You are currently viewing Comic Book Reviews for This Week: 4/13/2022 – ComicBook.com

Comic Book Reviews for This Week: 4/13/2022 – ComicBook.com

By Chase Magnett – April 13, 2022 11:00 am EDT
Welcome to this week in comic book reviews! The staff have come together to read and review nearly everything that released today. It isn’t totally comprehensive, but it includes just about everything from DC and Marvel with the important books from the likes of Image, Boom, IDW, Scout, Aftershock, and more.
The review blurbs you’ll find contained herein are typically supplemented in part by longform individual reviews for significant issues. This week that includes The Sandman Universe: Nightmare Country #1, X-Men ’92: House of XCII #1, and Kaiju Score: Steal From the Gods #1.
Also, in case you were curious, our ratings are simple: we give a whole or half number out of five; that’s it! If you’d like to check out our previous reviews, they are all available here.
There are some odd coloring choices in Batgirls #5 that contribute to an already murky sense of storytelling. Early on in the issue, two of the titular Batgirls are pursued by a group of three armored ex-mercenaries in a van. However, the mercs’ heavy armor blends into the background in part because they are colored exactly the same as their vehicle’s interior. There are a dozen little weird bits like this in this issue, where the desire to tell a coherent story is seemingly put aside for cool dialogue or cool poses or cool designs. Coupled with the frantic narration and pace of the comic, the result is a comic that’s has good vibes but a frustrating reading experience. — Christian Hoffer
Rating: 2 out of 5
Batman ’89 is finally back, and in its penultimate issue, we’ve gone into full climax mode. The simmering themes of racial tension, Bruce Wayne’s wealth, and police corruption have given way to Harvey Dent’s total transformation into Two-Face and the attempts to stop him from conducting his destructive rebalancing of Gotham City’s power. Those themes still inform each character’s motives but have faded enough into the background that you might overlook them if you picked up this issue cold (or maybe forgotten some things over the long gap between issues). As with previous installments, the line work, colors, and lettering manage to bring the twilight-gothic aesthetic of the films to life on the page. However, this issue’s script involves some subtle, nuanced motion that is sometimes hard to follow from panel to panel. Motion lines that guide the reader’s eye have no clear purpose or starting and endpoints. Despite some muddled storytelling, the overall vibe remains intact and this series’ most significant asset. If you’ve come this far with Batman ’89, this issue won’t disappoint. — Jamie Lovett
Rating: 3.5 out of 5
When it comes to Batman/Catwoman #11, you have to think of it as two different books: one comprised entirely of art and one comprised entirely of narrative. The former is exquisite. The latter is at least readable. We still have the three separate stories in three separate timeliness going on which, as I’ve mentioned before, does not serve this story well at all nor is it well-executed on King’s part, but at least in this issue some of the meandering King has been doing does tighten up a bit. Which of course makes sense. This is the second to last issue. Of course he had to reign it in. That lends itself to a different issue, specifically that after issue upon issue of revealing nothing he’s now just showing everything and still somehow not saying much. The Phantasm thread, however, was nice. As for what this issue does well, Clay Mann’s art is superb on every page of this issue. Even with the narrative lacking, Mann’s art and Tomeu Morey’s colors manage to convey the real story and emotion. Mann’s work with character’s postures is just fantastic and saves the issue from being a waste of time. — Nicole Drum
Rating: 3 out of 5
Batman: Urban Legends #14 has a bit of everything for fans of the Dark Knight, but it also features a brand new team that has instantly become a personal favorite. Batman and Zatanna’s journey through the magic wringer continues in the enchanting and consistently trippy fourth chapter of “Bound to Our Will” by Vita Ayala, Nikola Cizmesija, Nick Filardi, and Steve Wands, and the book leans into the magical fun with its inventive and colorful art style. The book then ends with Mark Russell, Karl Mostert, Trish Mulvihill, and Wands’ “Hounded” fourth chapter, which continues to pull at the heartstrings and make a major case for this animal team getting their own series. The biggest surprise of the issue is “Memory Lane” by writer Che Grayson, artist Serg Acuna, colorist Ivan Plascencia, and letterer Josh Reed, which creates the I didn’t know I needed them until I saw them team of Shiva, Katana, Ghost, and Miracle Molly. Grayson’s dialogue and banter between them is marvelous, and Acuna and Plascencia are the perfect duo to help them shine, allowing their abilities and skillets to pop off the page in a multitude of creative ways. While I did enjoy elements of the Batman and Question team-up “Right Answer, Wrong Question,” this take on The Question just didn’t quite click with me, and I couldn’t really get behind him as the story moved on either. Still some fun elements and the other three stories more than made up for it, so all in all Batman: Urban Legends #14 is an easy recommendation. — Matthew Aguilar
Rating: 4 out of 5
Flashpoint Beyond #0 can be a little confusing, as its a sequel story to not just Flashpoint, but Doomsday Clock as well, but if you can wrap your mind around some of the continuity here, there is an extremely solid story from Johns and Risso. It’s clear that the creative team is having a blast with the material here, taking us back into the world that saw Thomas Wayne taking up the cape and cowl. The final page might have cracking up the DC Encyclopedia but the issue itself does a great job of not just setting up the crossover, but doing so in a guilty pleasure sort of way. I would be remiss if I didn’t talk about the art here as Risso is able to really blend into the world of heroes here, giving us some of the best work we’ve seen this side of 100 Bullets. — Evan Valentine
Rating: 4 out of 5
I realize that the art in Future State: Gotham is supposed to have something of a manga feel to it, but as I’ve said before this really looks more like someone’s rough sketchbook rather than developed art. It doesn’t do this already kind of disjointed story any favors but it other than feeling really messy and amateurish, it’s not really notable. What’s more kind of jarring and really distracting is the lettering. It seems like the style for that is all over the place and, when coupled with some pretty bad dialogue… oof. This issue is a lot of energetic mess. You’ve got the new Joker getting recruited by the actual Joker after a weird “battle” with Peacekeeper red and others, Hush thinks he’s in charge now. and Nightwing wakes up from his drug overdose suddenly wanting to be a Bat. Honestly, any of those stories could be decent, but none of it really comes together. — Nicole Drum
Rating: 2.5 out of 5
Green Lantern #12 brings the Green Lantern Corps and John Stewart into an audacious new era, one that looks to evolve not only the makeup of the Corps and the power behind them but also Stewart’s own individual story and trajectory. Geoffrey Thorne has introduced a host of larger-scale conflicts and elements throughout this run, and while it is a lot to take in at times, the epic scale of the story and its ramifications on the universe still culminates into a cohesive whole by issue’s end and sets quite the compelling stage for future stories. The talented art team of artists Tom Raney and Marco Santucci, colorist Mike Atiyeh, and letterer Rob Leigh navigate the otherworldly concepts seamlessly, with several pages that will give any Green Lantern fan goosebumps as they read them. Several of the book’s hooks offer all sorts of intriguing possibilities, and it would seem the future is awfully bright for the Lanterns once more. — Matthew Aguilar
Rating: 4.5 out of 5
Batman faces off against his first New Yorker supervillain with unexpected results in I Am Batman #8. This is a bellwether issue for Jace Fox, who has struggled to standout since his adoption of the Batman mantle. Fox has different goals as Batman than Bruce Wayne and a different methodology, but all of that has been somewhat overshadowed by the mantle itself. Even to outsiders within the comic itself, Jace is simply “Batman.” But when Jace finds himself out of his depth facing off against a deranged sociopath, he flees when he realizes he’s at a disadvantage. There’s a panel in this comic in which you see the exact moment where Batman feels defeat. Despite his eyes whited over by the Batcowl, you can visibly see Jace’s desperation as he fires a grappling line to escape in full view of his opponent, who comments “Well, that’s a suck-ass Batman” as Jace runs away. While Jace may indeed be a suck-ass Batman, that moment has humanized him more than the previous seven issues have. — Christian Hoffer
Rating: 4 out of 5
In some ways, I am enjoying Naomi: Season Two a bit more than Season One. There’s a much more tangible mystery for Naomi to solve, with Dee disappearing and having a much darker past than she anticipated. I also appreciate how Naomi’s relationship with her father has become much more complex and fractured even though he likely knew that her origins meant that she could have these exceptional abilities. The artwork remains fantastic, with a bright, vibrant color palette filled with pastilles that help Naomi look visually different than the standard DC comic book. However, I do feel that Naomi is stuck in the past – this season is set two weeks after the events of the first mini-series, and as such we are seeing different Justice League rosters and character designs than what exists in the rest of the DC universe. In that way, I do wonder whether this comic came a bit too late, and if DC has really let Naomi‘s moment slip by it. — Christian Hoffer
Rating: 4 out of 5
Is Nightmare Country a story about the land where nightmares roam? Or a country that has, itself, become a nightmare? Both? It will take more issues for the fullness of the plot to reveal itself, but the first issue is asking the right questions: Do you remember your dreams? Fondly? Where have they gone? Can you get them back? Should you? The issue dances beautifully on the border between the waking world and the Dreaming, with stunningly emotive visual storytelling that resonates with haunting clarity. It’s one nightmare from which you won’t want to wake. — Jamie Lovett
Rating: 5 out of 5
Suicide Squad: Blaze #1 landed and was quickly noted to be one of DC Comics’ most impressive debuts of recent years. So it’s a truly impressive achievement that Blaze #2 manages to not only maintain but improve upon the many diverse elements that make it the definition of a must-read superhero comic. The issue opens with sex and violence juxtaposed against one another and portrayed with an impressionistic style overflowing with fury. It’s not just an intense visual experience, it also resets the stakes and style for this story in an astonishing manner no DC Comics reader is likely to see coming. There’s no holding back as each page turn delivers something new, whether that’s belly laugh-level humor, searing displays of violence, intensely detailed character work, or a conspiracy so twisted its final resolution will leave readers chewing their nails until Blaze #3 arrives. The opening sequence also adds new layers to the narrative as it considers the nature of narrative and how the stories we tell ourselves shape us. That thread is borne with stunning grace considering the carnage on the page and paints a nuanced character study that’s rife with relatable tragedy. This is in addition to the horrors of a military-industrial complex presented in the form of Amanda Waller and a variety of other insightful threads. Suicide Squad: Blaze #2 goes to show the magic made on John Constantine, Hellblazer was no fluke because the team behind these books are showing just how much brilliance can still be mined from DC Comics’ many characters. — Chase Magnett
Rating: 5 out of 5
Superman: Son of Kal-El #10 is an almost perfect comic. You’ve got everything you could want in a Superman story. You’ve got Superman saving people, you’ve got Lex Luthor causing trouble. You’ve got Lois Lane being the MVP and you’ve got an unexpected gut punch of a twist that leaves you on a bit of a cliffhanger that makes you wish very much that there was just a bit more to the issue. The art is even enjoyable. So why isn’t this issue perfect? Honestly, it’s pacing. There’s a lot of cool stuff going on that’s a delight to read, but for the high stakes of it all, this does feel like it could have bee condensed and moved a bit faster. I wouldn’t call it filler—there’s rarely actual filler in stories—but this has moments where it comes close. Beyond that, it’s outstanding to see Jon experience this complex series of growing pains in such a heightened way – and I’ll never say no to some grumpy Batman showing up, either. — Nicole Drum
Rating: 4.5 out of 5
Short of clunky dialogue, Wonder Woman #786 may be the strongest issue of the “Trial of the Amazons” event yet. With the champions chosen, the trial begins but as it does, there’s interference that destablizes the whole thing. What really works about this, even with the odd dialogue, is that we finally find out the outside force that has been making trouble for the Amazons more broadly and it feels like things are escalating into a situation that will go far further than just some infighting among “sisters” as it were. The issue also as a creepy monster lady, which is pretty cool. Art’s solid as well, though I’m not a huge fan of the colors. There’s a lot of orange in this issue and I don’t think it really works that well, tonally. Outside of that, if you can get past the dialogue weakness, this is an interesting issue that mercifully focuses more on teamwork than just Diana. — Nicole Drum
Rating: 3.5 out of 5
The Wakanda conspiracy starts to heat up with this issue, as T’Challa’s sleeper program is finally revealed to the people. Black Panther #5 gives off major spy thriller energy in the best way possible. Arguments are made for multiple characters to be traitors, which will have readers side-eyeing some of their favorites. The new diplomatic government of Wakanda factors in since T’Challa is no longer the nation’s king. Add in a good old fashioned case of the protagonist being arrested and then breaking out to clear his name, and you’re left with a case I can’t wait to see solved. — Tim Adams
Rating: 5 out of 5
Captain Carter #2 steps out with a riveting issue this week that challenges Peggy with a problem she cannot face alone. Faced with the realities of global politics, Captain Carter finds herself unsure as she fights against an injustice her country has hidden under her nose. And when the hero’s confrontation goes south, a cliffhanger promises to send the situation further south as Carter’s closest friend comes under attack. — Megan Peters
Rating: 4 out of 5
While having a centennial celebration for Elektra is certainly a good idea, the issue that we are given doesn’t quite stick the landing when it comes to giving us a better idea of the former assassin of the Hand’s character. The first story by Nocenti and Kotian is scattershot, with a lot of moving pieces for a vehicle that seems like it would fit more in an issue dedicated to Typhoid Mary, rather thank tailed to Elektra. The second story by Shalvey and Raffaele tells a quick, charming story focusing on the relationship between Matt Murdock and Elektra that, once again, doesn’t really give us any meat to the bone. Elektra #100 just doesn’t have a lot of gravitas to it when all is said and done, presenting some light and breezy stories that aren’t able to really live up to the idea of this big anniversary issue. –Evan Valentine
Rating: 2 out of 5
Eternals barrels toward Marvel’s event of the summer, and that’s more evident than ever in this issue. Gillen’s scripts continue to be as dense as a comic can get, with world-building and explainer graphics still a significant part of the tale now two full arcs into the series. Dense in the fact that it may take a few read-throughs to get a full appreciation of the story at hand. Guiu Vilanova’s work here is welcome, close enough to that of Esad Ribic’s that there’s not too much of a departure of previous issues, yet new enough that there’s a certain sense of freshness injected into the series as it winds down. — Adam Barnhardt
Rating: 3.5 out of 5
The latest issue of Saladin Ahmed’s Miles Morales might be his best in months, an impressive feat on an already strong series. By pushing its lead hero into a unique multiverse situation, Ahmed has shown that the concept isn’t totally worn down and can be reinvented with some finesse when needed. Artist Christopher Allen is given a chance to really show off with his layouts, delivering some incredibly unique panel positioning and boxes that are exploding with imagery. New readers might largely be lost about the plot but long-time readers will find this very rewarding. — Spencer Perry
Rating: 4.5 out of 5
Shara Bey having infiltrated Tarkin’s Will could have proven immensely useful, but her discovery by Commander Zahra sees the Empire playing three-dimensional chess with Leia Organa and the Rebel Alliance. Each faction is attempting to plan multiple steps ahead and predict their opponent’s moves, setting the stage for a fateful conflict when either side’s plans start to be realized. Between the shifts in the narrative focus across various characters, snappy exchanges between characters, covert espionage, and exciting combat, this installment reminds us of what makes these comic series so engaging, capturing the spirit of the original trilogy while allowing parallel stories to unfold with slightly lower stakes. While we do get to spend some time with Leia and Chewbacca, it’s the characters whom we haven’t been spending time with for more than 40 years that compel us to keep reading. — Patrick Cavanaugh
Rating: 4 out of 5
The complications between Darth Vader, Sabé, and Ochi of Bestoon persist, leaving readers still largely unaware of who is truly allied together and who is merely using subterfuge to infiltrate the Galactic Empire and the Crimson Dawn. Despite the messy narrative threads, we’re given a handful of compelling action sequences and double-crosses, even if the overall narrative feels like it’s treading water. Luckily, while most of the issue feels somewhat stagnant, a reveal in the final pages does tease some interesting revelations in coming issues, which just barely manages to tip the scales towards being a successful outing as opposed to merely adequate. — Patrick Cavanaugh
Rating: 4 out of 5
Artist Bryan Hitch continues to do phenomenal work when the new Venom series allows him to just draw gross symbiotes fighting each other or throwing down with goons. Plot deviations into random characters that were just introduced last week, but given prominent real estate here, also look good but frankly feel so out of place and boring they cause the ever present question, “Where is Venom and what is he doing?” Ram V’s work as the new writer has been somewhat inconsistent, carrying the baggage of what fans expect from a Venom comic while also exploring new avenues for the characters. The kinks are still being worked out, but it’s fine to read. — Spencer Perry
Rating: 3.5 out of 5
The second batch of this Miles Morales-specific What If… series has the same shortcomings as what came before it, with a bizarre third act exposition dump that does little to make its narrative feel cohesive and makes its major plot choices even more questionable. John Ridley penned the issue which seemingly ponders a world where the victim’s of the Atlanta Child Murders of the late 1970s and early 1980s were actually that universe’s version of Weapon X. Farid Karami is given a lot of room to work into the action beats and the new designs of these alternative characters, including naturally other X-Men favorites, but there’s sadly little of interest on this bone until the final page’s surprise. — Spencer Perry
Rating: 3 out of 5
Any fill-in artist on the current X-Men series has an intimidating task working in Pepe Larraz’s shadow. With some help from Marte Gracia’s consistently brilliant colors, Javier Pina does a stellar job in X-Men #10. The artwork isn’t as visually dramatic as Larraz’s (whose is?) but keeps a sense of expressive fluidity that fits the book’s overall aesthetic. This issue focuses on Wolverine, and Gerry Duggan injects humor into his script that gets some light-hearted laughs while revealing more about the characters and their relationships. For example, it’s understandable that Laure Kinney, always attempting to live up to the Wolverine legacy, might feel the team is condescending to her when they take bets on the success of her mission’s plan, assuming they’d not do the same for Logan. Cyclops, who arguably knows Logan better than anyone, assure her that Logan would be casting the first bet, flipping the assumption, and Pina’s depiction of the X-Men giddily holding out their cash sells both the laughs and the camaraderie. At the same time, it rings as true to Laura’s character as her unflinching determination to liberate the prisoner in Orchis’ box on Phobos. This one will delight Wolverine fans, with Rogue getting a few standout moments. — Jamie Lovett
Rating: 4 out of 5
It’s easy to look at the likes of Disney and Marvel, both of whom have had zero issue exploiting the works of their past creators for cash and fan cred… and quickly write the series off. That said, Marvel the company didn’t write, illustrate, color, or letter this book. Some really great artists did. And while House of XCII has no real reason to exist, Foxe, Espin, and the rest of this creative team do their best to make it something readers can all enjoy and be proud of. — Charlie Ridgely
Rating: 3 out of 5
Angel concludes its first arc on an odd note. The series opened by focusing on Cordelia and Angel’s shared billing on their television show, only for the entire idea of their television series to fade into the background, all but forgotten until everyone gathers around to watch the season two premiere in this issue. Ultimately, the setup served no purpose other than facilitating a bland, by-the-numbers conflict and reconciliation between the two. As for this issue, it provides a suitable if not particularly inventive ending to the story. Chris Cantwell gets the cadence of banter from the showdown well, and there’s some fun back and forth here. Daniel Bayliss draws clean, cartoonish characters and action. While sometimes lacking depth in composition, it makes for a fun, energized reading. The first arc of Angel never really established a reason for its existence beyond simply putting out more Angel content. As far as that goes, it isn’t bad. However, the decision to set it in a just-slightly-different timeline is ultimately more confusing and distracting than additive, and judging by the final pages of this issue, that problem may only worsen. — Jamie Lovett
Rating: 3 out of 5
Break Out has a lot of potential. Essentially, this series is like Ocean’s Eleven except the cast is a group of high schoolers that are looking to break into a UFO. This opening issue does a lot of heavy lifting when it comes to the backstory of this world, but it manages to pull you in and get you attached to the characters quickly without feeling cumbersome. The art style that’s present is also vibrant and lively, which gives it a different feel for a post-apocalyptic style series. This is a strong first outing for Break Out and I’m very interested to see how it develops from here. — Logan Moore
Rating: 4 out of 5
Daisy wraps up here in issue #5 and struggles to come to a satisfactory conclusion. Much as I felt with the previous issue, Daisy just didn’t have enough time to breathe down the stretch. Not only was the backstory and lore of this world too quickly introduced, but this condensed nature of Daisy also didn’t help me become invested in any of the characters, either. This genuinely bums me out, especially because I liked the first couple issues of Daisy. If this series had more room to grow and develop, I think it could have been far more promising than what we were given. — Logan Moore
Rating: 2.5 out of 5
Farmhand returns after a two-year hiatus caused, in part, by the pandemic to provide a surprisingly smooth introduction for new readers and a reminder for returning ones why this series never left their pull list. After a brief flashback and recap spread that distills the essential information needed to appreciate the plot, regardless of how much you may recall, the story takes a jump ahead to the dystopian new status quo introduced just at the end of the most recent story arc. All of the best elements from Farmhand are on full display here with potent family drama, harrowing body horror, excellent sense of humor, and design work that shifts between being delightful and spine-chilling with ease. It’s an impressive return to form for Rob Guillory that reestablishes what had been one of the best ongoing stories at Image Comics. While this issue emphasizes the foundations for whatever climax is building, there’s plenty of revelations to itself including a cliffhanger that will be sure to hook readers, both new and old. — Chase Magnett
Rating: 4 out of 5
IMAGE!, the first of 12 Image 30th Anniversary anthologies, features the first of 10 stories from a wide variety of creators. The quality of each varies, but given how many people are involved that comes as no surprise. The standouts include Geoff Johns’ “The Blizzard,” a new antihero concept in “Shift” and a sci-fi/psychological horror concept in “Hopeless.” — Connor Casey
Rating: 4 out of 5
With an ever-growing number of Red Sonja books being published by Dynamite, it feels like a new title needs a definite hook in order to really stand out. Luckily, the first installment of Immortal Red Sonja has that in spades, with both a concept and execution that will delight both established and new fans. Traversing the world of King Arthur’s Camelot, Sonja must go to great lengths to reverse a significant curse and build her own legend in the process. Dan Abnett’s script is surprisingly small-scale in this first issue, but is constructed in a way that is profoundly fascinating to traverse in. Alessandro Miracolo’s art makes the series even more excellent, particularly when rendering the new take on Sonja’s underrated chain mail costume. The end result feels somewhat akin to an engrossing, gorgeous one-act play – albeit, one that still has giant monsters and magic. — Jenna Anderson
Rating: 4.5 out of 5
Kaiju Score: Steal From the Gods provides a solid look at how to establish a lateral sequel series, playing into readers’ expectations just enough while bringing unique stakes and intriguing emotions along the way. Admittedly, this week’s first issue still feels like it’s only scratching the surface of what the larger Kaiju Score mythos has to offer, but it leaves open a wealth of possibilities for the future issues to get there. What matters is that James Patrick, Rem Broo, and Dave Sharpe continue to collaborate absurdly well, and still offer one of the most clever fictional worlds within AfterShock’s arsenal. If The Kaiju Score is any indication, the journey its characters are about to embark on will go haywire – but hopefully, the comic itself won’t come close to doing the same. — Jenna Anderson
Rating: 4 out of 5
Issue #2 of the second Kill Lock series is just as great as its return. It definitely went in a direction I wasn’t expecting – the attempt to kill the Wraith happened right away and was quickly eradicated, but the action clearly isn’t the point. Instead, the highlight of the issue is finally getting a look at the mind of Wraith and being reunited with the characters from the first series. — Connor Casey
Rating: 5 out of 5
The latest in a string of Comixology Originals to make it into print, Love and War #1 introduces us to the major players in an incredibly niche part of the sports world – intramural tug of war. As Andrew Wheeler’s script carries on, we are introduced to a charming cast of characters and dynamics, before setting up a rivalry that is sure to play out in perfectly dramatic flair. Killian Ng’s art, while a little oddly-colored at points, exudes a fair amount of liveliness and cartoonish flair, while also visually acquainting us to with the adorably-rendered ensemble. Fans of comics like Check, Please! and Fence will absolutely eat this up – but honestly, anyone looking for slice of life romance and whimsy probably will too. — Jenna Anderson
Rating: 4 out of 5
Legendary creator Jim Starlin, Nikkol Jelenic, DC Alonso, and Dave Sharpe craft a unique love story blended with horror themes. The story of the Midnight Rose one-shot follows a woman who is trying to make it in a world that finds her to be different. Her defining trait is foliage, hence the title of Midnight Rose. Starlin takes readers throughout every major benchmark in her life, including birth and death. Jumping in and out of her life allows us to see how she’s changed over the years, and only wants the simple things in life. Each page translates these feelings masterfully, and ends on a note that future stories could be possible depending on the reaction from readers. — Tim Adams
Rating: 3 out of 5
“The Charge to 100” kicks off in Mighty Morphin #18, and while there are plenty of familiar aspects to this series here, there are also some delightful departures and personal conflicts in play that make it feel distinctive from what has come before. It’s lovely to see characters like Rocky, Matt, Grace, and Aisha getting not just some extra time to shine but also room to grow, and writer Matt Groom already has them moving forward in several compelling ways. The conflicts and personal grudges contribute to that freshness, and it’s in these exchanges that artist Moises Hidalgo and colorist Raul Angulo’s work excels, bringing the most out of every expression and gesture. Some of the action sequences don’t have quite as much personality, but that’s a small gripe, and it wasn’t enough to pull me away from why the book works so well. Combine all that with some dynamite hooks for what comes next and this era is already off to a stellar start. — Matthew Aguilar
Rating: 3.5 out of 5
The first “case” concludes in Nita Hawkes’ Nightmare Blog #6 and it’s a solid ending, albeit one that sort of wraps up a little too cleanly. All of the things that are fantastic about Barnes other series, Killadelphia, are fantastic here: the writing and it’s unique way of weaving history and issues of race is strong. Alexander’s art, also strong in Killadelphia, is strong here, too. And really, there’s nothing “bad” about this issue. It just feels like we move a little quickly to get to the end of Howlin’ Henry’s case and tidy up things with Corson for now. Of course, there’s more coming, but with the way things clean up it’s difficult to figure out what could possibly come next. — Nicole Drum
Rating: 3.5 out of 5
Tony Daniel and Marcelo Maiolo are the MVPs of an action-packed issue of Nocterra, as the world of darkness finds itself flooded with light, and the visual impact on the series’ look is almost as dramatic as the frenzied pacing of the issue. When it slows down for dialogue, not only is Snyder’s work razor sharp but the change of pace is so dramatic it really resonates. — Russ Burlingame
Rating: 4 out of 5
Neil Gaiman’s Norse epic continues with a multi-part story from P. Craig Russell and Colleen Doran. As with other entires in this series, the script is disjointed at times, thrusting readers around numerous places and scenes from panel to panel. That said, it’s consistent in its storytelling, and Doran’s folksy line art does wonder for this grim-yet-candid tale. — Adam Barnhardt
Rating: 3 out of 5
Radio Spaceman #2 somehow manages to be more chaotic than the first while still giving readers just enough to latch onto to avoid losing them. In a series so short, it knows exactly what to add and what to leave out while wowing with a steady flurry of cryptids and revelations. At times, Radio Spaceman himself seems to be staring right back at readers to mirror their disbelief. It’s the way up-close moments like this are drawn and woven into humbling portrayals of monsters and brief but fluid combat sequences that makes Radio Spaceman such a succinct and enjoyable read throughout. — Tanner Dedmon
Rating: 5 out of 5
Rain #4 is absolutely outstanding. It’s also the issue that may be the least for the faint of heart. The issue sees Honeysuckle separated from Templeton and essentially being held hostage by convict trying to escape to Canada, but quickly the situation turns. Honeysuckle is clever like that. Unfortunately, the turn is a heartbreaking one that is almost more brutal than the rain itself. There are a lot of visceral emotions to be felt reading this and the art certainly helps. My only real complaint is the unrelenting grimness of the story and at four issues in, I can’t tell if that is more a problem with the story in that it doesn’t know how to layer nuance into this horror story or if it’s a flaw in my own reading and this need for something more than unrelenting darkness. That contributes a bit to a pacing issue, but even with that, this issue is good. — Nicole Drum
Rating: 4.5 out of 5
The Rush #5 opens with looming monstrosities and an abundance of blood as Nettie struggles to survive her encounter on the outskirts of town; it is an impressive sequence that provides the chills of a great creature feature and naturally develops the history of this supernatural setting. What’s most shocking is that this thrilling encounter isn’t even the best horror sequence of the issue. It’s best to avoid discussing what comes next as any fan of the genre will want to appreciate the tension-building exercises that follow as Nettie continues the search for her son and Brokehoof’s darkest secrets are slowly uncovered. It’s a path with plenty of twists and they provide a gripping reading experience – one where page turns can’t come quickly enough, especially once you realize just how little you may anticipate. It’s a thrilling read and one that doesn’t lessen its impact on a second outing either. Every revelation builds on the series’ commentary on the frontier and capitalism. Even when the monsters are hidden, each page remains a taut thriller that exposes its characters’ complexities and darkness with a keen eye for society’s most frightening elements. — Chase Magnett
Rating: 4.5 out of 5
A return to the Faerie Realm marks a quite literal bright spot for Seven Secrets as this colorful environment makes the demons who now inhabit it stand out that much more. This 16th issue does pick some odd times to try and lighten the mood during an otherwise somber chapter, and the brief scenes of combat seen towards the end don’t always feel as though they’re as cohesive as they could’ve been. Seven Secrets #16 does get points for its surprises, however, particularly during developments that progress much quicker than expected. — Tanner Dedmon
Rating: 3 out of 5
Shadowman’s battle with the embodiment of the Deadside come to a close, but not without longstanding ramifications on reality. This narrative comes to a close with all the chaotic bombast you’d expect from the series, with creators Cullen Bunn and Pedro Andreo delivering audiences rivetting battles between darkness and light. However, given the bar these creators have set for the series, even by delivering an engaging spectacle between these supernatural forces, one that puts its peers to shame, it’s tough to say it’s entirely fulfilling. By spreading the narrative weight out among an ensemble of characters, we aren’t given any entirely fulfilling reflections of the human condition or emotional resolution to allow this story to leave a lasting impact on a reader. Our cravings for supernatural adventures between demonic forces are surely satiated, and the book stands out above its competitors in the genre, yet by merely being “pretty good,” we’re still left feeling a bit underwhelmed with the resolution. — Patrick Cavanaugh
Rating: 4 out of 5
The Sword of Hyperborea develops a similar approach to the continuously fascinating The Silver Coin as both series track a singular magical artifact through various shades of the horror genre – producing two excellent anthologies for fans of the genre and excellent, moody comic book art, as well. The final issue of The Sword of Hyperborea provides readers with two different tales of the sword. The first riffs on the mythology surrounding American blues legend Robert Johnson who is said to have sold his soul at the crossroads in exchange for revolutionary guitar talent. Johnson’s analog in this story finds himself in Chicago and falling into supernatural conspiracies Hellboy readers will recognize. It’s another shift in tone for the series and one borne out wonderfully in its depiction of a specific setting and lore. The final and most unexpected destination for the titular sword will be another surprise for Hellboy readers who will appreciate the deep connections to B.P.R.D. mythos and another look at a wildly imaginative setting that looms every bit as large as Chicago in the 1950s. Whether or not readers have that familiarity, horror fans are bound to enjoy Mignola and company’s reinterpretation of a classic bit of American mythology. — Chase Magnett
Rating: 4 out of 5
Steve Niles has obviously made a name for himself when it comes to horror comics, with 30 Days of Night still considered to be one of the gold standards. With his new book, he’s joined by artist Szymon Kudranski in introducing a “Town Called Terror” that sets a moody stage but stumbles under the weight of its own exposition. In establishing the premise of the story, there is quite the exposition dump, which honestly wasn’t necessary when all is said and done, as Kudranski’s art would have been able to do the heavy lifting in this regard. It’s a shaky first issue but the premise is sound, and I’m looking forward to reading more, just hopefully with issues that let the art work breathe. –Evan Valentine
Rating: 3 out of 5
of
Copyright 2022 ComicBook.com. All rights reserved.

source

Leave a Reply