Abel Loza Comic Reviews

Crowbound #1 quickly became one of the most compelling and riveting stories, which is par for the course for writer Jeff Lemire and artist Dustin Nguyen, with just a tone issue. Rose and Ava Lee live in a dystopian future where all humans work for a single entity, The Factory, out of fear of The Eater. The story feels small, even as the world-building suggests there is so much more to explore, giving us plenty to ponder for a month until the next issue arrives. With there seemingly being a dystopian story out every week, this one, at least for now, looks different and like a breath of fresh air.

The team of Chris Condon and Jacob Phillips will have a set of eyes on them from one of the big publishers. If the start of The Peril of the Brutal Dark: An Ezra Cain Mystery #1 is any indication of what a first impression might be for first-time readers, Condon and Phillips will be writing for DC and Vertigo for a while.

The Peril of the Brutal Dark: An Ezra Cain Mystery #2 cements its status as a leading example of inventive genre-mixing in comics. While this issue isn't as exciting as its predecessor, it excels at laying the foundation for a complex world and nuanced characters. Its standout art demands attention and elevates the entire experience. #Peril 2 exemplifies storytelling that shows rather than tells, largely through Phillips' masterful art. Chris Condon, Phillips, and their team continue to prove they are among the best creative talents in comics.

Peril of the Brutal Dark #3 is the weakest of the three chapters so far, primarily because exposition and world-building overshadow the narrative, slightly diminishing the story's momentum. Despite this, it remains a well-rounded and engaging issue. The darkness of the world is a major highlight, vividly conveying the bleakness and hopelessness Cain and others endure. This chapter also showcases Chris Condon and Jacob Phillips' genre-blending talent and dynamic art.

The Peril of the Brutal Dark #4 finally introduces what the Brutal Dark and their intentions are: to destroy New York City through fascist robots. As intriguing as that already sounds, the flowing dialogue and sprawling art from Chris Condon and Jacob Phillips really make The Peril of the Brutal Dark one of the best titles on the market right now. The story, although set in 1940s pre-WWII America, seems timeless and is very topical, making it a hook that everyone can relate to. The art for the book continues to be used as a character and a storytelling device, making it almost impossible to put down. We are now on the homestretch of the book, and Ezra Cain now has to pick himself up after he was close to being blown to bits. This will be the exciting last chapter for The Peril of the Burtal Dark.

I think the most impressive thing about this series, and The Peril of the Brutal Dark #5 specifically, is how seamlessly all of the elements that might have seemed far-fetched to merge at the beginning are locked in. Like a perfect puzzle, the momentum built over the first five issues will make The Peril of the Brutal Dark #6 a must-read. The non-stop action in this issue made it not only the most exciting but also the most important so far. That is quite the accomplishment, considering this was already a fantastic series.

The Peril of the Brutal Dark #4 was a fantastic ending to a fantastic series. Chris Condon and Jacob Phillips created a world that only got more interesting as the series moved along and the plot thickened. The elements and genres that seemed so far away at the beginning of the series came together fantastically and left the reader wanting more. Ezra Cain can become this generation's great detective as The Peril of the Brutal Dark proved he can take up that mantle. The door was left wide open for a potential return to this world, and I would love to see what Condon and Phillips come up with!

DC (and Vertigo) has been on a majestic run lately, with incredible first issues that offer new perspectives on old characters. The Deadman #1 is another example of how in-rhythm DC is with all of their titles right now. The All In era of DC has been a smashing success thus far, and this issue proves that DC is revolutionizing what we think a mainstream comic book can be

The art styling from Marin Morazzo and Chris O’Halloran fits perfectly with the world that writer W. Maxwell Prince is trying to create, as it feels so unhinged and otherworldly. Everyone’s interpretation of the afterlife from this creative team is so weird and wonderful. It blends some elements of what westerners believe with HEAVY influences from Hinduism and Buddhism. For me, that is so interesting to get a lesson in Sociology while reading a good comic book. Ultimately, The Deadman #2 does a fantastic job in keeping us interested in the series, while only giving us a few glimpses into the main villain.

The Deadman #3 was the best issue thus far in a very good series. Writer W. Maxwell Prince took us on a road trip down the seven rings of Hell, presenting his take on the Divine Comedy, where Biston Brand had to meet Lucifer themselves. Prince, artist Martin Morazzo, and colorist Chris O’Holloran give us a diverse look at Hell and all of its rings in a very successful take. No ring looks or feels the same, and it offers insight into how spirituality and the afterlife work in the DC universe. DC is always at its best when they take unconventional shots at different genres and topics, and The Deadman #3 is the best example of that.

The Deadman #4 is the most thought-provoking issue in the series so far, but it never feels preachy or condescending. It feels like a conversation between the reader and writer W. Maxwell Prince, sharing his personal feelings about belonging in this world. What makes it feel so personal is that it deals with themes usually existential and above our pay grade. The effort to make us think blends perfectly with the darker elements that keep layering the story. Between Bobby finding out there might be a demon and us learning more about Mr. M, there is something for everyone in Deadman #4.

The artwork by Gabriel Hardman gives the story a sense of fullness that only the author can provide. There is a sense of great anxiety between the artwork and the story themes that gets you hooked on this issue. Because of its themes and fantastic art, Batman/Green Arrow/The Question: Arcadia #2 is a cannot-miss issue and a cannot-miss series.

At the heart of Batman/Green Lantern/Question: Arcadia #3 lies a central question: do the ends justify the means when it comes to risking lives for the greater good of the world? By raising these dilemmas after emphasizing the shift from global to personal stakes, the narrative draws readers into deeper moral territory. These are precisely the types of questions that can be explored within the pages of a DC Black Label title.

There is no doubt in my mind that this story would work as an ongoing series. How does the world react to the unveiling of Batman’s true identity, and will Green Arrow ever get back to his former self? Has Bruce and Ollie’s relationship been forever changed by the results of Acadia? So many questions we need answered!

​While "Project Batman” might be a plot point that might turn me off in the near future, for now, there are a few things to complain about this generational run. If this truly becomes only a 50-issue run, Absolute Batman #19 will be remembered as a key issue that helped get us to what will be an extraordinary ending.

Absolute Batman #20 continues to push Bruce Wayne to his absolute (pun intended) limits as Batman tries to navigate around a collapsing world around him. The pace of the story is neck-breaking; however, it never feels overwhelming or excessive. While the headlines and podcast topics will surely talk about the big, grandiose ideas from Absolute Batman, for me, the devil (or Joker) is in the details. They change the fundamental story of Bruce's rise to Batman, making him a fascinating character, and Snyder and company give both Batman and Bruce an edge they haven't seen before.

While Absolute Batman #21 might have missed some emotional beats due to pacing issues, this series continues to deliver every month. It feels like the start of something new in this universe, and this issue reinvigorated some of the characters as they take their place in the main event.

Absolute Batman #22 was one of the more shocking issues of Scott Snyder’s run, which is saying something because that is a pretty high bar to clear. The pace of the issue felt as though we were running along with Batman and Harley, all while we were trying to catch our breath. The shocking ending was a payoff for readers who were emotionally invested and also the start of the next chapter of this Absolute Batman series. Artist Wertger Dell’edera was brought in for a single issue and knocked it out of the park with his very specific styling that fit perfectly with this Harley-centric issue. Overall, Absolute Batman #22 will go down as one of the most shocking and important issues in Snyder’s run.

Absolute Batman #20 has now sunk Bruce Wayne into the deepest depths his psyche has ever been to, depths that would drive any normal man insane. While the Absolute Batman series is cautiously treading the fine line between “progressing the story and pushing the boundaries” and “let's see how much we can make Batman suffer for fun!”, Absolute Batman #23 is still a very entertaining read that really delves deep into the psyche of a hero. The real test for this series will be how Batman will bounce back from this because he will eventually get to the bottom of who the Absolute Scarecrow is, and where Bruce’s story officially starts.

Absolute Batman #24 was a satisfying issue that gives Batman a much-needed win after going through the gauntlet of a lifetime. The Scarecrow proved that you don't have to be the most physically imposing protagonist to make an everlasting impact in this very colossal universe. Batman’s family is slowly but surely growing, and in this issue, Snyder made sure to give Batman a little light, even if it might be right back to rock bottom next month. For me, the main takeaway is whether Bruce learns anything from his adventure so far and lets those around him help him on this Mt. Everest of missions.

The anthology of stories in this first annual edition in Batman;Rebirth took a swing at something original and it hit a home run. Along with the issue having some very good and interesting stories, these stories are tied in with the holiday season and makes for a great read for the holidays.

Batman #8 helps transition the previous story to the next upcoming arc. This issue raises more questions than answers, but it does help build up momentum towards the new story line, "I am Suicide".

This issue is simple, but does a fairly good job of laying the out premise for the upcoming arc. Although it is a simple premise, it does not make it any less exciting. Really looking forward to seeing where this story ends up.

…237 dead. What am I supposed to do?

Overall I think that Batman #14 brought me back from being underwhelmed from the final issue of I am Suicide and really has ne excited for this upcoming arc, which I can safely assume will also involve Catwoman. Tom King did an excellent job humanizing not only Batman but Catwoman as well, and made them much more relatable to the readers. King also continues to use little known villains in his story arcs which bring some much needed villain-diversity in the Batman universe. Rooftops Part one sets up a very intriguing story line that will no doubt involve Catwoman.

What then did she steal, sir? The night, Alfred. The night. She stole the night.

Batman #16 started off light and humorous but ended up with a much darker and more serious tone. It looks as though the I am Bane story arc will bring an end to the story that has been building over the past 3 to 4 story arcs. Batman #16 starts off slow but ends with a bang. For the most part, I have enjoyed Tom King's take on the characters and I can't wait to see where he goes next.

The ride that King is taking us on I am Bane picked up on Batman #17. The tension that has been building up for the better part of two issues, was finally broken. This then is building towards the inevitable confrontations between Bane and Batman. This is a must read story arc!

Batman #20 was fitting ending for what has been building up for 19 issues. King makes some fundamental changes to the Batman character that make a much more well rounded person. This Batman story arc was a good start for Tom King in Batman and it has me excited to what he has coming up next!

Batman #21 did a good job of setting a tone for the rest of the mini-series. Its script and art made the story come to life, and it really showed of the brutality and anger that came of Reverse Flash. Although no Watchmen characters were physically scene, their presence in the DC Universe has never been stronger and that is perhaps the most important part of this issue!

Batman #23 was perhaps the best single issue of Tom King's run so far, and that is saying quite a lot since he has had some really good issues. I absolutely love when Batman and Swamp Thing team-up and when left in good hands, those characters can work very well together. This issue peals back so many layers in only a few pages, and this is true talent at work.

Tom King has taken Batman in an entirely new direction, one that we have not seen Batman in before, and is really reinventing on how we think of Batman. This is the most vulnerable Bruce has been and we can't wait to see where this plays into for the next story arc.

Batman #25 is the perfect set up for the The War of Jokes and Riddles story arc which will bring us Tom King's most adventurous and original story to date. King continues to explore who Batman really is, while at the same time exploring the war that nearly broke Batman. This continues Tom King's young, but great line of great Batman issues so far.

Tom King and Mikel Janin keep pushing the Bat-Envelope by telling and beautiful yet brutal story of batman's second year in action. As the Joker and Riddler continue to spill Gotham blood all over the streets, it is now up to Batman to determine what he is going to do to stop The War of Jokes and Riddles.

Batman #28 was an interesting and fresh way for Tom King to continue to tell a Batman "Year Two" story during The War of Jokes and Riddles. During this issue, King also continues to peal back more layers in the Batman myths which leaves Bruce Wayne as vulnerable and relatable as he has ever been. The art of Batman #28 also continues to excel and adds a dimension to King's story that gives the reader a full immersive experience of the The War of Jokes and Riddles.

Batman #29 raises the stakes for the main players and pushes Batman to pick a side of the ongoing War of Jokes and Riddles. Tom King, Mikel Janin, and June Chung create a story that makes you want to read each issue twice

This was a great hair issue, as the art from Matteo Lolli, Laura Braga, and Vasco Georgie brings to life Gardner’s bowl cut and John Stewart’s beard. Lolli’s art also gives the universe gravitas and brings scale to the world—when it's in space, everything looks big; on Earth, it looks smaller. This issue makes me want to pick up any current Green Lantern title and delve deeper into Guy Gardner’s lore. One of the better one-shot, single-issue comic books of 2026!

This was a fantastic issue, one that not only continues the main story of the K.O. tournament but also satisfies the craving for more, as we wait for issue #3. There are so many instances where these tie-in issues feel more like a side mission or unnecessary for the main plot, but Aquaman #12 really does feel essential reading to fully grasp what is going on with the story as a whole. That is what these tie-in issues should be, and it makes you want to pick up the others immediately to get the complete story. While a little hiccup at the beginning, that didnt take away from the overall success of the issue. This was a watershed issue for Aquaman's character. Make sure to read it.

The introduction of Mera’s mother, Crimson Queen Lolanna Merana Challa, is an added element of storytelling not only to Mera and Arthur Curry, but also to Atlantis. The tension already building between Mera and her mother will be a detail that makes the next issue a must-read. The art is great and goes hand in hand with the story the creative team is trying to tell. The momentum is there for the book to pull off a great story and ending.

Emperor Aquman #16 continues to expand the Aquaman universe into places we have never seen before, as the King of the Ocean looks to grow his kingdom across the stars to keep it safe from the visions he encountered while in the K.O. tournament. The growth of Aquaman’s kingdom into uncharted areas makes this Emperor Aquaman so unpredictable and exciting, as Black Manta is on the horizon to mess with Arthur's plans. The potential of what can happen in this run is something that will undoubtedly create excitement among Aquaman and comic book fans alike. Jeremy Adams, John Timms, and the creative team behind Emperor Aquaman are building something special.

Emperor Aquaman #17 delivers a compelling exploration of how unchecked power, even when guided by noble intent, exacts a steep cost. The creative team behind Emperor Aquaman demonstrates exceptional skill, producing storytelling that expands Aquaman’s mythos. Black Manta and Lollana loom, poised for their revenge, enticing long-time readers with lingering tension. For newcomers interested in this reimagined Aquaman, this issue offers an ideal entry point. Not only is this the standout chapter of Emperor Aquaman, but it is also the highlight of Adam’s entire Aquaman run.

The storytelling by Jeremy Adams and the art by Paolo Villanelli and Rex Lokus bring to life a vibrant, expansive universe that makes us yearn to read and learn more about these characters. The weight of the world is going to start falling on Arthur because of his sense of responsibility, and that will be a great storytelling tool for the rest of Emperor Aquaman. If you aren't reading this yet, you should be!

This next arc in the Emperor Aquman story will test Aquaman’s fortitude and, by extension, his mission, as the biggest hurdles for his vision are in the way. So far, writer Jeremy Adams has built a world that seemed unimaginable for Aquman, and Arthur Curry and the rest of Atlantis have benefited from it.

The outstanding storytelling from writer Jeremy Adamm, the art from John Timms, and the color choice from Rex Lokus have contributed to a great run thus far, and Emperor Aquaman #20 has been the peak of that combination.

Emperor Aquaman #21 kicks off the second act of this Emperor Aquaman storyline, and it starts with a bang. Atlantis has been ransacked and is now officially under the control of the Crimson Queen and the rest of the villains who feel Aquaman has wronged them — which is everyone, apparently. The book's action was bombastic and explosive, making it feel like the end of the world for Atlantis, and the rest of us reading felt as helpless as Arthur, stuck light-years away and unable to help. Between the art and rhythm of the storytelling, Emperor Aquaman #21 has been the culmination of the run thus far.

There are no real big things I can nitpick in Super Mondo Mega Mutts #2; I think this was a great issue that has me excited for the rest of the series. It hit all the emotional and story beats it needed, and it made me really excited to see what writer Curt Piers and artist Juan Gedeon do next with this story. While it started as a parody and homage to the Teenage Mutant Ninja Turtles, Super Mondo Mega Mutts has now carved out its own slice of this genre and stands on its own as a concise, well-thought-out story.

Super Mondo Mega Mutts #3 was a fantastic transition issue between the book's second act and the final act. A lot was going on, and the pacing matched the chaotic nature of this post-apocalyptic version of Los Angeles —and set us up perfectly for the final installment next month. The world built by writer Curt Pires and artist Juand Gedeon feels lived-in and still has so much left to discover. As strong as the dramatic and action scenes are, what really ties everything together are the emotional beats Pires created in issue #1 that have already started to pay off and will continue to do so in the next issue.

Swamp Thing 1989 #2 was a mental and chronological trip down memory lane, transporting the reader back to 1989, where comic books and the industry were vastly different. Even if you, as the reader, have a very elementary background on Swamp Thing, or even on the history of this specific title, I believe there is still enough to enjoy in this unique look back. There is still enough suspension in the story to wonder not only how it will end, but how it will differ from the original ending in 1989. ​While the story transcends time, space, and anything else you can think of, the main theme of Swamp Thing 1989 #2 boils down to one simple relationship: between a father and daughter.

Ultimately, Swamp Thing: 1989 #4 was a successful endeavor that finally resurrected a narrative cut down during its absolute peak. Although the climax didn’t quite reach the epic grandiosity I anticipated from Rick Veitch, it still delivered a satisfying conclusion. Even without a Darkseid appearance, the finale felt like a fantastic farewell for Alec Holland in this specific timeline. The art from Trish Mulvihill transported us to a place and time that gives the story more weight and makes Swamp Thing’s struggle come to life. Hopefully this isn’t the last time we visit this series, but if it is, it was a great ending to a great series.

Batman of Two Worlds isn't essential reading, but it is recommended for any Batman fan—original or Absolute. The two stories, written by the two current Batman writers, explore the yin and yang between the two most important Batman titles in comics right now, highlighting both the differences and similarities between the two Batmen. Both stories work well together, and they do a fantastic job separating Absolute Batman's approach from the original Batman's. The one thing that will stand out to any reader after putting down Batman of Two Worlds is that Batman is much more flexible than the mainstream audience thinks. Kudos to Fraction and Snyder.

The rest of the series will depend heavily on characters outside those trapped, which will help tell a giant story in a bite-sized sample. As long as you come into this series knowing who the real target audience is, you should have fun reading an adventure between Sonic and the Justice League!

DC X Sonic #3 is my favorite issue of this series so far. Its campiness and storytelling have given me a newfound appreciation for the Sonic the Hedgehog universe, specifically Dr. Eggman. Having Dr. Eggman and the Legion of Boom fall out might have felt like jumping the gun with two issues still left, but I do like that there will now be some room to play with the story. This is a short series, only five issues, so I hope that with so much going on, there can be a satisfying conclusion. However, for now, this is building up my excitement for a fun and fulfilling finish.

DC X Sonic the Hedgehog: Metal Legion #5 legitimately made me laugh and, at points, had me super immersed in the story, which isn't something I expected from this series when I first picked it up. This was one of the most fun titles of the year so far, but it also had a lot of great story plots and made me realize I'm a big fan of Dr. Eggman. The story was cohesive and had me waiting patiently for the next issue. So, even if you don't think this is up your alley, I recommend picking up the Trade Paperback and having some fun with the Justice League and Sonic.

Miles Morales: Spider-Man #1 was a smaller-scale debut of a new series with big aspirations. For the most part, writer Bryan Edward Hill and artists Nico Leon and Valentine De Landro got off to a quick, good start. Miles’ aspirations are admirable, but as we all know, having a regular childhood or life as a superhero is a lot easier said than done. A new villain is introduced, and exploring his past—tied to Miles’s father Jeff’s past work with S.H.I.E.L.D.—should give us plenty of room to explore new lore in Miles' and his family’s past. This is an exciting restart for a fan-favorite character.

Swamp Thing: 1989 #3 was a complex yet fun issue that sets us up for the final issue of the once-controversial series. The stakes have been raised as Swamp Thing has been reborn into the timestream once again but still has to make it back to his timeline to beat Arcane from hurting his pregnant love, Abby. Not only that, Alec now has Darkseid after him for his connection to the Source Wall. Swamp Thing: 1989 has been a fantastic blast from the past, and issue #3 has set us up for what will be a tremendous finish to the revived series.

1776 #2 ultimately accomplished what it needed to do: continue the story as a bridge issue while piquing our curiosity. The juxtaposition of American historical figures with modern pop culture icons can be empty at times; however, this issue does a good job of conveying a message through a decent comic book storyline.

​Questions and issues about our founding fathers are never easy to answer, and this issue adds context and complexity. It's not here to sway you one way or another, but it does raise the question, especially given the Avengers' entrenched place in American culture. It took two issues to get there, but 1776 #3 masterfully gave this series gravity.

The pacing is a bit off, and some of the age-old tropes do not fully work, but nothing detracts from the story as a whole. The art is as good as it has ever been, and it finally comes together in sync with the rest of the story. Ultimately, the job of 1776 #4 is to get us ready and set everything up for the final issue. Job accomplished.

The immediate legacy of this book will be how writer J. Michael Straczynski simultaneously tied the country's origins to the essence of the Avengers and reminded us that some of the issues we face now have always been part of this country’s complex history. It will also be determined whether other artists run with this sort of idea in future titles — Marvel characters involved in historical moments.

The Justice League: Knight Vision Special one-shot was strategic in its use of Batman and Lex Luthor's icy relationship, making the underlying conflict of their troubling vision much more terrifying. I mean, why else would these two work together? Overall, this issue did its job and was a very entertaining read. I'm a sucker for unlikely team-ups. The creative was a literal dream team of some of the best and most well-known creatives in the comic book industry, the perfect team to remind us and move us forward from the events of DC K.O. I wouldn't be opposed to continuous one-shots to string us along until the next DC event.

The Amazing Venom #1 isn't your typical symbiote story, mainly because Venom isn't in it! But beyond that, the relationship between Fred Myers—formerly known as Boomerang—and Passenger is worth exploring. Fred’s desire to leave a normal life with Passenger and go on a space adventure isn't necessarily groundbreaking. Still, Jordan Morris's writing gives it new spring and makes it interesting enough. This starter issue tells us where we are going next: into space to find a peace of heaven for Passenger, or to finally find the love of Fred’s life… or at least a new Townhouse he can call his own.

Ultimately, the lack of any significant resolution between the battles is what sank this issue, but the story at large acted as a lifesaver in those waters of inconsistency. I’d love for DC to revisit the concept of a multiversal tournament that stretches beyond their universe—one where the combatants actually lose. But for now, what we got from Boss Battle #1 will have to do.

The Final VerdictDC K.O.: Green Lantern Galactic Slam is a world-merging, well-drawn single-issue comic book that is a must-read for any comic/wrestling fans. While not entirely necessary to the DC K.O., it's always great to see heroes who aren't entirely involved in the main story on their own side missions. Writer Jeremy Adams, artist Cian Tormey, and colorist Romulus Fajardo are true wrestling fans whose passion for the sport comes through on the page. They leave you wanting more of these characters and of this world. While one of the major plot points wasn't entirely necessary, the issue does more good than bad, which ultimately makes it a fun read.

The plot is simple enough, and Harley Quinn vs. Zatanna colors within those lines without straying from the framework. While some elements could improve—specifically the art and dialogue—this issue successfully takes the baton from the previous one-shot battles and hands it to the next. While not earth-shattering, it wasn't supposed to be; it moves the plot forward and gets us ready for next week’s round of tournament battles.

Even with all of its faults, DC X AEW #1 is still a fun and entertaining issue that should make every AEW wrestling fan celebrate how far the start-up company has come since starting 5 years ago. While being drenched in corporate synergy, it is nice to see the second-most-popular wrestling promotion in the United States on such a big platform. So while the comic might leave something to be desired, AEW wrestling fans should be extremely happy to see Darby Allin and Batman on the same page!

DC X AEW #2 turned out to be a fun, messy, and serviceable crossover that delivered enough fan service to AEW and DC fans to make up for the lack of plot and deeper storytelling. The characterization of the wrestlers was so spot-on that it’s clear writer Steve Orlando is the perfect person to helm any future DC/AEW crossovers. Even with its flaws, DC X AEW #2 is something that AEW fans can be proud of. For what it was, the issue does enough to bring lapsed readers back to comics—or vice versa—which is exactly what this crossover was designed to do.

Spider-Man/Hulk: Fire and Brimstone #1 has a fantastic premise, even if it starts a little clunky before finding its way in the third act. Writers Kevin Smith and Andy McElfresh bring a fresh perspective to a tale as old as the Hulk himself, asking how Bruce Banner can finally get rid of the Hulk that lives deep inside him. In this iteration, Banner has turned to a higher power in hopes that he can no longer live under the thumb of the Big Green Monster. This first entry into the new series took a while to get going, but it closed with a bang. Let's hope that momentum continues for the rest of the series.

Writers Kevin Smith and Andy McElfresh keep delivering on a unique and extraordinary concept, even if the dialogue misses the mark and the fist fights against C-tier villains feel shoehorned in. What really held my interest, though, was learning that this wasn't the Catholic Church’s first time exorcising a “Demon/Hulk,” and that Spider-Man, even if begrudgingly, has bought in to look after Banner. Even if you aren't into the religious themes of Spider-Man/Hulk: Fire Brimstone #2, I feel strongly that the underlying mental health themes are something we can all relate to. For that reason, this title remains infinitely intriguing, even with its flaws.

Lobo #1 boldly reintroduces the character in a way that defies convention. The premise—a Lobo reality show—is interesting enough for this new chapter of DC comics, post DC K.O. This series will not be for everyone, as the story is very meta and the art style is very punk, but if you are still on board after that, you will really enjoy this.

Lobo #2 takes a dig at the entertainment industry in the name of those with creative freedom. While a lot of the jokes will hit you over the head with their lack of subtlety, there are enough creative and new ideas that readers will continue to come back on a monthly basis. The Emperor Aquaman crossover was unexpected but one of the issue's highlights. The art and story go hand in hand to create this unexpectedly beautiful universe. There is still a lot to be determined, and hopefully the rest of the run goes smoothly, but Lobo #2 2 was thoroughly entertaining.

​While Lobo has been an up-and-down affair, as far as storytelling goes, Lobo #3 seems to be the unofficial start of the official story. With Supergirl around the corner, Lobo is set to ramp up right in time for the summer.

​There is still enough to make me excited to pick up Skottie Young’s Lobo; however, time is running out to get a more cohesive story on track. The end goal, or even the purpose, of this series has yet to be revealed, which ultimately brings a fun and unique vision down a few notches. Hopefully, that changes with the next issue; until then, Lobo #4 works better as parts rather than as a whole.

The more I think about it and write about it, the clearer it becomes that Lobo #5 has a strong set of ideas, but none of them are given enough time to develop before the story moves on to the next one. Skottie Young has introduced so much that could carry Lobo as the main story; however, nothing sticks, and that is the real problem with Lobo #5. At this point, I wouldn't be surprised if a lot of long-time Lobo readers start to drop off from the series and wait for the next one. For now, there is still enough to like to keep reading the series; yet, time is running out.

Lobo #6 was a fun romp through Hell that saw Lobo collect his bounty on the Tooth Fairy. However, Lobo can't rest now as something bigger and sinister is just around the corner. It took six issues, but we finally get our big baddie for this run, and the existential threat has now presented itself. Each issue in this series has been fantastic on its own, but it doesn't really tell a bigger, overarching story. All the issues up until now have felt like a setup for something bigger that isn't here yet, and Lobo #6’s trip to hell is what got us there.

After reading the future preview catalog, it looks like this might be the first of a few issues in this Last Death of Lobo, and if so, it was a great start on a path that might have us looking forward to the next few issues!

Death Fight Forever #1 is a fun, hallucinogenic trip that provides a shot of nostalgia for elder millennials. It has a punk rock aesthetic and very much gives off DIY energy. This helps bring together all the elements that Andrew MacLean successfully got to work for this unique story. These elements range from scroller video game aesthetics to 1980s movie dialogue and 1990s action movie set pieces, all with an indie feel.

Death Fight Forever #2 continues the acid-trip vision of writer Andrew MacLean and artist Alexis Ziritt. Though brief, leaving the reader wanting more, it's still a fun, wild, and intriguing read. The highlight of this issue is the complexity and impact of the sketch art--when it’s not usually associated with deep storytelling or high art. Ultimately, I enjoyed how DFF #2 and the entire series offer an experience —utterly ridiculous in the best ways—that makes everything feel vintage, retro, and silly, a challenging feat this issue achieves.

We are over halfway through Death Fight Forever, and this issue could have done more to expand the already wild world. Still, it was a great, visually pleasing entry.

Death Fight Forever #4 leaves us wanting more in this uber-interesting world that Andrew Maclean has created, but it does enough to keep us intrigued for the final battle between our heroes and the main villain. This issue offers a shift as the artist and artwork change once again, creating a sense of freshness and world-building that does much of the storytelling. However, while the cinematic view of the story is grandiose and beautiful to look at, it takes up a chunk of the real estate that could be used for dialogue and more story.

I am so glad Death Fight Forever, as a series, came out when it did, because it gave us another option for a different kind of book. We are in a very good spot in the comic book industry, and the more variety we can get, the more we can support them, the more off-the-wall stuff we can get, like Andrew Maclean’s world. That variety is exactly why this series matters.

Between Prey, Badlands, Killer of Killers, and now Predator: Bloodshed #1, the Yautja are on a roll and have reinvigorated the popular franchise.

I have found the Predator adaptations far less interesting than the Alien Marvel adaptations, which is a shame because the Predator is just as interesting an IP as the Aliens franchise, but hasn't seen the same vigor as the Alien franchise has with Marvel. Hopefully, Bloodshed can end on a high note and set the tone for a book that is as good from start to finish.

​Moving forward, Predator—I believe—will have to be revamped to be more palatable to longtime and new readers alike. It's hard not to compare Predator to the Alien franchise, as they are tied at the hip, but Alien seems to be doing much better in terms of quality under the Marvel banner. Predator is sun a fun universe to play with, and if done right and effectively, these characters can be some of the best in comic books. Until then, we should take the elements we enjoy and celebrate those. We will always have Predator, Prey, and Badlands to watch until they get it right.

The ambitions and justifications of the characters seem all over the place and fail to make sense or follow any logic. However, despite its faults, Marvel Zombies: Red Band #4 can still be fun if it is read without comparing it to the other, better chapters of the Marvel Zombies franchise.

The entire run will be remembered for what could have been, not what was, indicating missed opportunities and unfulfilled potential. Do you know how sometimes we get a “Director’s Cut” of a movie that makes the film that much better? I think that would benefit this run immensely. If we could get a director’s cut of this series that fills all the holes and adds layers to the main story, it would do wonders for Marvel Zombies: Red Band.