantasy #1 was a massive hit, and the book has been hitting ever since. The Power Fantasy #8 is yet another brilliant installment of this amazing comic.

So, right off the bat, we’re drawn into Eliza and her story from the first page, when she talks about God. It’s an interesting summation of Thomas Aquinas and tells you everything you need to know about her — she believes in God’s love more than anything else. Gillen kicks off the book with this because it sets the stage for the rest of the issue’s events. We have to see this side of Eliza to understand her actions throughout the issue. Gillen moves us forward from there, taking us to the moment of the Queen’s attack in 1989, and to witness the fate of Eliza in 1999. Gillen does a fantastic job of setting out everything a reader would need to know about the general plot of the story so far. Even if you don’t really know anything about the characters as a new reader, you get who each of them are in relation to this story. This is some seriously impressive writing, because this is a rather complicated plot. However, the writing here makes things very clear.

RELATED: The Power Fantasy #1 by Kieron Gillen & Caspar Wijngaard Sells Out, Image Comics Rushes Second Printing

Caspar Wijngaard’s art is sensational. The first four pages of the book jump to three different eras, and each one has its own visual identity — the halcyon past, the fearful future, and the golden age before the fall — and that’s completely on Wijngaard. His color choices and the palettes he uses for each scene gives each one just the right feel. You know just by looking at the art how you’re supposed to feel about the scene. Color choice can make a break a scene in a comic, and Wijngaard understands that.

The character acting and design are all stellar. There are a lot of emotions at play in each scene, and Wijngaard is able to bring that out of every character. Getting to see how Eliza has changed — from her youth in the ’70s and ’80s to what years of torment have done to her by 1999 — really allows us to understand the stakes of the events in the flashbacks. Wijngaard really knocks it out of the park when Eliza saves the day in 1989, his page layout of her ritual and what came next really capturing the horror and fear of those moments. Each page has three long panels, the claustrophobia caused by this choice really making the moments sing.

I walked into The Power Fantasy #8 completely blind. I’m a huge fan of Gillen’s work, so I knew I’d like it, but I wasn’t ready for just how good this issue was. I honestly expected to be a lot more lost than I was, but Gillen does a tremendous job of laying out everything we need to know. There’s a wonderful emotional core to the issue that is apparent from the beginning, and I was able to find and tap into it quickly. Wijngaard’s art is gorgeous. His pencils are beautifully skilled with a unique style, but his color choice is especially good. The colors in this book are outstanding. However, what makes The Power Fantasy #8 a great work and is a testament to the quality of this series overall is that this issue is one you can pick up completely cold and still enjoy immensely and still understand where the story has been even as it lays the groundwork for where it’s going to go.

Rating: 4.6 out of 5

Published by Image Comics

Released on April 23, 2025

Written by Kieron Gillen

Art by Caspar Wijngaard

Letters by Clayton Cowles

The Power Fantasy #8 is on sale now.

The post The Power Fantasy #8 Brilliantly Advances a Phenomenal Story (Review) appeared first on ComicBook.com.

Spawn could be considered the greatest indie character ever. Todd McFarlane’s creation was the first Image solo hero, and has lasted for over thirty years. Though not as popular as he once was, Spawn has a universe of spin-offs, and has made McFarlane a very rich man, even allowing him to start his own toy company. Spawn comics have been big business over the last few years, and 2025 is seeing a large increase of Spawn titles. Medieval Spawn #1 brings back one of the oldest Spawn variants, created way back in Spawn #9 for what is ultimately a paint by numbers swords and sorcery story.

So, right off the bat, I want to say that this isn’t a bad comic at all. It’s going to seem like I’m talking badly about it, but this is still an entertaining book. It has a solid plot, some good action, nice little hooks to keep readers interested, some cool foreshadowing. John, the Medieval Spawn, and his group of soldiers run across a boy from a nearby village who tells them about a calamity brought on by a knight who came to the village the night before. They go back and find an empty village strewn with what I think is supposed to be gore or is being magically transformed, but the art is confusing on that note. There’s monsters to fight, an evil knight serving a dark god, and a fight between the knights. John wins, and takes the young boy, named Richard, as his squire before revealing in the captions that he should have killed him.

That’s all pretty standard for a story like this, but there’s one big thing missing — Spawn. Sure, John definitely looks like a Spawn and has the right speech bubbles, but that’s it. Spawn stories have a certain feel to them and this book just doesn’t have it. Writer Rory McConville does everything right in the issue except make it feel like something unique. This story could be done with basically any set of medieval characters. It’s well-structured, but you’ve read this story several times. There’s signs that things will pick up as the book goes on — for example, it foreshadows the dark god Abraxis showing up at some point — but unless things change a lot, this is just a standard story. It’s empty calories, tasty but with no nutritional value.

RELATED: McFarlane Toys Robot Wars Spawn and The Deviant Figure Pre-Orders Are Up

Marco Itri’s art looks very familiar to anyone who has been reading Image comics for a long time. Not because of Itri’s own work spanning that time frame, but just the general uninspired superhero art you got from the C and D-list Image books of the early to mid ’90s. You know the ones I’m talking about; they’re the ones that Jim Lee, Rob Liefeld, or Marc Silvestri never touched, but still published under their imprints. Much like the story, this art isn’t bad, but it’s not going to win any awards. It’s basic. So, the character designs are fine, the monster designs are fine, the action is fine, but there’s really nothing that’s going to stand out. Of course, there’s also nothing that looks terrible, either.

I think that’s the best way to describe Medieval Spawn #1 in general. It’s not breaking new ground and it’s not terrible. There’s really not much to say about the book. I went into this book thinking about something like the old Curse of the Spawn series, which followed different Spawn from throughout time on different insane adventures that ran the gamut of sci-fi, fantasy, superheroes, crime comics, and more. However, it always felt like a Spawn comic, using the ideas that made Spawn unique to make the stories special. Medieval Spawn #1 doesn’t really have anything like that.

However, there’s still a lot of potential. For example, who is Abraxis? Is he related to Malebolgia? Why does John wish he should have killed Richard? Is this book maybe going to establish a new fate for Medieval Spawn, since his first appearance is no longer canon because of lawsuits? All of this is enough to get readers to come back to the book next issue. So, sure, there’s nothing special about this book. It doesn’t really feel like a Spawn comic. But, it tells a good story with good hooks. You won’t feel like you’ve wasted your time reading it and you’ll want to know what comes next.

Rating: 3.3 out of 5

Published by Image Comics

Released on April 23, 2025

Written by Rory McConville

Art by Marco Itri

Colors by Ulises Arreola

Letters by Andworld Design

Medieval Spawn #1 is on sale now.

The post Medieval Spawn #1 Is a Boilerplate Swords and Sorcery Comic (Review) appeared first on ComicBook.com.

The first crossover of DC’s All In era has finally arrived in the pages of Batman/Superman: World’s Finest #38, and it makes a strong first impression. Mark Waid, Clayton Henry, Tamra Bonvillain, and Steve Wands deliver that classic World’s Finest magic while also setting the stage for an event that seems to be moving beyond the limits of time and space. There’s a timeless feeling to World’s Finest already, but this issue in particular with its time in Gorilla City truly encapsulates that, and it doesn’t hurt that Clayton Henry makes it all look like a million bucks. This is very much the setup for bigger things to come, but it still delivers and most importantly entertains on a grand scale.

One of World’s Finest shining elements has always been the camaraderie between Superman and Batman, and that is only increased when a few other heroes are around. Luckily for us, Waid brings in The Flash and Green Lantern to add a bit of delightful chaos to the proceedings, and it works brilliantly. That’s especially true of Hal Jordan, who proves that even Batman can be surprised.

Henry and Bonvillain’s work on Superman and Batman is simply gorgeous, but the work gets even more impressive when the team is moving, as the duo has brilliantly captured a sense of speed and movement, especially when Superman and Flash are the central figures of a scene. While the colors pop off the page, so do the powers, and The Flash shines in this area as well. That said, this is really about the Gorillas at the end of the day, and good Lord they are as epic as you’d hoped.

This all starts with Gorilla Grodd, who truly gets his chance to step into the spotlight, though he isn’t necessarily the biggest threat in a literal sense. If you had giant Gorilla battles on your bingo card, you are about to walk away with the win, because they are in ample supply. While Grodd is clearly the star, one more heaping of praise is due for the work on Superman, as a twist in the story shifts Big Blue into an unexpected direction and then hits the gas.

[RELATED: Supergirl: Woman of Tomorrow Set Photos Reveal First Look at Jason Momoa’s Lobo]

Now, while this issue is excellent unto itself, it’s also setting up a much bigger story, and the seeds of that story are compelling. Unfortunately, there’s only a page and a half of that to cling onto, so while the setup is great, it won’t be until issue #2 that this story truly kicks into gear. Even with that caveat, the issue is entertaining unto itself, and how it sets up Grodd to be a major figure in this crossover is critical, so it’s still a big win and an easy recommendation.

Rating: 4 out of 5

Published by DC Comics

Released on April 16, 2025

Written by Mark Waid

Art by Clayton Henry

Colors by Tamra Bonvillain

Letters by Steve Wands

What did you think of We Are Yesterday Part 1? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Batman/Superman: World’s Finest Sets the Stage for an Epic Crossover Event (Review) appeared first on ComicBook.com.

2025 is shaping up to be a banner year for Superman, and DC’s Summer of Superman Special sets the stage for even bigger things to come while also keeping an eye towards the timeless elements that have made Superman such an unbelievable icon. Split into three chapters, each one takes a unique angle on a different aspect of Superman’s life, and yet it all feels like one continuous story that builds towards the future. While the title of Summer of Superman may have initially been aspirational, it ends up being completely true, with DC once again showcasing why Superman simply never goes out of style.

The Summer of Superman Special features a true all-star team of creators, with Mark Waid, Jorge Jimenez, and Dave Sharpe handling Chapter 1, while Dan Slott, Jimenez, Sharpe handle Chapter 2, and Joshua Williamson, Jimenez, Belen Ortega, and Sharpe handle Chapter 3. There’s also an Epilogue by Williamson, Dan Mora, and Sharpe that you absolutely cannot miss, and yes, I picked that term on purpose if you get my drift.

Let’s tackle this chapter by chapter, starting with chapter one, which takes us back to a time when a younger Clark Kent was attempting to process his feelings for Lana Lang. Waid, Jimenez, and Sharpe might have crafted my favorite chapter of the issue, as it only gets better with the additional context and events of chapters 2 and 3. Whether that’s the relationship between Clark and Lana, how Clark views that life-changing moment with what he discovered later in life, or the true meaning of Validus’ random appearances, they all enrich this initial story and make it even more impactful.

I truly can’t say enough about Jiminez’s work throughout the entire issue, let alone just the first chapter. The sheer amount of pivots on display is praise-worthy enough, shifting from small intimate moments full of nuanced expressions to epic slugfests on a dime. Whether it’s Waid, Slott, or Williamson at the writing helm, Jimenez never loses his stride, keeping it all feeling consistent and still delivering eye-popping showdowns with the Superman family.

[RELATED: Supergirl: Woman of Tomorrow Set Photos Reveal First Look at Jason Momoa’s Lobo]

That’s especially true of chapter 2, which has Slott making his Superman debut rather effortlessly. Slott’s ability to deliver a grand showdown is well known, and that carries over to Summer of Superman. While Validus isn’t exactly the most compelling villain, Slott and Jimenez utilize him well, crafting a spectacle-style event that has a major impact on Superman’s world, just not in the way you might expect.

Chapter 3 is the calm after the storm, and yet it has an immense impact on the events that have preceded it. The theme of Williamson’s chapter is more about looking inward and recognizing what’s in front of you, and the retrospective nature of the chapter also directly changes how you view Clark and Lana’s journeys through life and where it ultimately took them. Then there’s the epilogue that adds a punctuation mark to the whole experience, and all together, it recontextualizes the story in a meaningful way.

All things considered, there aren’t too many nitpicks to mention. Validus is more of a plot vessel than an actual villain, but that seems to be by design, especially as the issue winds its way to a close. There’s also an odd bit of dialogue from Superman after the battle where he compares how people have treated Earth to how people treated Kyprton. While I see the parallel, the delivery and who he’s delivering the dialogue to just feels off. Again though, the smallest of nitpicks, and ones that didn’t take away from my overall enjoyment of the issue.

The Summer of Superman Special #1 is quintessential Superman through and through, highlighting the elements that have made him so iconic over so many decades but through a modern (and quite stunning) lens. The ramifications of this issue will be substantial as well, both for the Superman family and for the greater DC Universe, so if there’s an issue to miss, it is assuredly not this one.

Rating: 4.5 out of 5

Published by DC Comics

Released on April 16, 2025

Written by Mark Waid, Dan Slott, and Joshua Williamson

Art by Jorge Jimenez, Belen Ortega, and Dan Mora

Letters by Dave Sharpe

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

The post Summer of Superman Special Sets the Stage for a Banner Year (Review) appeared first on ComicBook.com.

Godzilla has been getting big again, both in Japan and America. Toho is putting their money where Godzilla’s mouth is. The last decade has seen two of the greatest Godzilla movies ever — Shin Godzilla and Godzilla Minus One. Both of these movies have been very different, but each of them still does what the best Godzilla movies do — use the monster to discuss the history and culture of Japan. DC already its big Godzilla series — which is getting a sequel — and now it’s Marvel turn for Godzilla goodness. Marvel has a long history with Godzilla, so bringing back the kaiju for an epic Godzilla crossover is perfect, and the publisher has picked the best hero to throw at Godzilla — Hulk. Godzilla Vs. Hulk #1 is a throwback to Marvel’s old Godzilla comics, giving a readers an entertaining yet anemic read.

Writer Gerry Duggan does a great job of giving readers a nice throwback to the old Marvel Godzilla comics. Duggan mostly does that with the captions, which drip with that Marvel Bronze Age style. Duggan has always been a competent writer, presenting the most basic of superhero stories, and that’s on display here. Anyone jumping into Godzilla Vs. Hulk #1 expecting anything deep, something that makes a lot of sense with characters like Godzilla and Hulk, isn’t going to get what they want. Duggan isn’t the best at depth — his X-Men was entertaining yet as deep as a puddle — but what he lacks in dramatic chops he makes up for with imagination.

The Marvel Universe of Godzilla Vs. Hulk #1 isn’t the one we’re expecting, which is pretty much the most interesting part of the issue’s story. It’s a Marvel Earth where kaijus clash with the Thunderbolts, a team of soldiers led by Thunderbolt Ross and the villain from Marvel’s Godzilla comics, Doctor Demonicus. Duggan sprinkles the issue with little Easter Eggs about the universe — Tony Stark helped create Mechagodzilla but was killed, Rick Jones was believed to be the Hulk, not Banner, and had been killed by the government. Names like Samson and Sterns, familiar to Hulk fans as Doc Samson and the Leader, are there as well. There’s some great kaiju fights, with Mothra, Hedorah, and Kumonga also appearing, and Hulk’s introduction to the book is exciting. There’s nothing really special about the ensuing pages, showing the monsters working together against Ross, and the issue ends with a question mark about what’s coming next. It’s all fine, which has always been the way Duggan’s Marvel work goes.

RELATED: Marvel Is About to Introduce an All-New Hulk (But Who Is It?)

Artist Guiseppe Camuncoli supplies the pencils for this issue, and they’re the highlight of the comic. People expect certain things from a Godzilla story, and one of the most important is the giant monster action. Camuncoli definitely delivers here, giving readers great versions of Godzilla, Hedorah, Mothra, Kumonga, and Mechagodzilla, as well as exciting battle scenes. Godzilla fights can he hard to render in two-dimensional medium, but Camuncoli definitely finds a way to give the book the kind of kinetic energy that it needs to sell the fight.

Much like Duggan, Camuncoli does a great job of giving the book a throwback feel. This whole book revolves around reminding readers of Marvel and Godzilla’s history, and the art helps that along. Camuncoli doesn’t drop strange panel layouts on readers, or any touchstones of more modern comics, and Federico Blee’s colors feel old school. Daniele Orlandini’s inks keep up that feeling, adding just the right amount of detail and contrast. Camuncoli’s Godzilla combines the design elements of Showa era and Heisei era Godzilla; he’s not drawing Godzilla as an evil monster, but the slightly heroic version of those eras. His Godzilla is awesome and only gets better when Godzilla gets some gamma power.

The best Godzilla stories use the monster to talk about humanity. Shin Godzilla and Godzilla Minus One are both extremely deep Godzilla movies, while the American Godzilla movies of the ’10s and the ’20s have been more about crowd-pleasing entertainment. Godzilla Vs. Hulk #1 definitely plays into the latter. Duggan was never going to tell a Shin or Minus One-type story — it’s just not his way of writing superhero comics — but he does sell an entertaining kaiju romp to readers, one that hearkens back to the older days of Marvel and Godzilla. Camuncoli, Orlandini, and Blee’s art is the best part of the book, keeping that old school feel while lovingly rendering the kaiju. There’s some interesting bits of world-building throughout the issue, but not so interesting they overshadow the main event. All told, this is an average comic, but that’s fine. Not everything needs to be groundbreaking and deep, and fans of Godzilla will definitely enjoy this book.

Rating: 3 out of 5

Published by Marvel

Released on April 16, 2025

Written by Gerry Duggan

Art by Guiseppe Camuncoli

Inked by Daniele Orlandini

Color Art by Federico Blee

Letters by Ariana Maher

The post Godzilla vs Hulk #1 Is a Rollicking Good Time (Review) appeared first on ComicBook.com.

Tom King’s Wonder Woman has its critics, but for other fans its peak Wonder Woman storytelling. Wonder Woman‘s first major storyline ended with issue #19, teasing the death of Wonder Woman in the future Wonder War. Instead of picking up where that issue left off, Wonder Woman #20, by King and artist Guillem March, goes in a different direction, kicking off a new story that takes Wonder Woman and Batman to Olympus to investigate the death of Ares. The murderer is both the first — and last — person anyone would expect: Hippolyta. It’s an exciting little yarn, one that ends on a perfect cliffhanger.

King is best known for psychological storytelling, but his time writing Batman and Batman: Gotham City: Year One showed that he also has a nose for noir and detective stories. Wonder Woman #20 is basically Olympus noir, but it also plays into one of the major complaints with King’s run — bringing in Superman and Batman and focusing on them instead of Wonder Woman. While Batman isn’t completely the focus of the issue, if you’re annoyed by Batman, you’re not going to be in love with this story. There’s enough Batman-isms to it — Zeus himself says, “There are men, there are Gods, and then there’s Batman,” which made even this King fan groan — to annoy anyone who already doesn’t like the book. However, I would say that King’s use of Wonder Woman and Batman is pretty balanced throughout the book.

King does a great job with both characters, and moves the plot along well. He even plays with reader perception a little bit, with Wonder Woman acting as the bad cop and Batman as the god cop during an interrogation of Dionysus. It’s an interesting inversion of the common Wonder Woman/Batman team-up. There’s also a moment between the two of them towards the end of the issue, where Batman tells Wonder Woman that he started believing in the divine because of her, that plays up the kind of relationship that Batman and Wonder Woman have. They have an understanding and King does an adroit job of laying it out. King takes the story through some interesting twists and turns, playing into the epic scale of investigating a death of a god. From Wonder Woman’s annoyance with the rules of the gods to Batman offering himself up as a sacrifice to be allowed to investigate the murder, there are all kind of fun little additions to the plot that remind readers what the stakes of this mystery really are.

RELATED: This May Be Wonder Woman’s Most Underappreciated Era (And It’s Her Coolest)

March uses a nine panel grid for the story and it’s perfect. Detective stories work beat by beat, and using the nine panel grid allows the creators to control that. March’s panel are sensational. There are lots of close-ups, revealing the great character acting that March imbues his panels with, and a lot of two shots, giving this story a nice intimate feel. The art brings the reader into the story wonderfully, giving the impression that we’re a part of this investigation. This is a wonderfully plotted and laid out issue, and March’s art choices are the key to making all of that possible.

Most artists will break the nine panel grid for larger images, but March keeps it going the whole time for all but one page, where Batman is struck by Zeus’s lightning. Elsewhere in the book, March will expand the image into the next horizontal panel, like when Batman and Wonder are walking around the Batmobile, then while they are in it. It’s a neat little trick that I haven’t often seen in comics that use the nine panel grid and it works beautifully. March is doing banner work at DC lately, and this issue is yet another example of just how great an artist March can be.

Wonder Woman #20 is basically a jumping on point. The first phase of the Sovereign story is over, and this newest tale is a nice little pause. Wonder Woman is getting a lot of attention, so throwing in a quick little mystery story is the perfect way to give new readers a taste of what the book is like. This issue definitely isn’t going to convince anyone who doesn’t like King’s run that it’s gotten better, but it’s still a rather entertaining issue with some cool moments. March’s use of the nine panel grid is outstanding. It gives the story beats the right kind of rhythm, and pulls the reader along. March seriously makes this story read like a million bucks. Art is always important to a comic, but this would have been an entirely different story without March’s work; it would have still been good, but it never would have been this good.

Rating: 3.5 out of 5

Published by DC Comics

Released on April 16, 2025

Written by Tom King

Art by Guillem March

Letters by Clayton Cowles

The post Wonder Woman #20 Is a Mystery Fit for the Gods (Review) appeared first on ComicBook.com.

Ultimate Wolverine has kept fans guessing since the beginning, each issue so far revealing more and more about Earth-6160’s Winter Soldier, the mutant known as Logan. Ultimate Wolverine #3 brought him face to face with old friends, Gambit, Black Widow, and Kitty Pryde, in an confrontation that sees Pryde awaken something in Logan. That leads to Ultimate Wolverine #4, which in some ways is a pretty standard Wolverine story, one longtime Wolverine fans have read many times — Wolverine breaking free from someone else’s control and raging. However, writer Chris Condon and artist Alessandro Cappuccio do what they’ve been doing best, taking things every fan knows about Wolverine’s past, and tweaking it ever so much to give readers something new.

The story is basically a “Weapon X” pastiche, which is a common Wolverine story, but Condon does it in a new way. There are basically the exact same lines and moments, but instead of showing us what happened, Condon shows a battle between a feral wolf and bear, representing Wolverine and Russia. It’s a genius way to take something that we’ve seen multiple times before and give it a new context. This sort of thing has been the best part of Ultimate Wolverine so far. This isn’t a new Wolverine story by any means — it’s a basic Wolverine cliche that I’ve personally read a hundred times in my over thirty years of Wolverine superfandom — but the way it’s been told is interesting enough to make it feel fresh.

The dialogue echos that of “Weapon X” and does a great job of capturing the fear of the scientists trying to figure out why things are going this wrong. There’s a palpable sense of fear, made all the more acute by the way the visuals don’t match the dialogue. We don’t know what Wolverine is actually doing, we’re only listening to what they’re describing. It’s an extremely effective way of telling an old story, doing a great job of giving readers just the right sense of fear. There’s a sense of anticipation as well; as cool as the metaphorical imagery is, the reader wants to see what’s happening. The violent battle between the wolf and bear is exciting, and it builds that anticipation until we get two gorgeous double page spreads, one showing us a climactic clash between wolf and bear, and the next showing us the aftermath of Wolverine’s rampage. It’s brutally effective, paying off the anticipation wonderfully. From there, we see Dr. Prostovich, the only scientist who has been able to get to Wolverine, taking him to the “Cerebellum”, where we’re introduced to Jean Grey, whose telepathy (and the Phoenix Force) help keep Wolverine under control. It’s brilliantly done, leading to another beautiful full page spread that says everything about the new Ultimate Universe — something we recognize trapped in an nightmare.

RELATED: Ultimate Wolverine Reveals the Fate of an MCU Avenger (Exclusive)

Cappuccio’s art is amazing, but that’s pretty much expected by this point. His Wolverine wolf is a beat up little monster, a wolf cut out of the night with glowing eyes, the perfect representation of who the Winter Soldier of Earth-6160 is. The bear is massive and battle worn as well, a fitting metaphor for the power of Russia. Their battle is beautifully rendered, bringing us to the first double page spread of the two clashing, capturing the pain and rage of the battle. The next spread — the aftermath of Wolverine’s rampage — is perfect. It captures the violence of the attack. It’s immaculately rendered, a bloody masterpiece of comic art.

Cappuccio’s Wolverine is a blood-soaked monster for the rest of the issue, the artist capturing the hair trigger violence that the character is capable of. The final full page spread is an example of the twisted imagination of Cappuccio, presenting a scene just as chilling as the violence we’ve witnessed all issue. We’ve known Earth-6160 is a world ruled by monsters, but seeing what they’ve done to a beloved character all to use her power is the perfect visual representation of the book’s premise. Any artist could have made this scene pop, but Cappuccio’s style takes it to a level that another artist couldn’t. Bryan Valenza deserves a shout out as well. The colorist does a beautiful job of capturing the vibe of the scene using color. There’s a lot of black and red, shadows and blood, which fit the issue. Valenza is the perfect colorist for Cappuccio.

Condon uses the final data page to put the icing on the cake, describing the fates of Xavier and Jean Grey, while introducing Magneto into the mix. It’s a great capstone to an issue that goes above and beyond. Ultimate Wolverine #4 could have went in the direction everyone was figuring, and it would have been a good issue. However, Condon and Cappuccio go in a different direction and it pays off. No one would have complained if this book would have just done a straight-up “Weapon X” pastiche, because Condon and Cappuccio are so good. It would have been a bloody feast. However, dropping the metaphorical battle between the wolf and the bear into the book was perfect. It’s the book’s plot in microcosm, and it’s wonderful. Every issue of this book keeps knocking it out of the park, and this issue shows why — it takes a story we’ve read a million times, recontextualizes it, and presents it in a new way. Comics can fall back on nostalgia, so finding new ways to present it is a must. That’s what makes this issue such a treat.

Rating: 4.5 out of 5

Published by Marvel

Released on April 16, 2025

Written by Chris Condon

Art by Alessandro Cappuccio

Color Art by Bryan Valenza

Letters by Cory Petit

The post Ultimate Wolverine #4 Tells an Old Story in a New Way (Review) appeared first on ComicBook.com.

Doctor Doom is out to prove that his version of Earth’s Mightiest Heroes are superior to the originals. One of the more interesting concepts to come out of Marvel’s One World Under Doom publishing event is Superior Avengers. Similar to titles like Dark Avengers and Thunderbolts, Superior Avengers stars a cast of mystery characters that take up familiar identities, except instead of adopting heroic monikers, these characters go the villainous route with their names. Of course, there has to be enough meat on the bone to keep readers intrigued, and so far, Superior Avengers #1 succeeds with an unexpected twist.

We mentioned that the identities the Superior Avengers cast has chosen are all recognizable villains. From outward appearances, they mirror these characters. Doctor Octopus has four mechanical arms, Killmonger has a Black Panther mask, you get the idea. Whereas most books would end the comic by revealing their identities, that doesn’t seem to be as important as where they come from and what their secret mission is. Their handler is Doctor Doom’s adopted son, Kristoff Vernard, and it makes sense to bring him into One World Under Doom, considering his father just took over the world. We get to follow events from Kristoff’s point of view, and that of the Superior Avengers. Doom is only here for a few pages, so he doesn’t steal the spotlight.

Something I took away from Superior Avengers #1 is how quickly the story moves. I was expecting to flip through more pages and learn more about how characters, but then I was on the final page, and it was over. It’s not a negative; just something that caught me by surprise. That’s a credit to writer Steve Foxe and the rest of the creative team for keeping the pace moving and not getting bogged down in the fine details. Yes, we don’t know the whole story behind the Superior Avengers, but there’s plenty of time for that to be filled in. We know enough that a new reader can decide to continue with the series to see how things play out, or give up on it without a huge investment.

We have two separate artists on Superior Avengers #1 — Luca Maresca and Kyle Hotz. Maresca handles the current-day story while Hotz delivers a flashback page. Together with Mattia Iacono on colors and VC’s Cory Petit on letters, the art team creates a captivating comic. The opening pages toss the reader right into the action, where we get to meet our Superior Avengers while they defend the Capital from Annihilus. There are other impressive pages, like when Doctor Doom teleports in to greet Kristoff, a surprise appearance from a Marvel hero, a two-page spread of the Superior Avengers being introduced to the world, and when Hotz jumps in for his somewhat spoiler-filled page.

Superior Avengers #1 is the type of book one would expect from a Marvel crossover event. It piggybacks off the event’s main story, but also has enough room to branch out and take readers on an exciting ride. Whether a reader enjoys that ride is subjective, but in this reviewer’s opinion, Superior Avengers is worth a try.

Rating: 3 out of 5

Published by Marvel Comics

On April 16, 2025

Written by Steve Foxe

Art by Luca Maresca with Kyle Hotz

Colors by Mattia Iacono

Letters by VC’s Cory Petit

The post Superior Avengers Recycles a Familiar Concept With an Intriguing Cast (Review) appeared first on ComicBook.com.

Jason Aaron began his run on IDW Publishing’s relaunched Teenage Mutant Ninja Turtles series by sundering the bond between the Hamato Clan brothers and casting separating them, sending each to somewhere knew outside of New York City. The Turtles have since reunited and returned to New York, but their physical proximity to one another has not reforged their broken family bond. While familiar to many who grew up with siblings or raised multiple children, the constant sniping and pointless bickering between the brothers can feel like and opaque conflict for readers looking in from the outside, especially to since the series has yet to explain the nature of the event that led to the Turtles’ falling out.

Teenage Mutant Ninja Turtles #8 takes the perspective of one of the Turtles, Leonardo, to ground readers in one side of this four-way argument. This allows Aaron to leverage Leonardo’s inner thoughts to bring his interior struggle to the fore, depicting the traditional leader of the group as one still yearning for the peace he sought on the Ganges. But his mindfulness is challenged by one of his brothers. Could Leonardo’s mental remoteness be preventing him from following the best course of action for where he is now? And is focusing too much on the corrupt villain in a position of power lording over the city blinding Leonardo to opportunities to do good in the city right in front of him?

While Leonardo’s journey forms the backbone of the issue, Aaron does take a few detours to check in with other characters. D.A. Hale’s latest anti-mutant plot is a bit simplistic on its surface, but in an age of such willing consumption of misinformation, it isn’t implausible. Meanwhile, tensions rise within the Foot Clan, and April O’Neil stands on the precipice of a transformation that could redefine her role within the series.

[RELATED: Teenage Mutant Ninja Turtles Is Entering Its Next Mutation]

Juan Ferreyra’s artwork again elevates the Teenage Mutant Ninja Turtles, with the artist’s flair for inventive layouts and visceral motion on full display. The opening pages depicting a brawl between the Turtles and the Foot Clan is a showtopping set piece that incorporates the environment inot the narrative structure in clever ways.

Beyond action-focused layouts, Ferreyra made a name for himself with moodiness and a touch of horror, and he taps into that mode here. Donatello’s withered frame contrasts starkly with his brothers’ firmer builds, practically haunting any panel he appears in. Aaron has also begun to weave some otherworldly mystery into the plot. While it does feel like the Turtles should be quicker to pick up on some of the clues here, given what they learned long ago about their origin, it isn’t inconceivable that they’d see Donatello’s fractured state as a more straightforward explanation. However, this thread seems to be emerging from the background, and should it go where it appears to be going, it could stand to be a significant milestone moment for the series.

Teenage Mutant Ninja Turtles has settled into a solid groove. The Turtles are reunited, but the strife between the brothers continues to create emotional distance and drama, helping to drive up the tension as the narrative draws closer to a turning point moment. Inhabiting Leonardo’s perspective shows Aaron’s solid grasp on what makes each Turtle tick. After finishing the issue, I’m left wondering if Aaron plans to shift perspective to each of the other Turtles during the next few installments as they come together through breakthrough moments similar to what Leonardo experienced here, which would be a fitting conclusion to this arc considering where it began. Regardless, Teenage Mutant Ninja Turtles #8 proves again that the series is in good hands.

Rating: 4 out of 5

Published by IDW Publishing

On April 16, 2025

Written by Jason Aaron

Art by Juan Ferreyra

Colors by Juan Ferreyra

Letters by Shawn Lee

The post Teenage Mutant Ninja Turtles #8 Reaches a Breaking Point (Review) appeared first on ComicBook.com.

In 2023, Jon Allison and Max Sarin, the writer/artist duo behind the beloved comics series Giant Days, reunited for The Great British Bump-Off miniseries, combining two beloved U.K. entertainment institutions: the wholesome competition series The Great British Bake Off and the cozy mystery subgenre of investigative procedurals. The series introduced the charming and enthusiastic protagonist, Shauna Wickle, as she solved the poisoning of a contestant within the tent of Britain’s highly esteemed baking show, making friends along the way. Now, Allison and Sarin, along with colorist Sammy Borras and letterer Jim Campbell, have brought Shauna back for another case in The Great British Bump-Off: Kill or Be Quilt #1 from Dark Horse Comics, and it’s everything anyone left wanting more of the original series, or those who missed the original series entirely, could have wanted.

Despite the new series keeping The Great British Bump-Off title, the plot does not involve Shauna returning to the famous tent, nor does the quilting reference in the subtitle imply that she has now involved herself in a crafting competition, thus avoiding two directions that would have turned the relatively grounded series into something more gimmicky. Instead, Kill or Be Quilt sees Shauna embarking on a relaxing vacation, drifting down Yorkshire’s canals in a boat she borrowed from her uncle. However, Shauna is a less adept shipman than a baker and soon finds herself run aground in a quaint town and working at a local crafts store to earn money for repairs. It’s all new friends and local color until the end of the issue hints at something nefarious afoot.

That Shauna is back for a second adventure in this sequel suggests that she could be the focus of a whole series of such mystery stories (if fans are lucky) that drop her into new locales with new casts of characters. Such episodic series live or die on the strength of their leads, and Shauna is up to that task, bursting with infectious curiosity, kindness, and competency. She’s hardly perfect, though, as her inability to pay attention to her uncle’s lessons on proper boat knots is what results in her becoming stranded on vacation in the first place but even the new characters she meets quickly recognize her good nature and dependability, which only corroborates what readers of know of her.

[RELATED: The Amazing Spider-Man #1 Gives Fans the Exciting Story They’ve Been Craving (Review)]

We know much about Shauna and the supporting cast around her through Sarin’s artwork. Characters are exceedingly expressive, both in their faces – eyes as cartoonishly wide with excitement as they are narrowed with suspicion, smiles wide, and frowns deep – and body language, along with character design. A panel of sunny Shauna leaning over the store’s counter to shake hands with the dark-haired and similarly-dressed owner Daphne, slanting back slightly, tells readers everything they need to know about Shauna’s earnest eagerness and how it contrasts with Daphne’s skeptical reserve. That page also includes a moment where the comic breaks from realism to depict emotional truth as Shauna begins melting while filling in Daphne on her desperate situation, with a similar technique employed for other moments of intense emotion or flights of imagination throughout the story.

There’s a warm, joyous energy crackling beneath the surface of The Great British Bump-Off: Kill or Be Quilt #1. It’s welcoming and possibly even wholesome, but without feeling childishly twee. The Great British Bump-Off is in fine form in the first issue of its return and is as inviting to new readers as it is to those anticipating its comeback since the final issue of the first series. With its confident pacing – the first issue introduces the cast of characters before hinting in the mystery to come, with the energetic cartooning ensuring it all still feels vibrant and entertaining throughout – Kill or Be Quilt #1 is a finely crafted comic that’ll have readers yearning for more.

Rating: 5 out of 5

Published by Dark Horse Comics

On April 9, 2025

Written by John Allison

Art by Max Sarin

Colorsby Sammy Borras

Letters by Jim Campbell

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Absolute Power set a number of smaller but no less compelling stories in motion thanks to Amanda Waller’s power tampering, including everyone’s favorite Justice Leaguers Fire and Ice. Fire & Ice: When Hell Freezes Over picks up the story as the two best friends attempt to handle everyday life with their powers switched, and spoiler, it’s not going so well. The fun of Fire & Ice is in the complicated feelings that the power switch opens up and the powerful friendship at the center of it all, and the issue sets the table well for even bigger things to come.

As with any #1, it’s important to give newcomers a chance to catch up, and Fire & Ice: When Hell Freezes Over #1 does this brilliantly. Not only does it provide quick descriptions of the key characters, but it gets you up to speed on what happened in the last series in a succinct and lighthearted way that rolls you right into the next chapter. It’s a small thing, but it makes a huge difference.

While Fire and Ice are obviously the book’s main draw, enough can’t be said about the supporting cast of characters that writer Joanne Starer has surrounded them with. Tamarind, Linka, and L-Ron are constant highlights throughout the issue, as is Martha Kent, and some of the book’s most critical moments involve those three in some form or fashion.

On the art side of the equation, Byrne and Maher are a killer duo and couldn’t be more perfect for Fire and Ice’s power set and abilities, especially now that those abilities have been switched over. Fire and Ice are walking pops of color in every single scene thanks to Byrne’s vibrant work, while Maher’s stellar lettering allows their powers to leap off the page. The expressiveness found on those pages is immensely impressive as well, especially as Fire gets a bit more of a spotlight in the book’s closing pages.

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One of my favorite aspects of the issue is a conversation that dives into assumptions made about a power switch and the unfortunate realities of why it’s not as easy to deal with as it might seem. Those conversations lay the groundwork for a major switch up towards the book’s closing moments that promises much bigger things moving forward. While Fire & Ice: When Hell Freezes Over #1 sets the table well, the future is even brighter.

Rating: 3 out of 5

Published by DC Comics

On April 9, 2025

Written by Joanne Starer

Art by Stephen Byrne

Letters by Ariana Maher

What did you think of Fire & Ice: When Hell Freezes Over? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

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