mrgabehernandez Comic Reviews

1776 #1 is a comic that offers an ambitious blend of historical events and superhero action, but it falls short in terms of character development and clarity. The fast-paced writing and detailed art keep the reader engaged, but the rushed pacing and exposition-heavy dialogue can be overwhelming. Whether this comic earns a place in a limited comic budget depends on how much you value ambitious concepts over clear storytelling and character depth.

1776 #2 is a case study in what happens when a writer prioritizes historical accuracy over narrative momentum. The Avengers versus a sorceress in the Revolutionary War had real potential, but this issue buries that conflict under tedious exposition and battles it out with inconsistent artwork that can't support even the modest ambitions it achieves.

Avengers X-Men Eternals: Eve of Judgment #1 is an excellent charter-building prologue for the Judgement Day event. This issue is all talk and no action, but you get the key behind who wants the mutants dead and why. The art is excellent, and every dialog scene is well-written, but you may find this issue a struggle to get through if you're unfamiliar with the Eternals.

Bits and PiecesA.X.E.: Judgment Day #1 looks, acts, smells, tastes, and feels like a war of interplanetary proportions. The art is great, the story moves with a steady, brisk pace, and the battles are brutally epic in scope. Despite the small army of characters involved, Gillen keeps the focus tight and builds to a cliffhanger that grabs your attention.

A.X.E.: Judgment Day #2 builds on the first issue with a new wave of attacks against Krakoa on a massive scale. The art and action are all great, and except for pacing speedbumps in the first and second act, the issue does exactly what it needs to unleash the dogs of war.

A.X.E.: Judgment Day #3 continues the war with plenty of engaging visuals during the battles, an interesting moral dilemma, and an intriguing last page reveal. However, the issue ends almost in the same place it started, so if you choose to skip it, you won't miss much.

A.X.E.: Judgment Day #4 makes a lot of noise, brims with high energy and fast pacing, but ultimately runs around like a chicken with its head cut off until the last four pages. The ending hits big, hard, and fast. Are those last four pages worth a $4.99 cover price? Probably not, but it will be interesting to see what happens next.

Final Thoughts:A.X.E.: Judgment Day #5 looks great, sounds big, and feels important. There are plenty of spectacles and human emotion to keep you riveted to the page with every turn. However, the actual plot has barely moved more than a few steps when you consider the heroes' new plan is the same as the old plan. Come for the heart and the visuals, but don't bother if you're looking for a plot that takes up more than a few pages.

A.X.E.: Judgment Day #6 ends the central conflict with high stakes, big action, and at least one character's evolution to a new status quo. The spectacle hits hard, but the small character moments hit with just as much impact. That said, the conclusion boils down to a "My bad and a lot of lecturing, which ends the main event with a whimper instead of a bang.

A.X.E.: Judgment Day Omega #1 is an expensive and largely unnecessary prologue to the Judgment Day event. There is no story of any kind. The passable art is average at best. And all you really get out of this issue is a few scenes showing how the Eternals are trying to be better.

Alias: Red Band #1 is a strong return for a character who has always thrived in the dark corners of the Marvel Universe. It delivers a punchy, atmospheric story that respects the history of the character while providing a necessary evolution for her current status. The creative team has crafted a mystery that feels dangerous and essential, making this a enticing addition to any reading list. Sadly, Luke Cage fans will likely take issue with his characterization, creating a glaring smudge on an otherwise pristine fist issue..

Final Thoughts:Alien #2 takes everything you like about the Alien film franchise and reassembles it in comic form for a decent enough story. The art is good enough. The story, while not very original, is good enough. If you like Alien, you'll like this.

Alien #3 hits all the tropes of an Alien story, continues the main thread of a terrorist attack, but lacks enough structure to feel like you're reading something that could be a standalone chapter. I like the art, and the visual tone of an Alien story is there, but the storytelling structure falls short.

Alien #4 hits all the right tropes for a decent Alien story with monsters hiding around the corner, a frantic chase, and a Hail Mary plan. That may sound like it's a boilerplate story for the franchise, but the reveal of a new kind of alien at the end gives the overall interest a little bump.

Final Thoughts:Alien #5 is good "action/chase" issue with good action art, rapid-fire pacing, and escalating stakes. The character art leaves something to be desired and a key emotional plot point is entered much too late in the story to apply the weight it calls for, but this is a good entry overall.

Bits and PiecesAlien #6 wraps up the current arc well enough by resolving the main conflict with a lot of sacrifices from the main character. The art is good, and the door is left open for the story to continue, but the conclusion here is less than satisfying because the questions raised about the Alien Queen and the Alpha aren't fully addresses.

Alien #7 starts a new arc and continues the series in name only by focusing on a completely different location and completely different set of characters. The art looks great, the characters work is excellent, but the overall premise has some pieces that don't quite feel believable or realistic" yet. This is a guarded recommendation.

Final ThoughtsAlien #8 takes readers on a very predictable ride where the colonists, at first, don't believe the witness but then start running for their lives when Xenomorphs start tearing through the colony. As far as Alien stories go, it gets the job done but never rises above vanilla boilerplate plot.

Bits and PiecesAlien #9 treads on well worn territory in both the art and the writing. In the art, the familiar tropes are a success because they hit the creepiness nerve in just the right ways. In the writing, those tropes produce an issue that takes the originality of the colony's setup and devolves into formulaic territory. In short, this issue is a mixed bag of very good and very predictable.

Bits and PiecesAlien #10 feels like the series is trending in the wrong direction. The religious elements Johnson created for this arc feel like cheap copies of religions we already know, the "new" Xenomorphs introduced in this issue don't make a lick of sense, and the generally good art looks, in some spots, looks like somebody pasted word balloons on portrait photographs.

Bits and PiecesJohnson sets up a white-knuckle humdinger of a cliffhanger in Alien #11 heading into the next issue finale. The feeling of encroaching horror and hopeless dread is palpable, and the art is consistently okay.

Alien #12 ends the arc on a mediocre note. The surprise revelations are neither new nor surprising, and the few bits that are truly new seem irrelevant to the main story. The art is serviceable in closeups and focused panels, but the splash panels look awful in a few places.

Alien #1 (2022) is a much improved and engaging start compared to the previous two arcs. The pacing is excellent, the character introductions feel right, the stakes are high, and the plot is clear.

Alien #2 delivers the Xenomorph-loving goods when the synthetic retrieval team faces off against an entire colony of aliens. The action is fast-paced, and there are enough surprises to keep the intrigue up, but some readers may be annoyed with the horror trope of dumb people doing dumb things to get themselves killed.

Alien #3 kicks the plot into high gear with great art and plenty of soldier-vs-Xenomorph action. Aliens (1986) fans will have a lot to like in this issue, but the story is quickly becoming formulaic.

Alien #4 shifts from borrowing fromAliensto borrowing fromAlien: Resurrectionas the Steel Team now has to contend with threats from all groups. The art is gory and exciting, and the overall pacing is solid, but the general themes of the story are getting repetitive.

Alpha Flight #1 piggybacks off the events of 2023's Hellfire Gala to explore how Canada's newly re-formed super team is tasked with protecting their citizens from the "mutant threat." Brisson's take on the team is consistent with their history, and using the mutant dilemma as an excuse to bring the team back to the fore is a smart play. I'm not sure where this story is headed, but I like what I see so far.

Alpha Flight #2 feels the most like a Hellfire Gala aftermath book by creating tension through urgency as the team races to secretly evacuate mutants from Canada (and Earth) before they're caught. Equal parts superhero comic and wartime thriller, this series is surprisingly captivating.

Alpha Flight #3 is one of the few X-titles that continues to treat the Orchis threat with urgency and seriousness. That said, this issue feels more like a setup/transition issue by creating bubbling tension without delivering at least one wow moment.

Alpha Flight sets up an uncertain finale with a penultimate issue steeped in tragedy and disastrous outcomes. Godlewski's art is great, and Brisson's technical execution is solid, but the story lacks emotional punch or weight, so the setup heading into the finale feels hollow.

Alpha Flight #5 takes the hard path in the finale to show that there are no winners in war. Brisson is one of the few writers treating the Orchis threat with the seriousness, urgency, and drama it deserves, and the art team's visuals look great.

Amazing Spider-Man Annual #1 (2023) repeats last year's annual by turning in a jokey, silly story about nothing when Hallows' Eve tries to break Ben Reilly out of NYC's demon embassy prison. The slapstick tone and cartoonish art are fine in isolation but strangely out of place for the main title. The backup serves as a potentially interesting epilogue to this year's Hellfire Gala, but it gets the details of the Gala wrong.

Bits and PiecesThe Amazing Spider-Man #1 is a decent start to the run by Zeb Wells. Peter starts in a bad place, and things only go downhill. Wells does a nice job of setting up the central conflict, but the lack of information about Peter's absence and the lack of clarity about the twist ending may cause some readers to feel more annoyed and frustrated than curious.

Amazing Spider-Man #2 delivers a solid, almost standard, Spider-Man story as the wall-crawler takes steps to intervene in an escalating mob war. the plotting, pacing, and dialog are all excellent, and Tombstone is the standout character due to the pure intimidation factor. That said, the confusing wow moments are not only not explained, but they're also completely ignored in this issue, leaving a frustrating aftertaste.

Bits and PiecesAmazing Spider-Man reminds readers why tombstone is a formidable and dangerous presence in Spider-Man's world. Snared in Tombstone's trap, readers get interesting details about the villain's history and a clear picture of the lengths he'll go to keep what belongs to him. There are a few art oddities, and the shocking moments from issue #1 are still ignored, but this is a hard-hitting issue overall.

Amazing Spider-Man #4 is a captivating issue that makes you appreciate the pure badassery of Tombstone as a main villain. The art is excellent, the pacing is energetic, the action is powerful, and the twist reveal is a pleasant surprise.

Amazing Spider-Man #5 concludes the arc with a shockingly unsatisfying finale. The multiple bombshells dropped in the first issue are all but forgotten, Romita Jr's art is becoming more distorted with each issue, and any of the dramatic tension Wells successfully created in the last few issues is entirely gone with a relaxed and dialog-heavy chapter. It's hard to imagine a worse possible ending for a first arc from a new creative team.

Amazing Spider-Man #6 is a triple-sized one-shot that celebrates Peter Parker's birthday with a visit from the Living Brain and the OG Sinister Six. The pacing and art are all excellent, but the corny humor overpowers the weighty message behind the Living Brain's quest, and the lack of continuity with issue #5 makes this a #6 issue in name only.

Amazing Spider-Man #7 enters into a new arc with Wells doing what Wells seems to do best, reinvigorate villains. This time, Vulture gets his moment to shine, and it's a doozy. That said, Wells's weakness lies in showing consequences and aftermaths to events you never see or are explained, so Vulture's motivations are suspect. In short, a deadly Vulture battling Spider-Man is a sight to behold, but the poor setup in the writing hinders more than it helps.

Amazing Spider-Man #8 takes a baby step forward by concluding the conflict with Vulture in one, issue-long fight. The fight is brutal, and readers get the reveal of the "new Spidey suit enhanced with Goblin tech, but the fight choreography has a few flaws, and the emoji mask is eye-rolling.

Amazing Spider-Man #9 is a baffling misstep in an increasingly baffling run by Zeb Wells. The issue takes readers back to the Hellfire Gala to flesh out MJ's predicament and eventual salvation, which adds nothing to the current arc and shuffles the resolution with Moria off to the A.X.E. event. But for the art, this issue is pointless.

Amazing Spider-Man #10 takes Peter Parker on an apology tour as the day of judgment has arrived in an A.X.E.: Judgment Day tie-in. (Un)surprisingly, there's almost no Spider-Man in this issue. Spidey doesn't involve himself in the battle, he doesn't help the NYC citizens as panic sets in, and he doesn't use the opportunity to set things right from the mysterious events of issue #1. Peter visits everyone he cares about (except MJ) to let them know how much he cares. Lots of feel-good moments that amount to a whole lot of filler.

Amazing Spider-Man #11 is a serviceable, vanilla, sedate Spider-Man adventure where the Hobgoblin shows up to create problems just when Peter's life is turning around. The art is very good, but the story lacks wow moments or resolution for the long-standing issue #1 mysteries.

Amazing Spider-Man #12 is a solid issue focusing on the emergence of a new Hobgoblin that may or may not be a new Hobgoblin. The personal character moments are very good, and the Spidey action is excellent.

Final Thoughts:Amazing Spider-Man #13 is a quick, serviceable, standard Spider-Man battle that deals with the present threat and plants seeds for a more significant challenge on the horizon. This issue is better than forgettable, but it feels like Wells is simply going through the motions.

Amazing Spider-Man #14 sets up the Dark Web event with a Spider-Man-free issue that focuses entirely on Ben Reilly. The plan Ben devises with Janine, and Madelyne is audacious, but this issue is just planning. Did this need to be an Amazing Spider-Man comic? No, it should have been a one-shot or zero-issue, but at least you get a taste of what's in store for the Dark Web event.

Amazing Spider-Man #15 is an odd tie-in to the Dark Web event with a showdown between Spidey and a regressed Venom. The action scenes are great, but the jokey tone of the book weakens any dramatic impact, and the plot doesn't make a lick of sense.

Amazing Spider-Man #16 continues the Dark Web event with great art and entertaining action. Still, the weirdly jokey tone is a tension killer, the characters don't act like themselves, and the characters' actions don't make any sense. This event is barely out of the gate, and it's already a bizarre misstep.

Amazing Spider-Man #17 abandons any sense of urgency, drama, or stakes for the Dark Web event by turning Peter Parker's forced visit to Limbo into a poorly written Rick & Morty episode. The art is great, and the character designs are interesting, but the plot doesn't make sense.

Amazing Spider-Man #18 is somehow worse than issue #17 because it tries to continue #17's (poorly written) humor while attempting to mix it with hard-hitting, serious moments. Neither the drama nor the humor works, so by trying to do both, you wind up with neither, and the big reveal at the end lands with a mild thud.

Amazing Spider-Man #19 is a jokey, contrived, silly adventure from a guest creative team. If the unbelievable series of coincidences don't trip you up, the snappy Whedon-esque dialog will. Combined with surprisingly inconsistent art and sub-par coloring, this is yet another "skip" in an already troubled run.

Amazing Spider-Man #20 is shockingly bad. From terrible, Whedon-style, snarky dialog to repetitive pee jokes to surprisingly terrible art. Save your money.

Amazing Spider-Man #21 begins the long-awaited arc to explain what happened to Peter and MJ when Zeb Wells took over the title. The action, intrigue, pacing, and dialog are all on point. It's too soon to tell if Wells paid off the wait, but this issue is a good start.

Amazing Spider-Man #22 unveils a major section of the series's mystery surrounding York, PA, and it's a sure bet nobody will guess how it happened. The art, action, pacing, dialog, and plot movement are very good, and major pieces of the mystery (MJ's kids?) have yet to be explained, but at least it's an answer. Whether the answer was worth the wait is TBD.

Amazing Spider-Man #23 spends an entire issue with Peter running around NYC looking for help. The overall plot doesn't progress much, and there aren't any big reveals or wow moments. If you don't mind a transition issue in an arc that took over a year to prepare, this is as good as it gets.

Amazing Spider-Man #24 is the shoe drop Spider-Man fans have been waiting for concerning Peter and MJ's relationship. The technical execution, in terms of writing and art, is fine, but based on the lead-up issues, the outcome is painfully predictable. I suspect a significant number of ASM fans will be very unhappy with this issue.

Amazing Spider-Man #25 tells Mary Jane's side of the story after she was separated from Peter on an alternate Earth. Presented almost entirely as a montage-filled flashback, the bits of information we get only clarify what we already know. If you're looking to be shocked and awed, you'll have to wait until the next issue.

Amazing Spider-Man #26 is an embarrassing failure for the ASM creative team, Marvel editorial, and everyone that had a hand in the "What Did Peter Do?" arc. It would be different if Wells swung for the fences to push for new, bold directions, but instead, we get a basic fight with an inconsequential death and a lot of annoyances that don't get unresolved. Loyal Marvel readers deserve better. A lot better.

Amazing Spider-Man #27 is Zeb Wells's opportunity to make the consequences of Ms. Marvel's death meaningful and get the series back on track. Sadly, Wells falls short of both goals by making Kamala's death a cheap plot device for Peter and Norman's feelings, and the overall tone of the comic is a bizarre mix of seriousness and jokiness.

Spider-Man #28 is a semi-serious, forgettable, and sometimes silly time-waster to take your mind off the horrendous death of Kamala Khan. Doc Ock's upgrade has interesting threat potential, but JJJ is written bizarrely out of character, and the setup is somewhat ridiculous.

Amazing Spider-Man is a step in the right direction for Spidey with a few twists, stakes (for Norman Osborn), and potential. Wells can't help injecting an unnecessarily jokey tone that diminishes the dramatic atmosphere, but the plot is starting to take shape into something possibly worth reading.

Amazing Spider-Man #30 is filled with great art and big action, but Zeb Wells can't figure out when to be jokey or when to be serious, leading to a tonal mess of a comic. Further, Norman's tearful speech about Kamala Khan comes off as a heavy-handed retcon that feels more insulting than emotional.

Amazing Spider-Man #31 delivers bachelor/bachelorette party shenanigans and a disrupted wedding for a comic that's too expensive, has too many pointless backups, and barely manages to setup a new arc. Marvel is asking for too much and giving too little in return on this one.

Amazing Spider-Man #32 goes back to the well (again) for another villain trying to get Norman to revert to his Green Goblin ways. This time Kraven II gets in on the act to top his father's greatest hunt, and the accidental slip at the end leads to intriguing possibilities. The art looks great, and the idea has merit, so it's up to Wells to pay off the concept… for once.

Amazing Spider-Man #33 replays a modern version of Kraven's Last Hunt with Spidey and Kraven II in reversed roles for a decently intense comic. Gleason's art is on point, and the issue ends with a strong cliffhanger. That said, this issue is an almost point-for-point remake of Kraven's Last Hunt, so you're better off reading the original, superior version.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Amazing Spider-Man #35 brings the third-best copy of "Kraven's Last Hunt" to a close with a decent fight, and everyone returns to their status quo. This arc has no message, neither the characters nor the world changed, and the net effect is a mediocre time filler.

Amazing Spider-Man #36 forgets everything that happened in the last arc and kicks off a silly, jokey team-up adventure with Spider-Man and Rek-Rap to stop a big threat only Rek-Rap can find. The humor only works in one or two spots, the lack of follow-up (especially for Norman) is bizarre, and the brief scene between Silvermane and Hammerhead to set up the coming Gang War event leads you to believe Gang War is going to turn out as well as Dark Web.

Amazing Spider-Man #37 sets up a mildly intriguing mystery but weighs the issue down in impressively corny humor, little action, and a prelude to the Gang War crossover that fails to generate an ounce of momentum or anticipation.

Amazing Spider-Man #38 mercifully puts an end to Rek-Rap's adventure against Re-Po. The story is silly (not in a positive way) and relegates Spider-Man to a sidekick in his comic. Meanwhile, the prelude scenes meant to generate hype for the forthcoming Gang War event are as energetic as a news report about the weather.

Amazing Spider-Man #39 is a surprisingly decent action comic. Wells pits Spider-Man and his allies against an assortment of Gangs across NYC, and the strategic maneuverings by the Gang leaders behind the scenes are intriguing. Wells may have gotten this event off to a rocky start, but this issue shows promise.

Amazing Spider-Man #40 is energetic, action-packed chaos from start to finish. Wells successfully created a scenario that feels big in scale to keep the heroes racing from one fight to the next, but the size lacks depth because we have no connection to most of the gangs or their importance in the grand scheme.

Amazing Spider-Man #41 commences a new gang battle on two fronts when Tombstone fights Wilson Fisk while Beetle (Tombstone's daughter) fights the Rose (Fisk's son). There's plenty of brawling action to get your blood pumping, and the fight appears to be heading towards some consequences, but Wells's bad habit of injecting humor at the wrong time puts a damper on the dramatic tension.

Amazing Spider-Man #42 delivers an action-less setup issue that clears out the lesser gangs to move into the Gang War semi-finals, culminating in a showdown in Central Park. The dialog-only issue is interesting enough, and the story is finally picking up steam, but the big battle ahead is led by two C-tier villains that nobody cares about, making it difficult to care about the outcome either way.

Amazing Spider-Man #43 delivers the action goods in the penultimate entry to the Gang War event. The action is fast-paced, energetic, and exciting. That said, Spider-Man is barely a side character in this event, so readers who aren't fully invested in the success or failure of Beetle and Madame Masque will be left unsatisfied.

Amazing Spider-Man #44 brings the Gang War "event" to a close with the deciding battle in Central Park to establish the new top gangster in NYC. Unfortunately, the battle is mindless, Spider-Man is barely a factor in the outcome, and the mountain of tie-ins turns out to be pointless. Wells and Lowe have turned in worse events, but Gang War fails to be anything more than forgettable.

Amazing Spider-Man delivers a post-Gang War cooldown issue to tie up loose ends, some of which started in ASM and some in other titles, to set the stage for the return of Green Goblin. The character interactions are nice, but the lack of meat on the plot and the lack of setup for Aunt Anna leave a bland aftertaste.

Amazing Spider-Man #47 boasts a few intriguing developments, a sweet date, and a follow-up to the Hobgoblin debacle from earlier in Wells's run. That said, the mostly action-free issue keeps hinting at a mystery without expanding on it, and the trio team-up of Queen Goblin, Chasm, and Hallow's Eve lacks gravitas or drama.

Amazing Spider-Man #48 delivers a blink-and-you'll-miss-it setup and resolution to the fight over the Winkler Device. The motivations for almost every character except Spidey and Betty are implausible at best, and the overall conflict lacks weight. If not for Todd Nauck's excellent art, this issue would be a forgettable throwaway.

Amazing Spider-Man #49 ties into the Blood Hunt event with a mildly entertaining side adventure. The art is decent enough, and Spidey learns a valuable lesson about treating vampires like people, too. However, the story contributes nothing to the Blood Hunt plot, so non-ASM regulars can skip it.

Final ThoughtsAmazing Spider-Man #50 is notable onlyin thatthe Green Goblin has returned, and Peter Parker's ability to fight himis severely hindered. Sadly, Goblin's returnis marredby a lack of setup, hand-waving explanations, and copy/paste plot devices.Getting the Goblin back isagoodthing, but his return deserved better writing than this.

Amazing Spider-Man #51 is a mixed bag of visually appealing art and cool fight scenes, offset by tonally inconsistent writing and a rehashed plot concept that's less than a year old. Die-hard fans of ASM are already hanging on to this title by their fingernails, and this issue does nothing to give them a helping hand.

Amazing Spider-Man #52 looks fantastic, but it's a mess of a story that tries to convince the reader that a rehash of the Spider-Goblin concept is still interesting and that Kamala Khan was a pivotal character in Spider-Man's life for the last two years you just didn't know it. Zeb Wells manages to write a comic that combines all the worst bits of his tenure on the title in a single issue. The score reflects the amazing art quality alone.

Amazing Spider-Man #54 brings the Spider-Goblin saga to a close with solid art and an ending that feels final. Sadly, the script can't find a balance between drama and humor, the sci-mystical elements of the fight can't abide its rules consistently, and the net result reads like a comic that's a goofy mess.

Amazing Spider-Man #55 takes a break from nothing by sending Peter and Shay on a date. That's it. That's the whole issue. Zeb Wells's run may go down as one of the worst in Marvel history, and this issue cinches it. The issue earns two points for getting the printing, stapling, and credits page right.

Amazing Spider-Man #56 is a tentative return to form when Tombstone decides to reassert his dominance in NYC by killing Peter Parker and Spider-Man. Zeb Wells creates a tense, dramatic main story, but the backups are not much more than irritating filler. Is this issue worth the bloated cover price as a "milestone? No, but it's better than most of Wells's run, so take the crumbs that you can.

Amazing Spider-Man #57 ratchets up the stakes, action, and tension when Tombstone makes bail and takes steps to make sure he stays out of jail. Unfortunately, the goodwill created by building momentum is spoiled by a bizarre trap that's too dumb to believe. Couple a bad creative choice with bizarrely inconsistent art, and you get a wildly uneven issue.

Amazing Spider-Man #58 is nothing but a mean, nasty brawl from beginning to end. However, Zeb Wells's action-heavy script lacks anything resembling a plot or meaning. In every way, this arc feels like an excuse to run out the clock on Wells's contract, which certainly doesn't deserve the inflated cover price.

Amazing Spider-Man #59 is a fight and nothing else. There's no plot, no story progression, and no effort put into writing this comic. It's as if Marvel approached John Romita Jr. and said, "We don't have a story, so draw a multi-issue fight." This issue may possibly be the worst example of disrespect for the Spider-Man IP (and Spider-Man fans) in Marvel history.

Amazing Spider-Man #60 ends the series and Zeb Wells's tenure the only way it could, by accomplishing nothing and proving that all sixty issues were a waste of time and money. If you throw out Wells's run, you won't remember it as anything more than a bad dream, and your appreciation of comics will only improve. Goodbye, Zeb Wells. You won't be missed.

Amazing Spider-Man #61 begins a new arc with a new creative team by naming Spider-Man as Dr. Doom's champion to fight and die to protect the Earth, over and over again. Joe Kelly does his level best to turn a predictable concept into a meaningful story, but the entire issue barely rises above mediocre. If nothing else, Ed McGuinness and Mike Farmer's art looks great.

Amazing Spider-Man #62 brings forth the second offspring of Cyttorak, culminating in the second death of Spider-Man for a clunky second chapter in the arc. Joe Kelly tries to get the series back on even footing but stumbles by leaving out multiple plot points and basic context. Well, at least the art is great.

Amazing Spider-Man #63 pits Spider-Man against the third scion of Cyttorak for a time-hopping battle designed to crush Spidey's spirit. Justine Ireland joins the title to deliver an issue with a solid plot at a high level and strong personal moments between Peter and his circle of friends and family. Unfortunately, the main event gets shortchanged with a poor setup, poor resolution, and too little page space in favor of slice-of-life drama.

Amazing Spider-Man 65.Deaths gives readers who are super interested in Phil Coulson's new role as the Angel of Death a peek inside his head. However, if you're interested in Spider-Man or the 8 Deaths arc, writer Derek Landy gives you nothing. In practical terms, this comic is pointless.

Amazing Spider-Man #65 pits Spidey against the next scion of Cyttorak in a challenge that threatens to break his spirit rather than his body. Joe Kelly creates a basketful of Easter Eggs about future outcomes that may or may not happen, wrapped in an emotionally weighty script, and Cafu's artwork is first class. That said, the rules, or lack thereof, for the challenge are getting ridiculous.

Amazing Spider-Man #66 leans on moping and conversations, putting Cyttorak's Challenge on the back burner. Justina Ireland's script goes a long way to portray just how depressed Peter Parker can get, but it does nothing to move the challenge or Peter's journey forward. Thankfully, the art team makes the most out of a series of depressing chats, but it certainly doesn't justify the cover price.

Amazing Spider-Man #67 continues the 8 Deaths of Spider-Man arc by throwing out all the rules, presenting setup information too late, and having Spider-Man sit out the challenge for the third issue in a row. It's unclear which is worse - Justina Ireland's writing or Marvel Editorial's negligence.

Amazing Spider-Man #68 continues to demonstrate that Marvel has no intention of writing a good Spider-Man story anytime soon. Justina Ireland's plot is sloppy and boneheaded, buoyed only slightly by decent art. If Joe Kelly can't turn this ship around when he takes over, Amazing Spider-Man will be Marvel's flagship title no more.

Amazing Spider-Man #69 is an improvement over the past several issues when Cyra becomes the focal character who undergoes a significant journey of growth. That said, Joe Kelly's high-brow explanation of life and love comes off a philosophical hand-waving to make a terrible arc seem meaningful at the last minute. File this one under "too little, too late."

Amazing Spider-Man #70 ends the 8 Deaths arc with big punches, magical spells, and (almost) all the toys going back into the exact same toy box, leaving a bad taste in your mouth. Joe Kelly's finale is a pointless mess, which doesn't bode well for his upcoming tenure as the main ASM writer.

Amazing Spider-Man: Gang War First Strike #1 lights the fuse that ignites the forthcoming Gang War event with plenty of plot progression, surprises, and action. That said, the story is riddled with plot holes and shortcuts that undercut the quality of the story, so you get the impression the creators rushed to get to the war without thinking through how they got there.

Amazing Spider-Man Annual (2026) #1 is a mixed bag that peaks early and never recovers. Rapid is a character worth investing in, and if you care about Spider-Man as a mentor figure, you'll find moments here that hit. But paying $4.99 for a comic where the villain is a corny internet joke and the main conflict never actually concludes is a tough sell. You're basically paying for character development and action sequences while the actual story skeleton collapses under the weight of an insufferable antagonist.

Amazing Spider-Man #1 begins a new day with a new creative team when Peter Parker finds a new job, and Spider-Man stumbles upon a new mystery. Joe Kelly's script is a significant improvement over the Zeb Wells run, but the drama-light story is long on dialog, short on action, and slathered in Parker Luck tropes. On the plus side, Pepe Larraz does a bang-up job on the art, so this first issue at least shows mild promise.

Amazing Spider-Man #2 increases the mystery and the villain count when a one-off villain returns to as Hobgoblin's lackey to tie up loose ends. Joe Kelly's script successfully the disorienting feeling of a hero under the spell of powerful hallucinogens, and Pepe Larraz's art helps Kelly's script considerably. That said, a one-off villain that hasn't been seen in years falls well short of what this series needs, and the mystery progresses through too much hand-waving.

Amazing Spider-Man #3 is a weirdly uneven comic. Joe Kelly's central mystery about a Hobgoblin plot to poison people is picking up steam, and Pepe Larraz's art is fantastic. However, Itsy Bitsy's presence and weird affection towards Spidey is unwelcome and gross. Plus, there are too many coincidences to swallow to stay invested in the story. Bonus points for the art.

Amazing Spider-Man #4 has great art and great action but wastes a lot of time on flashbacks of Peter's youth for no Earthly reason. Joe Kelly's clunky script about a Hobgoblin plot to poison New York has some merit if he would develop and stay on it long enough to let it play out. Conversely, Pepe Larraz's art is spectacular and too good for this story. The score below is mostly for the art.

Amazing Spider-Man #5 wraps up Hobgoblin's hair-brained plan with a visually spectacular battle at Rand Industries. Joe Kelly's finale to the first arc is woefully underbaked and unsatisfying, offset only by Pepe Larraz's spectacular art. Truly, if the art wasn't as good as it is (which earns a few bonus points on the score), this arc would be a complete flop.

Amazing Spider-Man #8 swings big and lands hard. Sometimes in your gut, sometimes on the page. Half trauma, half lesson, with just enough wit to keep it lively, this issue isn't afraid to take its shots even if it leaves a bruise or two in the process. The story may be running in place by the end, but it's never dull.

Amazing Spider-Man #9 is a decent issue with some good character moments, but it is not a perfect comic. It succeeds in showing the emotional weight of being a hero, but struggles with pacing and has some inconsistent art. The writing is solid and the creativity is there, but it feels like a setup issue for something bigger to come.

Amazing Spider-Man #10 is a sharp, engaging comic that makes you question everything you thought you knew about the web-slinger. It's a shocking and compelling story that sets up a huge mystery. The writing is on point, the art is dynamic, and the cliffhanger will leave you desperate for the next issue. This comic is a must-read for anyone who loves a good mystery and a shocking ending.

The comic is a prime example of style over substance, and the beautiful art cannot make up for the bad writing. It is a confusing, nonsensical story that is a chore to read and leaves you with more questions than answers.

Amazing Spider-Man #12 is a disappointment. It fails to live up to the setup of the previous installment, instead opting for a series of meandering conversations and an introduction of a new, seemingly random villain. The plot is thin, the characters are sidelined, and the central conflict is almost completely ignored. Ultimately, it feels like a waste of time, a filler issue that squanders its potential and leaves the reader wondering when the real story will start again.

For a book called Amazing Spider-Man #13, this issue steadfastly avoids being either. The art deserves a portfolio, the writing deserves a GPS, and fans deserve something resembling Spider-Man, not Peter Parker playing cosmic camp counselor for a busload of alien B-listers. If Marvel wants to keep Spider-Man fans on board, its time to bring the wall-crawler home, or at the very least, explain how he wound up light-years from what made him amazing in the first place.

Amazing Spider-Man #14 has killer looks and nowhere to go. The art team deserves a bonus, but every time the story starts to gain steam, it slams into a wall of pointless substitutions and unearned emotional beats. With Ben and Norman faking their way through someone elses life, and Captain Kintsugi dropped in like last-minute garnish on a half-baked dish, all the issue really proves is that sometimes, even Marvel icons can put the mask on upside-down.

Amazing Spider-Man #15 is a breather you never asked for; a leap into space weirdness that forgets both the Spider and the Man. Wonderful art can't patch the torn fabric of inconsistent writing, and readers are left with a soupy grab bag of cosmic clichs and squandered possibilities. If your comic pull list has any standards, this is one interstellar detour you do not need to take.

If Amazing Spider-Man #16 were a financial statement, it would show a lot of emotional withdrawals but not enough deposits to justify the full price. Strong art and sharp dialogue keep fans afloat, but erratic plotting and a parade of pain leave this issue best suited for those already committed to the Parker-Osborn drama. Budget-conscious readers might hold out for a more focused installment. This one's for diehards with plenty of patience.

This issue doesn't earn its price for readers who actually care about Spider-Man stories. It's a pretty comic book with a hollow core, and that's not nearly enough.

Amazing Spider-Man #18 asks you to pay five dollars to watch a character who isn't the title character have an emotional breakthrough while a mysterious villain's identity is revealed with all the impact of a secret being whispered in an empty theater. The Jameson and Norman conversation is genuine, but it's buried under pacing that mistakes sprawl for depth and treats five separate storylines like they're chapters of the same book when they're really just pages torn from different comics.

Amazing Spider-Man #19 proves that a climactic issue can be just as interested in promises as it is in payoffs. This comic earns every moment of emotional catharsis by refusing to shortcut the work that gets you there, and it does so while delivering genuine action sequences that serve the character arcs rather than existing alongside them. Whether this is worth your money depends on whether you've entertained by Peter's journey in a recycled Guardians of the Galaxy tale, but if you are, this is the issue that makes the entire space arc feel necessary rather than indulgent.

The Amazing Spider-Man #20 crafts compelling individual sequences and character moments but fails to deliver them in service of a satisfying story; it's a middling issue in a series where that word carries specific weight. The emotional stakes are present, the art executes cleanly, and the writing demonstrates genuine character voice, but the comic prioritizes setup over payoff so thoroughly that spending four dollars on it feels like a down payment rather than a purchase.

Amazing Spider-Man #21 is the kind of issue that will not make you angry you read it, but it might make you wonder why no one in the room asked a few follow-up questions before going to print. If you are invested in Norman's redemption experiment or you are a sucker for big, well-drawn superhero action, this is worth picking up, but only if you are comfortable accepting "because the plot says so as the answer to several key problems. If your budget is tight and you need both spectacle and rock-solid storytelling, this feels more like optional viewing before Peter's proper return in that sleek black and yellow suit than a must-own chapter.

Amazing Spider-Man #22 scatters Peter’s return across too many loose ends, from clone scraps to Osborn whispers, without forging high-impact drama or stakes to justify its page count in your stack. The chaotic plot drifts nowhere decisive, art inconsistencies jar the ride, making it a pass unless you’re chasing every web-thread blindly.

Amazing Spider-Man #23 finally delivers the promised MJ‑as‑Venom reveal and pairs it with a raw, uncomfortable reckoning between Peter and Aunt May, which gives this chapter more emotional traction than the wobbly #22 lead‑in. The art hits the sweet spot between bombastic and legible, and the core premise of a family‑targeting serial killer forcing Peter and MJ into a fraught alliance is strong enough that you can see the great story this could become if the pacing ever stops sprinting. The catch is that this issue is structurally dependent on Venom #255 for payoff and front‑loads a lot of crossover logistics, so if your pull list is tight and you are not ready to follow Death Spiral across titles, this is more an intriguing sampler than a complete meal.

Amazing Spider-Man #24 is a visually arresting but narratively hollow entry that feels more like a committee-driven mandate than a natural progression of the story. The issue masterfully explores the tragic roots of Eddie Brock through evocative art and somber coloring that captures the grim reality of the Bronx. However, the masterfully executed character work is undermined by a lack of narrative momentum and a jarring art style transition that makes the entire experience feel like a temporary lift rather than a sustainable flagship story. This issue does not earn a place in a limited budget unless you are a die-hard devotee of Saiz’s realistic style or a completionist for the “Death Spiral” event.

Amazing Spider-Man #25 looks like a big deal on the surface, with loud art, a brutal premise, and plenty of talk about spirals and stakes, but once you get past the packaging you are left with a hollow middle chapter that refuses to let its best characters actually drive the story. The pros, clear visual storytelling and a premise that could support a sharper, more personal horror arc, are outweighed by cons like Eddie’s benched agency, Torment’s generic villain voice, and a suffocating reliance on recap and setup over real progression. If you are already locked into Death Spiral and collecting every issue, this chapter will keep your binder complete, but if you are working with a limited comics budget and hunting for issues that respect your time with strong standalone value, Amazing Spider-Man #25 is a miss you can safely leave on the shelf.

Amazing Spider-Man #26 provides a high-octane installment that earns its place in your weekly budget by delivering on the raw stakes of the Death Spiral event. The visceral artistic energy and sharp character work overcome the slightly rushed pacing and sidelined supporting cast to keep the momentum going. It serves as a strong reminder that even in the darkest hours, Peter Parker’s voice remains the light that guides readers through the gloom. You get exactly what you pay for with this chapter: a relentless, professionally crafted superhero thriller.

Amazing Spider-Man: Blood Hunt #1 delivers plenty of action, drama, great art, and mysterious developments that hint at one or more conspiracies at work supporting the vampire apocalypse. Unfortunately, several character appearances and plot points either happen off-panel or aren't explained at all, which makes the reading experience unsatisfying.

Amazing X-Men #1 is an X-Men story that throws the cast into a meat-grinder and dares them to fight their way out. The script swerves from sharp to savage, the art kicks grit in your eyes, and not a single mutant is safe. The setting is fresh and the stakes are nuclear. Just try not to get Babeld before issue two drops.

Amazing X-Men #2 is a bullish bet for anyone seeking high-stakes mutant drama, bold art, and rollicking conflict. There's teeth in every page, and very little wasted ink. It's not the sleeper hit for long-term holders, but if you're seeking a comic that justifies its premium, this issue earns its place on a curated pull list. Your entertainment dollar goes a long way if you're ready for a challenge; for less adventurous investors, this may be too much volatility in one shot.

Ant-man #1 is a pleasant surprise to kick off a 60th Anniversary celebration for the incredible shrinking hero. This first issue recreates the look, style, tone, plot, and dialog of a near-perfect Silver Age-style adventure. If you're in the mood for some nostalgic fun, look no further.

Final Thoughts:Ant-Man #2 is everything you despise about the Eric O'Grady era of Ant-Man mythology, and that's a positive. Ewing's writing captures the tone and attitude of Eric O'Grady down to a tee, the plot is amusing, and Reilly's art captures the style of the era close enough to feel authentic with a 16-panel page thrown in for good measure. Oi! You may have unkind feelings about the O'Grady ere, but you can't deny the creators replicated it beautifully.

Ant-Man #3 unveils the world-ending threat serious enough to force future Ant-Man to pull resources from across time to stop it. The character interactions are fun, and the overall art is excellent, but the plot tries to do a little too much, making the issue feel rushed. Complete but rushed.

Ant-Man #4 brings the Anniversary mini-series to a close with tons of well-crafted exposition, interesting art, and head-scratching superhero "science. Ewing should be commended for delivering one of the better Anniversary runs that pay honor to a character in recent memory.

Astonishing Iceman #1 is an Iceman comic in name only when the Iceman you think you get is not the Iceman you really get, and when you learn who the Iceman you get really is, the less you want that Iceman to be what he really is. It's weird, it's creepy, it's gross, it's probably not suitable for kids, and it's completely unnecessary.

Astonishing Iceman #2 is a bargain basic issue that's formulaic, missing any drama or tension, and serves only to show you Bobby Drake is great and loves his boyfriend. When you factor in that Iceman is technically not alive, the issue takes on a perverse tone with only Vincenzo Carrat's art to make it worth the effort to read.

Astonishing Iceman #3 bizarrely recycles the identical plot from the first two issues to pit Iceman against an Orchis thug in a bid to find Iceman's hiding place. The art is great, and the Iceman construct is likable enough (Is he really alive?), but the plot is egregiously stuck on rinse & repeat.

Astonishing Iceman #4 nearly repeats the same plot from the first three issues but throws in a final twist to give the illusion that Steve Orlando had more story than a one-shot in mind. The action is fun, and the last-page twist at least moves the story in a new direction, but the issue is largely a waste of time and money.

Astonishing Iceman #5 ends as well as could be expected with energetic fights, an explosive end to the conflict, and a baffling new status quo for Iceman. It seems odd that Orlando would choose to grant Iceman a new power that mirrors one of the chief problems of the Krakoan era, but at least it's over.

Final ThoughtsAvengers Mech Strike #1 is an above average toy ad disguised as a comic book. The art is better than expected for a paper thin plot, but the overly convenient setup seems to only exist to get to the cool mech suits. If you like action figure smashing and don't want to think while reading, Marvel's got you covered.

Beta Ray Bill #1 doesn't shy away from the downside of assuming the mantle form one of the greatest Avengers, especially when that Avenger is still around doing great things. The indie art has niche appeal but this reviewer likes it, and there's a lot of potential for issue #2.

Beta Ray Bill #2 replaces the grim and sad introduction to the titular character with a sense of purpose and perfectly intermingled humor. This is an adventure well worth the trip so far.

Beta Ray Bill #3 takes everything successful about the first two issues and continues to build on it even more. This is the strongest series Marvel is putting on right now by leaps and bounds above the closest second.

Beta Ray Bill #4 is emotionally complex, powerful, and everything that is best about good storytelling.

Bit and PiecesI can't say enough good things about this series, and I'm looking forward to see what Marvel can do with Daniel Warren Johnson next. Beta Ray Bill is the best thing I've read in years, and the entire creative team should be proud.

BLACK CAT #2 is the comic I wanted AND needed. The art is great, the story is great, and every panel on every page is hyper-focused on one word: FUN. This is the most entertaining comic I've read in months, and I'm greatly looking forward to what happens next.

BLACK CAT #3 takes a break from the outrageous action to walk us down Hardy's memory lane of pains and regrets. When the power of creation offers her the ability to set every wrong right, we get a much deeper sense of authenticity to Hardy's character and an appreciation for the character she's grown into.

Black Knight: Curse of the Ebony Blade #1does an excellent job of portraying a conflicted, sometimes tortured, and insecure hero that walks the line between light and dark. Sharp, witty, and amusing, this story is worth picking up.

Black Knight: Curse of the Ebony Blade #2 does a solid job following up a strong first issue. The Dane Whitman in issue #2 is a little less interesting but the story fills in tons of legend, lore, and backstory to keep readers engaged.

Black Knight: Curse of the Ebony Blade #3 has great art, great action, and makes some forward progress on the story, but the uneven pacing and a page-wasting flashback killed the momentum from a much better first and second issue.

Black Knight: Curse of the Ebony Blade #4 is all revelation that we mostly knew, and takes a hard left into "this random character, who's done nothing for the entire run, is actually the most important character" territory. Just when you think you get a talented writer to do something important with a neglected character, it was all a big setup to throw that character away. At least the art is great.

Bits and PiecesBLACK KNIGHT: CURSE OF THE EBONY BLADE #5 has great art and a fairly inventive master plan by the lead villain, but it all feels a little too much like a contrived setup to have Jacks take over as the new Black Knight.

Black Panther #1 focuses on T'challa's evolving roles as Emperor and King. The authoritative choices he makes may be a bridge too far for some readers but it is, at least, an evolution of the character. The comic sets up an interesting story with plenty of action and drama, but there is a major plot hole that may be difficult to ignore. In all, there's plenty of good and a little bad in this first issue with a different take on the character that may be more divisive than anticipated.

Bits and PiecesBlack Panther #2 improves on the first issue with a proper detective story and chase plot all rolled into one with cool Wakandan tech and energetic fight scenes. The art team pulled off an excellent-looking book, and the pacing is stellar. The one odd/down point is Ridley's insistence in making T'Challa paranoid to the point of being a fascist, especially in his attitude here towards the Avengers, and it seems wildly out of place.

Black Panther #3 looks great and has a couple of slick action scenes but the net progress of the story doesn't get very far. Riley seems intent on using this issue to build out relationships and share feelings without making any progress on the conflict at hand, and while that makes for an interesting character issue, some may view it as filler.

Bits and PiecesBlack Panther #4 takes the political intrigue of the assassination attempts and slathers on a generous helping of paranoia. The art is good, although the Black Panther design is almost too generic, and the action is energetic. That said, Ridley is painting a story about a deeply flawed hero leading an increasingly unstable nation, and it's not clear where this story is headed but it doesn't appear to be anywhere good.

Black Panther #5 masterfully captures the paranoia inherent in conspiracy thrillers but seemingly forgets to do the detecting legwork. Still, the dramatic tension never lets up, and the visuals hold your attention throughout.

Black Panther #6 is a fast race to nowhere with the main character who can magically run away from giant mobs and armed squadrons with barely a scratch. The plot makes almost no progress, T'Challa's ability to evade capture is patently ridiculous, and while the art is very good, the whole issue proves to be plot armor filler.

Bits and PiecesBlack Panther #7 will be a bitter pill to swallow for T'Challa fans as Ridley brings the character to his lowest point. If this penultimate issue is any indication, T'Challa's future in any role is in doubt, and that may have been Ridley's plan all along. Whether or not you agree with the creative directions of the story, the technical execution of the art and writing is solid.

Black Panther #8 concludes the arc with a technically final but hollow ending. The art is strong with plenty of action and energy. However, the writing ignores missing points about Akili's motivations, the supporting characters constantly demeaning T'Challa at every turn, and the final fight's ending will have you shaking your head.

Black Panther #9 is either a brilliant approach to social commentary or a happy accident from a writer whose completely out of ideas. Either way, the new arc starts off with a bang that will leave you scratching your head.

Black Panther #10 ends the bizarre conflict with the Colonialist with a boilerplate action comic. Between the history lessons, Fake News references, politician jabs, and 1984 quotes, the Avengers fight a powerful alien and win with the help of a superhero science machine. The only reason anyone will remember this two-parter is for its weird tone-deafness.

Black Panther #11 starts the next arc of Ridley's run by bizarrely forcing T'Challa to consider whether or not he agrees with terrorists as long as they have good intentions. The pacing and plotting are excellent, but T'Challa's continued maltreatment at the hands of Ridley verges on shocking.

Black Panther #12 is more setup and exposition than story as the big villain behind the last 12 issues is finally revealed, and everyone is upset with T'Challa. The art is solid, filled with angsty expressions of shame and disappointment, but Ridley's story seems more concerned with badgering T'Calla to death rather than getting the heroes to rise above the past to confront the present threat.

Black Panther #14 delivers the goods in a penultimate issue leading into John Ridley's final issue next month. The action, pacing, dialog, and dramatic elements hit their mark, and the art is very good. If readers have been put off by the tearing down of T'Challa in this series, this issue takes his failure one step further, but the ride to get there is reasonably entertaining.

Black Panther #15 ends the series the only way it can, with an anti-climactic end to Jhai's attack and a 12-page epilogue for everyone to say goodbye. If you've loved Ridley's run, this ending is more of the same. For everyone else, this issue is a waste of time.

Black Panther #1 starts a new chapter in T'Challa's legend with an issue that builds an amazing amount of texture and detail into the less-frequented corners of Wakanda. However, this issue is almost all exposition and setup with very little action or Black Panther to show for it, resulting in a detailed but ultimately dull comic.

Black Panther #2 (2023) continues the deep exploration of Wakanda's street-level life, but the more texture Ewing gives to the picture, the more it looks like Ewing is writing a dull Batman story in Gotham with a thin coat of Wakandan paint. The art team is doing their best to keep the visuals interesting, but the story is too slow and too boring to hold your attention.

Black Panther #3 clears away the distractions and focuses on the task at hand by teaming Black Panther with Beisa to find out which crime family is behind a string of disappearances as an advent to a mob war. The script is tighter and focused, and the art is good. That said, it's painfully obvious Ewing is writing a Batman story in a Wakandan wrapper.

Black Panther #4 delivers some cool Black Panther vs. Deathlok action and stunning art throughout, but the plot barely moves an inch on a mystery that isn't well-developed or interesting.

Black Panther #5 is a boring, convoluted mess with great art. Ewing is spending so much time creating the Wakandan version of Gotham City in minute detail that the too-large list of characters and multiple, disjointed plots don't get enough attention.

Black Panther #6 kills what little pacing and momentum the series had coming out of issue #5 for an issue-long flashback to tell the backstory we have yet to see in the story so far. The flashback is well done, but the timing, pacing, and length of the flashback are poorly placed.

Black Panther #7 takes the slow train to find out who's behind the simmering gang war and the disappearances and makes it slower by sending T'Challa on a cultural tour of Biti to get in touch with the people. Ewing earns high marks for the expansive world-building in a fictional city, but after seven issues, the plot is barely formed, and T'Challa is still in information-gathering mode.

Black Panther #8 continues the slow crawl toward an uncertain destination. A Monet St. Croix cameo adds little value to the mystery, things happen that don't appear to relate to the plot, and Ewing wastes too much time on character and world-building through conversations and self-reflection. At some point, this story needs to get moving.

Black Panther #9 serves up big answers to most of the major, lingering questions about Kivu'Ma and the disappearing citizens of Birnin T'Chaka. Ewing finally gets around to creating a clear plot with decent art, engaging reveals, and solid pacing, but the cancellation next month confirms why you can't waste time at $3.99.

Black Panther #10 practically sprints to the finish line in T'Challa's conflict with a soul-sucking demon. The art is intricate to a fault, and the broader plot points are quickly resolved, but the need to rush due to cancelation is apparent, leaving a slapdash and unsatisfying conclusion.

Black Panther: Intergalactic #1 is competent setup with enough mystery and visual polish to justify reading a second issue, but it doesn't do enough in its own right to earn a permanent spot in a reader's regular pull list.

Black Panther: Intergalactic #2 is a philosophical exercise trapped in an exposition machine. The core concept of an AI-driven superhuman army operating on a terraformed planet is original enough to warrant attention, and Nesi's artwork demonstrates technical skill, but the script's determination to explain every element of its own world leaves no room for reader engagement or character discovery.

Blade #1 does exactly what it needs to do for a new series starring Marvel's resident monster hunter. The story is simple-yet-effective, Blade is in top action form as a killer, and the new villain presents as an intimidating threat.

Blade #2 slows down the pace on the hunt for Adana to fulfill a side quest to rescue a mystical arms dealer who just may have the weapon Blade is looking for. Bryan Hill's mood, atmosphere, and personality for Blade are on-point, and the art looks great, but the urgency to find Adana takes a noticeable dip.

Blade #3 continues to impress. Bryan Hill presents a Blade that's a spiritual successor in every way to Wesley Snipes's badass rendition, the story is getting more interesting by the minute, and the cool, slick art is not your typical Marvel fare.

Blade #4 is a standard, predictable next step in Blade's quest to take down Adana. The art's super and the action is energetic, but the utter predictability of the outcome neuters any excitement.

Blade #5 makes a bizarre time jump to skip the conclusion of the first arc and begins an epilogue to set up the next arc. Truly, you'll feel like you missed an issue in between, but it's not you. Whatever strategy Hill was going for, it didn't pay off.

Blade #6 gives readers what should be a cataclysmic meeting between two enemies but delivers an issue devoid of dramatic tension or wow moments. Blade does what he sets out to do, and Hill does give Blade a level-up, but the overall issue falls flat.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Blade #8 finds the titular Daywalker stumbling upon another potential aid to defeating the Adana. Casagrande's art depicting Hell is imaginative, and the new addition to the team is a surprising twist, but Hill's path to defeating Adana feels like Blade is stumbling around in the dark.

Blade #9 does exactly what a penultimate issue should do - establish the stakes and set the stage for an impossible-to-win battle. Hill's latest issue gives the arc badly-needed purpose and direction, and the art is solid.

Blade #10 ends the Adana, the arc, and Bryan Hill's tenure on the series with the most generic, underwhelming finale possible. Casagrande's art is solid, and in fairness, the ending is complete, but the ending only works if you accept the uber-strong threat of the Adana has suddenly become a basic demon that can be struck down with a sword.

Blade: Vampire Nation #1 gives readers an informational tour of the inner workings of Dracula's Vampire Nation, wrapped in a bland, low-tension murder mystery. The art is excellent, but the story lacks stakes, urgency, or energy beyond the prologue.

Blood Hunt #1 kicks off Marvel'smajorevent for 2024 with high stakes,bigaction, and a decisive sneak attack that creates a seemingly impossible challenge for the heroes. That said, the almost total lack of setup is weird. Clues that have supposedlybeen plantedin other titles meant nothing, and the big bad is an out-of-the-blue surprise that makes little sense given the Master's recent activities. Blood Hunt looksgreatand feels big, but the sloppiness in details and setup results in a mixed bag.

Blood Hunt #2 gives Earth's mightiest heroes a moment to counterpunch the Bloodcoven's sneak attack and regroup. Pepe Larraz's art is amazing, and big things are happening, but MacKay's plot is too shallow to let any moment or character develop beyond a quick scene, so the issue comes off as wholly forgettable.

Blood Hunt #3 assembles the Avengers before splitting them into teams to tackle the vampire apocalypse on multiple fronts. Larraz's art is fantastic, but this story is almost all setup, posturing, and speeches that fail to build hype for whatever comes next.

Blood Hunt #5 ends a (too) massive Summer event on a mediocre note. The big battle is just okay, the outcomes are predictable, the plot is paper thin, and at least one twist you could see coming from a mile away. The saving grace of this event is Pepe Larraz's spectacular art, but on the whole, this ending and the event are forgettable.

Bloodline: Daughter of Blade #1 is wholly uninspired, cheap, amateurish, and worst of all, boring. If you've been anxiously awaiting the arrival of Blade's daughter for a new generation of adventures, you will be sorely disappointed.

Bloodline: Daughter of Blade #2 is a mild improvement over issue #1. The pacing and dialog are significantly better, and the story is moving, but the plot is amateurish and completely lacking in character motivations or setup.

Bloodline: Daughter of Blade #3 reads more like the third act in a sedate Afterschool Special than a Marvel comic about a family of vampire hunters. The plot barely moves an inch, the well-choreographed action only makes up a fraction of the issue, and everything else is just plain forgettable.

Bloodline: Daughter of Blade #4 is a mediocre comic with sub-par art, a predictable plot, and a main character trying too hard to be a third-rate Buffy knockoff. Marvel missed the mark on this one.

Bloodline: Daughter of Blade #5 ends as well as it could for a Buffy the Vampire Slayer knockoff with awkward character work, truly awful dialog, and YA-grade art that doesn't fit the characters or situation. The plot threads are wrapped up neatly with a happy ending, but the quality of this mini-series never managed to achieve minimum Marvel standards.

Captain America #750 is an odd mix of stories to end one run, set up the penultimate issue in another, and add a few shorts for good measure. Ultimately, you get a mixed bag of quality in storytelling themes, several aggressive pushes to qualify Sam as a worthy Captain (without addressing the Falcon problem), and generally good art.

Captain America #1 hits you right in the heartstrings with a simple yet powerful accounting of why Steve Rogers deserves to be the first Avenger. Straczynski's character work is phenomenal, and Saiz's art nails all the emotional beats.

Captain America #2 covers a lot of ground in three plots to weave Steve's actions in the past (before he was Captain America) with a growing evil in the present. That said, the overall reading experience is a little overstuffed, and the one plot concerning Steve in the present is the least interesting aspect of this comic.

Captain America #3 is a thoroughly crafted issue that sets the stage for you Steve's experience with Nazis in the past and the parallels to a murder mystery in the future. Unfortunately, this issue has too many extraneous scenes explaining why the Nazis are bad, which drags the pacing to a crawl.

Captain America #4 delivers a solid yet mundane entry in the series as young Steve's life is about to encounter a Nazi terrorist plot, and Cap in the present has his first encounter with Asmoday's Emissary. The art and writing are technically executed well, and the plot's direction is taking shape, but the comic lacks something to get excited about.

Captain America #5 increases the past/present parallels and the urgency when mass murder plots draw closer to execution. Straczynski gives new and seasoned readers plenty of reason to admire Cap as a true blue hero, and the art team does a respectable job in a dialog-heavy issue, but the lack of connection between past and present is starting to feel like a waste.

Captain America #6 brings the fight against Asmoday and the Emissary to a close with fast-paced action and a tight conclusion that sets up (demonic) trouble to come. That said, too much of this title is taken up with Young Steve Rogers's adventure in the past, which turns out to have no appreciable importance to the Captain's adventure in the present.

Captain America #7 kicks off a new adventure that draws Cap much deeper into the mystical side of the Marvel universe. The art and story feel like a Sandman story from DC, but in this case, that might be a good thing,

Captain America #8 drops Cap in the middle of a literal fight between Life and Death for the fate of the world. Straczynski's supernatural plot may not fit a typical Cap story, but it's a rousing comic nonetheless, and the art looks great.

Captain America is weird, surreal, and dull. You'd think a Cap adventure that puts him in the middle of a war between Life and Death would be more energetic, but Straczynski is overly focused on dialog with hidden meanings, strange plot occurrences, and subdued pacing.

Captain America #11 is chock full of interesting concepts and ideas about fate, prophecies, and destiny. That said, characters standing around and talking for thirty pages makes for a boring comic. The art is decent enough, and good ideas are present, but the listless pace and lack of action or urgency are killing this series.

Final ThoughtsCaptain America / Iron Man #1 is a fun and engaging first issue with the top leaders of the Avengers chasing down an unassuming villain whose little plan may be more dangerous than anyone realizes. The art is great, and Landy perfectly captures the characterizations of Cap and Tony. However, a few of the minor plot points don't quite add up, relying on the reader to turn a blind eye to get the best experience out of the issue.

Captain America / Iron Man #2 has great art with fun, kinetic action and a few nice exchanges between Cap and Iron Man. That said, the overall plot is a jumbled mess and the character of Veronica Eden quickly turned from intriguing in issue #1 to nerve-grating levels of irritating in issue #2. What a disappointment for such a promising start.

Captain America / Iron Man #3 tries to have fun with heartfelt moments between our lead heroes, and a cool robot battle but fails at everything else. Eden's plan is nonsense, her "partnership" is nonsense, and despite some very fine art, this series as a whole is turning into pure nonsense.

Bits and PiecesCaptain America/Iron Man #4 connects all the dots to reveal the villain's master plan, but it's a convoluted mess. Landy goes out of his way to prove that the shortest distance between two points looks like an unspooled ball of yarn gathered in a heap. That said, there's plenty of great rock 'em, sock 'em robot smashing. Buy it for the visuals, but save yourself the headache and ignore the mess of a story.

Bits and PiecesCaptain America/Iron Man #5 ends the mini-series somewhat neatly with great art, great action, and a complete ending that leaves the door open for more. That said, the great art and action are put up against a convoluted plan and confusing characters for a generally mixed arc.

Captain America: Cold War #1 is a lackluster start to a lackluster event that continues the storyline from the lackluster Captain America: Sentinel of Liberty series. The Outer Circle's motivations remain a mystery, the team-up between Bucky and White Wolf doesn't have a clear point, and the art is a mixed bag.

However good or bad you thought the Cold War "event finale was going to be, you're wrong. Captain America: Cold War Omega #1 is an absolute trainwreck with fantastic art encumbered by a nonsensical, convoluted, boneheaded conclusion. Save your money.

Captain America: Sentinel of Liberty #1 brings in all the standard Captain America tropes about a man out of time trying to fit in when a terror threat calls him to action. The art is excellent, the pacing starts slow but picks up steam at a good point, and the thrilling action introduces an intriguing conspiracy mystery.

Final Thoughts:Captain America: Sentinel of Liberty #2 unwraps a secret cabal powerful enough to wield power over every other secret organization on Earth, both good and evil. The pacing is excellent, the dialog (except for an inexcusable line that comes off as an insult) is natural, and the plot has plenty of meat on the bone. However, the main villain reveal feels like another "been there, done that" retread that sucks all the creative potential out of the series.

Captain America: Sentinel of Liberty #3 ticks all the technical checkboxes for what you want to see in a Captain America comic. Cap's "voice is right, the action is energetic, and the stakes are high. However, the big revelation hinges on a very large plothole, and the villain's identity is remarkably unoriginal.

Captain America: Sentinel of Liberty #4 gives readers a grand tour of Cap's neighborhood as he asks everyone he knows what they think about America. The cynical, jaded views of America will turn some readers off, but the message isn't the flaw. It's the fact that an entire comic is taken up with Cap figuring out what America means to him. This issue is a waste of space.

Captain America: Sentinel of Liberty #5 may be the best issue in the series so far, relatively speaking. Readers get lots of big action and heroics to hold your attention, and Bucky carries the dramatic weight of the issue when he's confronted with the knowledge of the Outer Circle's influence on his life.

Captain America: Sentinel of Liberty #6 is a single fight scene that doesn't further the story or reveals any information relevant to this arc. It's a filler issue in every sense of the word.

Captain America: Sentinel of Liberty #7 follows up the heartbreaking conclusion to issue #6 with a lot of moping, a little progress, and a big cliffhanger that comes out of nowhere. The art is solid, but the writers are putting too much burden on readers to stay invested in a largely listless and boring story.

Captain America: Sentinel of Liberty #8 is an odd issue that loosely strings seemingly random events together to create a general approximation of a story. Some of the random events make sense, most do not, and the majority of the issue is simply people standing around talking.

Captain America: Sentinel of Liberty #9 appears to be moving the story in a clear direction until it stops and throws everything away for some unknown purpose. Half of the dialog is painfully awkward, half of the art is chaotically confusing, and half of this entire issue appears to be a waste.

Captain America: Sentinel of Liberty #10 looks great and has an exciting premise when you think about it, but the characters lack motivation, and the stakes are entirely absent. You're not given a reason to care about what's happening, so the result is a tedious, lifeless slugfest.

Captain America: Sentinel of Liberty #11 ends the major conflict against the Outer Circle (for now) with a big ol' "meh." Carnero's action sequences are great, but the fight ends with a minor victory that doesn't truly resolve anything. It feels like the conclusion goes soft as a setup for better things in the next event, which is a poor excuse for an ending.

Captain America: Sentinel of Liberty #12 delivers plenty of solid fighting action, good dialog, and quality art to bring the Captains closer to Dimension Z. That said, the omnipotent Outer Circle is suddenly showing cracks under the pressure, which feels like a contrived convenience.

Captain America: Sentinel of Liberty #13 delivers the penultimate chapter in the Cold War event with an issue that invalidates previous actions and jams a collection of disconnected, random scenes together without explanation or sense. At best, this issue is a time waster to get to the finale.

Captain America Finale #1 ends the series as a perfect encapsulation of the series as a whole a little bit of good, a little bit of silly, and a whole lot of uneven mediocrity in between. Carnero's art is the clear highlight of the finale, and the ending ties up most of the loose ends, but it's time to move on to bigger and better things.

Captain America #0 is the type of comic you will enjoy if you ignore the absurdity of the setup, the villain's plan, and the clunky dialog. Better yet, simply ignore the words and canonical inconsistencies altogether to focus solely on the action pictures.

Captain America: Symbol of Truth #1 has a great look to it with excellent panel design and colors. However, the story has too many nonsensical plot points that don't make any sense, and the big battle scene contains some of the most head-scratching choreography in recent memory. If this is the best Marvel could do for a Sam Wilson/Captain America #1, the series is already in trouble.

Captain America: Symbol of Truth #2 lays out a complex and deepening mystery, but Sam and Joaquin do everything but ask basic, common sense questions. It's hard to tell if Oyebuchi is writing sam and Joquin as bumbling detectives or if he doesn't understand the basic mechanics of an investigation. Either way, this story has fantastic art covering for a bumbling, stumbling story.

Captain America: Symbol of Truth #3 is a nonsensical series of random events where Sam Wilson investigates a Vibranium smuggling operation with no evidence and little more to go on than third-hand rumors. This issue is the opposite of a smart mystery where nothing is set up and none of the dots connect until the script tells you they connect. At least the art is visually solid.

Captain America: Symbol of Truth #4 is a chaotic, jumbled mess. Characters are suddenly in one part of the world and then another in the blink of an eye. White Wolf's plan involves kidnapping Mexican citizens without rhyme or reason, faking a terrorist attack in Wakanda without rhyme or reason, and smuggling tons of Vibranium out of Wakanda without rhyme or reason. This story is nonsense.

Captain America: Symbol Of Truth #5 starts off with a fight that makes little sense and ends with a whimper instead of a bang. While the art is enjoyable and the individual issue is the most coherent of the run so far, the writer neglected to do basic research about the characters or how to construct a plot.

Captain America: Symbol of Truth #6 starts fresh with a banger of an issue when a visiting Prime Minister is attacked by assassins. The story is the cleanest and most straightforward of anything we've read from Onyebuchi, the art is fast-paced and energetic, and the cliffhanger is full of foreboding and intrigue.

Whatever Tochi Onyebuchi intended to do with the first issue in this new arc has been completely abandoned in Captain America: Symbol of Truth #7. Sam forces his way into a Civil War on foreign soil because he chooses to do so, forgetting the plot elements set up in the previous issue and doing nothing to progress the plot in this issue. The art's great, but the story is an utter miss.

Captain America: Symbol of Truth #11 ends the conflict against White Wolf with an issue-long fight. The choreography and artwork are excellent, and the fight's conclusion feels satisfying.

Captain America: Symbol of Truth #12 continues the Cold War event with fighting in the snow and heroes reacting to enemies, but without a clear plot, direction, or goal, this event is going nowhere fast.

Captain America: Symbol of Truth #13 is an issue-long fight that tries to duplicate the gravitas of Cap and Iron Man's conflict in Civil War but falls miles short. The art looks great, and if you just want to see the Captains fight, you may enjoy this comic. However, Onyebuchi's nonsensical character choices and Silva's wonky fight choreography make this issue a miss.

Captain America: Sentinel Of Liberty #14 ends the series and the creative team's involvement with two plot threads that start a story that will never be finished. Sam Wilson is depressed, and Joaquin might be given an untested cure. Ultimately, there is no point in this issue.

Captain Carter #1 is a direct sequel to the "What If"?" character of the same name in a slightly different timeline. The character work to help readers get to know Peggy in a modern world is stellar, the art is equally stellar, and this was an enjoyable comic overall.

Captain Carter #2 almost completely derails the goodwill built up in the first issue with a heavy-handed, overstuffed collection of unrelated (to the plot) lectures about everything from the failures of Brexit to Colonialism. Somehow, the creators forgot this is supposed to be fun escapism. Skip this title until they remember.

Captain Carter #3 has excellent plotting, pacing, dialog, and action. Unfortunately, it's almost a direct copy of Captain America: Winter Soldier (2014) with a British setting, which misses the whole point of "What If?. If all you want is an excuse to see Captain Carter in action, this issue is fine. If you want a little more imagination in your Elseworlds story, skip this one.

Captain Carter #4 moves the story forward with a solid mystery that ends with a twist reveal you won't see coming. The art is excellent, plenty of exciting action, and the pacing keeps the energy up. However, the new addition to the team adds nothing of value, and her constant lecturing drags the issue to a crawl whenever she speaks.

Captain Carter #5 ends the series with the best issue in the series. The best part is the utter lack of pace-killing lecturing from Peggy's neighbor, Harley. There are plenty of Mission Impossible-style shenanigans, prison escapes, and vampire fights to end the troubled series on a relatively high note.

Captain Marvel: Dark Past #1 is a measured, veteran opening that trades flashy combat for a deep, psychological dive into Carol Danvers’ psyche. The sharp dialogue and expressive art make the character’s internal struggle feel palpably tense and worth the investment. While it leans heavily on established tropes, the creative synergy between Jenkins and Werneck ensures the story remains grounded and engaging. Ultimately, this issue earns its spot on the pull list by promising a mature exploration of identity that actually cares about the person behind the mask.

Children of the Atom #1, has excellent art and is certainly a different kind of X-Men story. Despite a bumpy start, the writing settles into decent levels as the issue progresses, and the story opens up many questions that put a lot of pressure on future issues to pay off.

Children Of The Atom #2 is telling a story that's going nowhere fast. You get the impression there's going to be some big reveal or point made with cosplayers pretending they're mutants when they're not. If you've read issue #1, you can skip issue #2 and hope #3 goes somewhere. This issue still gets a 6.5 for the excellent art by Chang and team. At the very least, it's a good looking comic

Final Thoughts Children of the Atom #3 contains good art, but the plot structure and execution is a confusing blob. You get the impression the writer is eventually getting to some point or big reveal, but whatever it is, the painful journey is making it hard to get there.

Children of the Atom #4 has good art, but the story is a mess. The big mysteries built up over the last three issues are lazily eliminated, and the new mysteries introduced in issue #3 aren't even mentioned. this series is quickly proving to be utterly pointless.

This is a well drawn and visually appealing comic, but the story structure and writing borders on incompetent.

CHILDREN OF THE ATOM #6 ends the series with a heartfelt and well-written coming out story. The art is great, and the conclusion hits an optimistic note for the future.

Cloak Or Dagger #1 has the pacing of a speeding bullet, but trips on every line of dialog like a toddler chasing a soccer ball. The comic sets up a world dying for a showdown with Doug Ramsey but never delivers, serving up Fenris Twins mayhem as a consolation prize. At least the art sells the crisis, even when the writing insists on tickle tickle instead of tickling brains.

Clobberin' Time #1 is a big pile of clobberin', smashin' fun. Skroce's snappy banter is highly entertaining, the action is cartoonishly violent (in the best way), and the connective mystery linking this issue to the next is intriguing.

Clobberin' Time #2 leans into the satire to poke fun at everyone and everything about modern culture while delivering a rock-solid adventure about a thief from the future who may be intent on rewriting the past. The jokes (mostly) land, Skroce's unique art style suits the script, and the plot is deceptively intriguing.

Clobberin' Time #3 rolls up its sleeves and gets down to the business of telling a "serious" time-traveling adventure that partners Thing with Dr. Strange. Unfortunately, the time travel explanation surrounding Ogdu (the thief) doesn't quite work, and the highlights from issues #1 and #2 (fun and humor) are greatly reduced.

Clobberin' Time #4 unveils Psychopomps' grand plan to establish him as a universe-ending threat. The plan is creative, and the general art and writing execution are good, but the style of the art doesn't match the tone of this issue as well as it did in the previous chapters.

Clobberin' Time #5 brings the wildly weird time-traveling adventure to a close with big action set pieces, an uptick in humor, and a mostly satisfying conclusion.

Concert Of Champions #1 marks Jason Loo's second crack at bringing life to the X-Men's most famous mutant musician, and the results are about what you expect. Fans of Dazzler get to see the musician in all her hero glory, but the plot is a convoluted mess of random events that happen without explanation or good reason. If nothing else, the art is solid from returning artist Rafael Loureiro.

Cosmic Ghost Rider #1 resurrects one of the weirder characters of the Marvel Universe with a promising start to a mystery about a killer who may or may not be Frank Castle. Juann Cabal's art is fantastic, and Phillips lays a solid foundation for an intriguing story.

Cosmic Ghost Rider #2 ups the bounty hunter challenges for Frank Castle but doesn't do much else. The art looks great, and the action is kinetic, but the story lacks any clues about the second Riders identity and doesn't have a direction for Frank other than survival.

Cosmic Ghost Rider #3 contains solid sci-fi art and memorable characters, but the central mystery isn't compelling, so it's becoming a struggle to care about what happens in this comic.

Cosmic Ghost Rider #4 dispenses with the teases to reveal the entire mystery surrounding the second Rider's identity. Unfortunately, the reveal is a bizarre (and convenient) explanation that shifts the series into a humorous tone that doesn't fit the previous issues. The art looks great, but any urgency or anticipation going into the finale has fallen flat.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Crypt of Shadows #1 is a mixed-bag anthology with a few hits but mostly misses. On the whole, the art is solid, and the stories pull together an eclectic collection of ideas, but several stories suffer from not enough page space or not enough writing quality.

Avengers: Curse of the Man-Thing #1 is a lot of fancy complicated machinations that establishes an extinction-level threat but it's so contrived that it fails to make an impact. The art is decent enough but nothing memorable or stand-out.

Cyclops #1 commits the cardinal sin of first issues by spending twenty pages setting up a premise it barely begins to deliver. The survival thriller advertised on the cover and teased in promotional materials exists almost entirely in potential rather than execution, with the actual "Cyclops hunted while blind" scenario occupying perhaps three pages of a standard-length comic. The concept has legs, the execution of this debut chapter is fatally unfocused, front-loading exposition when it should be delivering tension and excitement.

Damage Control #1 tries its darndest to create an amusing, whimsical adventure starring a hapless intern in Marvel's version of The Office. Unfortunately, the jokes fall flatter than a postage stamp under a 10-ton boulder, and the main character, Gus, gives you no reason to either like or hate him.

Damage Control #2 is a wildly unfunny attempt at showing the absurd side of the Marvel universe. The main character has evolved from an audience placeholder to an annoyingly off-putting idiot in the span of a single issue, so the only thing funny about this issue is the cover price.

Damage Control #3 continues to succeed in one thing only failing to find the funny. The main character is an annoying man-child, his latest adventure makes little sense, and the only redeeming quality of this issue is a slight hint that Gus's employment may be part of a larger plan.

Damage Control #4 rinses and repeats Gus's efforts to find a good fit for himself at the titular agency. The jokes are cornier than a cornfield in Kansas, the farcical humor misses more than it lands, and by the end, you feel like you're reading a comic version of a sitcom doomed to cancellation.

Damage Control #5 ends the series with the shocking reveal of Gus's history, and it winds up being as dumb as this series as a whole. While the art is quite good, and the general pacing and dialog execution are excellent, the story makes no sense, and the jokes fall flat. As a whole, this series is a waste of time.

Danny Ketch: Ghost Rider #1 is a straightforward and super-effective re-introduction to the second Ghost Rider, Danny Ketch. Howard Mackie's script is on point at every level, and the art is very strong.

Ghost Rider #2 delivers another solid issue with old enemies coming back to cause trouble with enhanced powers and deadly stakes to keep the Rider on his toes. That said, the story is clear but a bit too busy in spots, so the main plot gets lost in the noise.

Danny Ketch: Ghost Rider #3 packs a mountain of a story in a single issue to bring the heroes together, escalate the stakes, deliver supernatural action, and move everyone into position for next month's finale. The amount of plot movement leads to a rushed feeling, but the plot is solid.

Danny Ketch: Ghost Rider #4 brings the nostalgic mini-series to a brisk close as Howard Mackie rifles through the scenes to sprint across the finish line. Each scene is technically complete, but there's no time to develop drama, emotion, or tension.

Daredevil #1 (2022) hits the ground running as Matt Murdock ties up loose ends before saying goodbye to NYC for good. The art is jaw-dropping, and Zdarsky packs every scene with drama and emotion. However, there are a lot of settings to keep straight, some without any apparent connection to the main plot, so your enjoyment may be mixed with confusion.

Daredevil #2 (2022) sets up one of the most unique and intriguing villains in the Daredevil canon. How do you punch Fate? How do you arrest Destiny? It's an interesting idea that makes for a completely unknowable journey, and I'm looking forward to taking it.

Daredevil #3 (2022) takes the off path of ignoring the big surprise threat(?) to focus on the B plot of Matt's ascension to the Hand's new leader. The shift in the arc's direction is jarring, and most of this issue focuses on setup and foreshadowing, but the stellar art and engaging writing hold your interest.

Daredevil #4 feels like a minor, quiet issue where not much happens, but looks can be deceiving. Characters grow, Daredevil and Elektra take significant steps, and the tension of a brewing war between the Fist and the Hand is in the air.

Daredevil #6 continues the extended break in the action to engage in multiple therapy sessions with the recently escaped Raft inmates. The art looks great, and the dialog is well-crafted, but the story is moving at a snail's pace, resulting in a well-crafted but dull issue.

In all, Daredevil #7 has a few bright spots and gorgeous art, but the story takes a breather from the looming war with the Hand to deliver a one-dimensional social message about the evils of corporations, the damage of gentrification, and the flaws of the prison system. There's nothing wrong with social messaging, but when it's delivered so flatly, the issue reads more like a lecture than a thought-provoking idea.

Daredevil #8 gives readers the big battle readers have been waiting for. While the action lives up to the hype, it's hard to follow who's saying what, and the power mismatch between Punisher and Daredevil doesn't make sense.

Daredevil #9 surprises readers with a cooldown issue after the big battle against The Punisher that immediately flips into a game-changer. The surprises are… surprising, and the stakes escalate significantly.

Daredevil #10 takes the big developments from issue #9 and goes even bigger with fantastic art, thrilling action, rollercoaster pacing, and painfully emotional moments for the titular hero. Zdarsky's time on this title is rapidly coming to an end, and it looks like he's doing everything possible to leave with a bang.

Daredevil #11 puts a cap on Daredevil's failed reign as leader of the Fist with a cooldown issue that's light on action but heavy on drama, consequences, and pain. Zdarsky earns big bonus points for pushing the characters to new places in their canon, and the art is gorgeous.

Daredevil #12 sets Matt Murdock on a road to Hell, and the results are memorable. It's unclear how Zdarsky plans to wrap up his run on the Man Without Fear, but the setup for the forthcoming finale is turning out to be a wild ride.

Daredevil #13 takes the phrase "go big or go home" to heart with a massive fight in the pit of Hell to save Daredevil's friends. The writing and art are beyond reproach, and the ending sets an impossibly high bar heading into the finale.

Daredevil #14 takes a breather from the end of the last arc to let Daredevil's friends and loved ones grieve and remember in their own ways. Zdarsky piles on heaps of emotional beats to give Dardevil's death weight, but the pacing and energy take a dip as a result.

Daredevil #1 is a solid start to Saladin Ahmed's run on the title as Matt Murdock's quiet life after hell suddenly takes a demonic turn. Matt's resurrection question is intriguing (almost too much so), and that looks great. If Ahmed can pay off the resurrection question quickly and satisfactorily, this series will be off to a great start.

Daredevil #2 gives the returning Daredevil two new challenges to tackle, but the challenges feel small and inconsequential compared to the prospect of a pending demon attack. Technically, the issue is solidly constructed, but the central theme just isn't that interesting or exciting.

Daredevil #3 cranks up Daredevil's fight against a new gang in town and saddles Matt with new challenges when his priority for caretaking St. Nick's is tested. In isolation, Ahmed is delivering a classic Daredevil story, but too many questions from the first issue are ignored.

Daredevil #4 leans heavily on the action, light on Father Matthew's exploits as the head of an orphanage, and completely away from the mystery of Father Matthew's resurrection. On the whole, the issue is relatively entertaining simply for the action, but the lingering mysteries don't have enough clues or punch to hold your attention.

Daredevil #5 takes a break from the serious tone for an amusing episode that finds She-Hulk and Daredevil confronting Gluttony. Ahmed's technical execution is on point, and Karami's art looks fantastic, especially for She-Hulk, but the pacing of the arc is becoming increasingly uneven.

Daredevil #6 continues Father Matthew's fight against the Seven Deadly Sins by forcing him to accept why they're attacking in the first place. The answer just might whelm you. That said, Kuder's surreal art is strong, Daredevil's white armor makes a return appearance, and the next victim of possession arrives for a solid cliffhanger.

Daredevil #7 sets up and takes down the next Deadly Sin on Daredevil's journey with a brutal, almost-issue-long fight. That said, the setup to make the fight possible and the semi-religious way it ends feel contrived and a tad lazy.

Daredevil #8 celebrates Horn Head's 60th Anniversary with an 80-page anthology froman assortment ofwriters, including a continuation of the main title. Ironically, the least of these is the main story unveiling the mastermind behind the Heat, but overall, this is a serviceable read.

Daredevil #9 is a frustrating, unsatisfying issue. The Seven Deadly Sins storyline is on the back burner. Ahmed takes a few shortcuts to re-establish Matt's relationship with Foggy and make Kingpin a viable presence despite his activity with the X-Men. The whole series appears to be going nowhere fast when you consider all plots are on hold until the tie-ins with Blood Hunt finish, so the planning for this title is a mess.

Daredevil #12 continues the rinse & repeat arc of Daredevil facing off against a friend or foe possessed by one of the Seven Deadly Sins. All props go to Aaron Kuder's imaginative art, and in fairness, the fight is well done, but this arc has become tediously repetitive.

Daredevil #13 is a slow, repetitive, action-free issue that ends on a small high note. The art team does the best they can with an action-free script, but the plot is meandering at a snail's pace. It's clear Saladin Ahmed is padding the heck out of this arc to stretch it out, and the result is a dull read.

Daredevil #1‘s creative team assembles a competent package that sets up Matt Murdock’s new chapter with clear intent and the pros deliver steady character work plus atmospheric art that fits the tone. The cons however pile up around the slow pacing and limited action that turn the whole issue into an extended prologue rather than a story that earns your time. In the end this one does not earn a place in a limited comic budget because the fundamentals of momentum and energy simply are not there. In short, it’s boring.

Daredevil/Punisher: The Devil's Trigger #1 is a solid albeit flawed buy if you care more about Daredevil wrestling with broken institutions than about actually spending time in Punisher's head, because the book commits to Matt's crisis and delivers a full narrative loop in one chapter. If you are hoping for a balanced co-lead drama or a truly surprising ethical puzzle, the one-sided execution, underdeveloped Punisher, and the strange "no one sees the guy hanging from the ceiling moment drag down the return on your time and money.

If you are already invested in the series and want to see how Matt's faith in the legal system finally breaks, this issue earns a place in your monthly stack. If you are new to the story and hoping for a character-driven two-hander between equals, this is a Daredevil book that uses Punisher as a moral catalyst rather than a fully realized co-lead.

Daredevil & Echo #1 kicks off a horror mystery about an ancient evil waiting to emerge from the bowels of Hell's Kitchen. Taboo & B. Earl have an interesting concept on their hands, and Phil Noto's art looks good, but this single issue tries to do too much at once, so the plot feels rushed.

Daredevil: Woman Without Fear #1 takes a detour from Devil's Reign to reveal Elektra has a deadly enemy after her. An enemy that knows nearly everything about her past and her secrets. Despite needing a few extraneous scenes trimmed, the story was largely enjoyable and the art is just about perfect.

Bits and PiecesDaredevil: Woman Without Fear #2 is another strong example of simple-yet-effective storytelling. Zdarsky and the art team expertly intermingle small yet powerful emotional moments with rough and tumble hand-to-hand action scenes for brisk and entertaining read.

The art is excellent. The fight scenes are well-choreographed, there's plenty of energy in the action, and the coloring is outstanding. If the story would bring readers something new or interesting, this would be a top-tier comic.

Dark Web #1 kicks off the supernatural event with new alliances, demonic attacks on NYC, and quickly spiraling chaos. The art is excellent, and there are a few interesting developments in this issue to hold your attention, but the villains' plan doesn't seem fully formed, and the collaboration between the villains doesn't make a lot of sense.

Dark Web: Finale #1 ends the event the way it began - with bad humor, nonsensical plot points, and weird creative choices. If ever there was a case to say an event didn't need to exist, this is it.

Dark Web: Ms. Marvel #1 is a lot of pointless fluff and nonsense that contributes absolutely nothing to the Dark Web event. The issue is primarily random, slice-of-life events that don't grow Kamala Khan's character or elevate Ms. Marvel as a hero. The one scene that ties this comic to the plot of Dark Web was already shown in Dark Web #1, so this book is a waste of time and money.

Dark Web: Ms. Marvel #2 is an embarrassing misstep in an increasing number of embarrassing missteps for the Dark Web event. The plot is a random collection of events strung together, there's nothing in this issue contributing to the Dark Web event as a tie-in, so there really isn't much reason to read it.

Dazzler #1 is an embarrassment of riches for people who like the idea of Marvel superhero comics but don't actually read Marvel comics. Jason Loo's script is a mind-boggling array of social activist talking points, non-sensical character representation, and painfully tone-deaf plot developments. But at the very least, the art is pretty good. If you read Marvel superhero comics because you like Marvel superhero stories, avoid this issue at all costs.

Dazzler #2 is a significant improvement over issue #1, mainly for being significantly less tone-deaf and offensive. Jason Loo's script sets up a mildly interesting mystery, and Rafael Loureiro's art looks great. Dazzler #2 won't be anyone's pick of the week, but it should earn an award for most improved.

Dazzler #3 takes a considerable step back from issue #2 when Dazzler and Lila take an ill-advised field trip to the worst city in the world if you're trying to go unnoticed. Jason Loo lost the plot (literally) with an issue that's inconsistent with the previous issue and depicts Dazzler making one bad choice after another. If nothing else, the art is very good.

Deadly Hands of K’Un-Lun #1 punches hard with brotherly betrayal and chi-fueled spectacle, carving a worthy spot in your pull list if Iron Fist lore ignites your passion. It stumbles on minor exposition bloat, but the kinetic highs and fresh Lin Lie arc demand your attention over lesser relaunches. In a crowded Marvel slate, this earns its shelf space through sheer narrative hunger.

Deadly Neighborhood Spider-Man #1 has the seed of a good idea, but the concept is dampened with a hook that doesn't make sense and lots of tedious narration. The art has some excellent creature designs, but you'll be tuning out pretty quickly.

Deadly Neighborhood Spider-Man #2 creates a mystical quest for Spidey to duel the Demon bear. While that sounds interesting, the path to get there is convoluted, poorly explained, and doesn't always make much sense. The creepy art is a highlight, but a few splash pages get fancy with the panel layout to the detriment of the reading order.

Deadly Neighborhood Spider-Man #3 is filled with intriguing art and imaginative ideas, but the over-reliance on heavy symbolism makes the plot often confusing, and the lack of character urgency against a world-ending threat is bizarre.

Deadpool #1 is a respectable start to a new arc from Alyssa Wong. The plot is original and makes sense, Deadpool's "voice is a solid impersonation of Ryan Reynolds, and Coccolo's art is above average.

Deadpool #2 takes a step back from issue #1 by reverting the titular to silly, obnoxious Deadpool and creating an issue-long fight that ends in a draw. In other words, the tone and personality of the first issue are gone, and the plot goes nowhere.

Deadpool #4 is a terrible comic filled with terrible dialog, nonsensical jokes, a paper-thin plot, and character moments that don't make sense for the characters in question. At least the art is good, so that's something.

Deadpool #5 tries very hard to end the arc with a big finale, but it generates bad humor, a lot of noise, and uninteresting twists. There's no buzz, hype, or excitement; the only saving grace is excellent art with not-so-great coloring.

Deadpool #6 takes Deadpool and Valentine out on date night while Princess and Lady Deathstrike keep the Atelier assassins out of the way. The slapstick humor largely works, and the action is fun. On every level, this issue is back up to the quality from issue #1.

Deadpool #7 concludes date night with energetic fights, terrible humor, and a main character who has almost no agency in his own comic. The longer this series continues in this state, the less reason Deadpool fans will have to keep reading.

Deadpool #8 has an interesting idea at its core about tricking Deadpool into thinking his world is suddenly different. Unfortunately, the idea winds up being a poorly-executed distraction for the issue's lack of story, and the more you think about it, the less this issue makes sense.

Deadpool #9 completes the penultimate issue in the Atelier arc (and Alyssa Wong's run) to a flat finish with interesting fights, solid art, and at least one surprise, but the overall plot lack drama, and Deadpool's escape scene is embarrassingly contrived.

Deadpool #10 brings the series and Alyssa Wong's time on the character to a close with an uncharacteristically decent finale. The tone, wit, humor, and sweetness that made issue #1 a surprise came back just in time to say goodbye. That said, it's clear Wong was never a good fit for the character, so it's time to say farewell and move on.

Deadpool #1 gives readers plenty of action, but Ziglar misses the boat by delivering a Deadpool who is more sarcastic sadsack than the Merc with a Mouth. Deadpool's personality sets him apart, so missing out on what makes Deadpool special, building the story on Alyssa Wong's fatally flawed run, makes this issue feel like a non-starter.

Marvel/DC: Deadpool/Batman #1 is a disappointing miss. When you team up the most popular characters from both publishers, you should rightly expect action, adventure, and excitement on top of the novelty. Instead, you get half-baked concepts and half-finished art. It's clear, at least on the Marvel side of this venture, the maximum cover price was matched with minimal creative effort.

Deadpool/Wolverine #3 is the issue that explains it all when Wolverine tortures Deadpool to find out who is controlling him, with unexpectedly successful results. Benjamin Percy's short and sweet script dispels several open questions and sets the stage for the fight to come, and Joshua Cassara's bloody, violent art looks great.

Deadpool Team-Up #1 sends Deadpool on a wild and somewhat random adventure to retrieve dragon eggs to get himself out of trouble. Rob LIefeld's art looks as good as ever, and the script is geared for wild fun from start to finish. That said, some of the plot developments range from mildly random to outrageously random, so it's best to turn off your brain before cracking the cover.

Deadpool: Badder Blood #1 picks up Deadpool's race to save Thumper from himself with exciting action, a lightning-quick pace, and trademark Liefeld art. That said, the stiff dialog hinders the reading experience enough to bring down the enjoyment factor.

Deadpool: Badder Blood #2 gives you plenty of Deadpool action, and some of the best art of Liefeld's career, but the issue lacks setup and feels like a completely new story starts out of nowhere. The issue looks great, but readers may be more confused than entertained.

Deadpool: Badder Blood #3 is a bizarre mix of random scenes with random cameos that fill out pages to give Rob Liefeld an excuse to draw cool stuff. If you pick up this issue strictly for the visuals, it's money well spent. If you looking for a story underneath the noise, you may want to wait for the inevitable trade or skip this arc altogether.

Deadpool: Badder Blood #4 wraps up Deadpool's fight with Arcata and Killville, confirming the fight with Arcata and Killville had no purpose other than as an excuse to force a team-up. If you're reading this just for the art, you're golden. If you want a well-constructed story to go with your art, look elsewhere.

Death Of The Silver Surfer #1 is an odd comic. Greg Pak's tale chooses a bizarrely racist protagonist to embark on a mission to kill the Silver Surfer for no clear reason. Pick it up for the fantastic art, but expect to be put off by the story.

Death of the Silver Surfer #2 is a visually striking comic that unfortunately drowns its imaginative cosmic tale in a deluge of heavy-handed social commentary. While the art truly shines, delivering stunning cosmic vistas and dynamic action, the narrative's lack of subtlety regarding xenophobia and immigration makes it a difficult read. The characters, particularly those within the Bureau of Alien Neutralization, feel like mouthpieces for political arguments rather than organic individuals. Despite its visual triumphs and imaginative scope, the issue stumbles in its execution of deeper themes, leading to a mixed bag of cosmic wonder and clunky allegories.

Doctor Strange #1 walks readers through a day in the life of the recently resurrected Doctor to ease readers back into his new status quo as Sorcerer Supreme and a married man. The house calls are amusing, and the bigger threat is substantial, but the plot's main conflict appears to be heading for marriage problems, and it's unclear if that approach will pay off.

Doctor Strange #2 opens the door for a far-reaching conspiracy about a hidden force stealing the souls of children. Ferry's art is outstanding, and the plot is creative, but the low pacing and lack of energy/urgency make this comic a mild struggle to get through.

Doctor Strange #3 takes a break from an arc that's barely started to have Strange take a day with Dormammu to reminisce about old times. The art is gorgeous, and the story works well as a one-shot, but taking a break from a plot that's barely begun suggests MacKay doesn't know where he's going with this series.

Doctor Strange #4 takes a second breather issue in a row to show readers all they ever wanted to know about the Agents of WAND. Despite the lack of Doctor Strange in his own title (he only appears in the last panel), this issue serves as a good primer for WAND fans. That said, Marvel is either going through massive retooling for this series, or MacKay doesn't have a Doctor Strange story to tell and is simply treading water.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.

Doctor Strange #6 finally does two things sorely lacking in this series. First, it introduces a memorable villain worthy of facing Doctor Strange. Second, it adds much-needed momentum to a floundering series. This issue is the best of MacKay's run so far.

Doctor Strange #7 may be the strongest issue in MacKay's run to date as General Strange enters the public stage to make his intentions known with a killer introduction. Technically, this is a setup issue, but the writing and art combine to kick off one heck of a challenge for Doctor Strange.

Doctor Strange #8 takes a step back on the pacing and epicness of General Strange's plan to reignite war. Clea's plan is dangerous but hastily executed, and Ferry's art is amazing. However, it's the last-minute arrival of Doctor Strange that steals the show.

Doctor Strange #9 continues Jed MacKay's most entertaining run in any comic to date, with a hero pushed past his limits and a villain who exceeds him. The magical action is exciting, and the art looks great, plus the cliffhanger has loads of anticipation built in.

Doctor Strange #10 brings the 10-issue arc to a close with a climactic battle that ends General Strange's vendetta in the most fitting way possible from a hero who is also a doctor. MacKay's concept of defeating the villain through healing sounds uninteresting on paper, but the script makes it work, and Pasqual Ferry's whimsical visuals add just the punch needed for a satisfying finale.

Doctor Strange #11 delivers a cooldown issue wherein Strange and Clea have their hands full during a babysitting assignment gone wrong. MacKay's story is amusing without being jokey, and the guest artist on assignment turns in an excellent set of visuals.

Doctor Strange #12 is the second cooldown issue in a row and a Bats-centric story to portend things to come. Readers who are Bats fans will get plenty of time with the ghostly pup, but the story barely qualifies as a prelude to announcing the return of a villain. If you read the spoilers in this issue, you'll get everything you'll need to know about what's coming and can save what you would have wasted on the cover price.

Doctor Strange #13 continues Jed MacKay's bizarre habit of starting new adventures before completing the previous ones, with Doctor Strange enlisting a new Secret Defenders to battle the Marvel version of Jumanji. Still, the team dynamic is mildly amusing, particularly via Taskmaster, whose been (it seems) permanently demoted to comic relief, and Ferry's fantasy artwork is solid.

Doctor Strange #14 brings the faux-D&D adventure to a close with flashy visuals, dragon fights, and a clever resolution to the battle. That said, Doctor Strange makes several questionable choices that seem out of character, and at least two of the Secret Defenders are useless in the final analysis.

Doctor Strange #15 properly continues the Blood Hunt event by taking Doctor Strange off the field (but not really) to make the heroes' challenge even more impossible to overcome. The clues surrounding Blade's sudden turn are intriguing, and MacKay's pace holds your attention, so if you want a Blood Hunt tie-in that matters, this is a good pick.

Doctor Strange #16 is a perfectly decent tie-in issue to the Blood Hunt event, except for one glaring problem. The art is solid, and the entertainment factor is high enough to keep readers engaged, but the entire issue revolves around a plot point that doesn't make sense.

Doctor Strange #17 is certainly an imaginative way to end this two-part tie-in to Blood Hunt, but imagination unfettered isn't always a good thing. MacKay throws a whopper of a Deus ex machina at the wall to put all the toys back in the Marvel toy box, leaving you feeling impressed with the ballsiness of it and simultaneously let down by the silliness of it. Give bonus points to Pasqual Ferry for his excellent art.

Doctor Strange #18 cements the idea that Doctor Doom is truly the Sorcerer Supreme for the time being. Confirmation is nice, but Doctor Strange is too important a character to be used as filler to take up shelf space. This issue, which ends MacKay's run, is a pointless waste.

Doctor Strange #1 is a entertainingly solid first issue that gives you a clear premise, a nasty magical threat, and a specific political mess for Strange to solve, but it also demands a bit of patience for lore dumps and an over-the-top villain plan. If your comic budget is tight and you want a fully self-contained sampler, this might feel more like a paid prologue, but if you are into Strange juggling divine contracts and weird new magic systems, this is a reasonably safe buy with upside for future issues.

Doctor Strange #450 is a surprisingly value-packed anthology that celebrates all the different ways Doctor Strange impacts the Marvel Universe. Contrary to most anthologies, there isn't a stinker in the bunch. That said, too many of the shorts use Doctor Strange as a supporting character in somebody else's story.

Doctor Strange: Fall Sunrise #1 is a strange (*heh*), dreamy, trippy fairytale that follows the titular hero in a strange limbo as he follows a quest whose goal he can't quite remember. The trippy art is an acquired taste, but it suits this story beautifully.

Doctor Strange: Fall Sunrise #2 clarifies the backstory behind Doctor Strange's current predicament and adds a weirdly bizarre mix of religion, ancient legends, and lore for a truly unique experience. In fairness, the mix of concepts makes this issue a dense, heavy read that doesn't always remain lucid, but the experience is fascinating enough to keep going.

Doom #1 is a surprisingly engaging, dramatic, and entertaining comic about Dr. Doom facing the greatest threat to the universe alone. Hickman's fondness for cosmically-oriented situations hits a sweet spot, and Greene's eclectic art style looks great.

Doom Academy #1 is a fluffy time-waster that's a perfect fit for readers looking for the Marvel equivalent of a Harry Potter comic. Mackenzie Cadenhead's dialog-heavy script makes good use of introductions and relationships to build out a pleasant cast of characters, and Pasqual Ferry's bright, whimsical art is a perfect fit for the story material. That said, readers who pick up this issue because it's a tie-in to One World Under Doom will be disappointed by its lack of connection and importance to the main event.

Doom's Division #1 is a rock-solid Tiger Division comic and possibly the best tie-in to One World Under Doom. Yoon Ha Lee's script gives readers a classic foundation for starting a new story and uses the Doom event to show how the world is affected by Doom's leadership at a grassroots level. Plus, the art looks good. This comic won't blow you away, but it's a positive addition to Marvel's biggest event of the year.

Doom's Division #2 is a considerable step down from the first issue with lots of boring chit-chats, cartoonish battles, and a last-page twist that goes over like a lead balloon. Yoon Ha Lee's script is technically adequate, but there's no life to the story. On the plus side, the art looks great.

Dungeons of Doom #1 is a competent setup that knows what it's doing but doesn't do anything particularly memorable with it. You're getting a functional first issue that establishes multiple storylines, creates intrigue through Xavier's warning, and promises chaos when three factions collide underground. The art handles action and atmosphere well, and the pacing moves fast enough that you won't feel cheated of content. However, this is a book trading character connection for plot mechanics, and for the price you're paying, that's a compromise worth questioning.

Elektra: Black, White & Blood #1 gives readers three short stories that highlight why Elektra is considered one of the deadliest killers in all of Marvel-dom. While each story style is different (writing and art), there isn't a lemon in the bunch. That said, it would have served the anthology better if each short paid more attention to saying something new and meaningful about the character.

Elektra: Black, White & Blood #2 is a strong entry in the anthology series with a general focus on treating Elektra as a force of nature or a plot device rather than as a central character. The art is generally good in all shorts, but nothing particularly stands out as a clear winner in the bunch. In other words, this issue is just okay.

Elektra: White, Black & Blood #3 is yet another solid entry in the anthology series with great writing across all shorts (some better than others) and great art (again, some better than others). If you're a fan of Elektra, you should be well pleased with something in this issue.

Bits and PiecesElektra: Black, White & Blood #4 swings for the artistic fences with myths, legends, and poetry in a stronger than average anthology. In fairness, some stories are stronger than others, but there's something here for every Elektra fan.

Exceptional X-Men #1 is not the worst or the best new X-title out of the From the Ashes era. Eve L. Ewing's turn on an X-Men title gives you all you need to know about Kitty Pryde's whereabouts with lots of emotion and introspection. That said, the issue lacks wow moments, the one action scene feels forced, and this first issue tells you almost nothing about where this series is headed or why it exists in the first place.

Exceptional X-Men #2 is a slow, boring, and sometimes uncomfortable chapter in the series. Eve Ewing may be too successful in showing Kitty's attempt to live a mundane life, while Carmen Carnero's art is much better than it has a right to be for the script.

Exceptional X-Men #3 continues to lean into a YA version of the New Mutants with mean girl cat fights, teenagers who talk like they live on Twitter, and a complete lack of drama or urgency. Carmen Carnero's art is excellent, and Eve Ewing's plot is predictably moving toward where you expect it to go, but this issue is soft in every sense of the word.

Expatriate X-Men #1 is a turbo-charged, tension-soaked debut that barrels through espionage drama with an eye for stylish mayhem. Unfortunately, it mistakes confusion for complexity and dangles so many unanswered questions youd think it was auditioning for the Masked Singer. Lyrebirds miscast identity and missing connections are the kind of continuity hiccups that sour the aftertaste. This book has serious potential, but its secrets aren't half as interesting as its fights.

Fallen Friend: The Death Of Ms. Marvel #1 begins the slow, deliberate process of mourning Kamal Khan through a collection of partial scenes and vignettes of widely- and hardly-known characters gathering to grieve. Each chapter centers on a different group of characters in Kamala's life, but the comic as a whole doesn't have anything to say.

The Fantastic 4: First Foes #1 is a strongly executed character study that earns its place on your pull list by offering a sharp look at the roots of villainy. While the slightly abrupt transition between major scenes might distract some readers, the precise character acting and expert color theory ensure the story stays grounded. This comic avoids the usual traps of nostalgia by focusing on the pragmatic reality of professional jealousy and stolen credit. It is a sophisticated narrative that treats the reader like an adult while delivering a definitive origin for a classic antagonist. If you value deep character work and atmospheric art, this is an issue that justifies its cover price without the need for hype.

Fantastic Four #1 is a bizarre way to start the series. It's not a FF comic but a Scooby Doo-style adventure in Pennsylvania starring Ben and Alicia. The story has all the wholesome charm of a YA adventure but lacks any sense of danger or drama. It's unclear why Ryan North chose to kick off a FF reboot without the Fantastic Four, but here we are.

Fantastic Four #2 bizarrely continues the model of delivering an issue that has nothing to do with the "incident in Manhattan or the Fantastic Four together as a team. The art is good enough, and the issue works as a Scooby Doo/Twilight Zone-styled mystery, but if you're looking for a Fantastic Four adventure in a Fantastic Four comic, you may have to wait until the Spring of 2023.