Image Comics is already having a pretty stellar 2025, and that trend looks to continue with their Sci-fi horror series News from the Fallout. The new series features the talented team of writer Chris Condon (That Texas Blood, Ultimate Wolverine), artist Jeffrey Alan Love (The Last Battle At The End Of The World, The Thousand Demon Tree), and letterer Hassan Otsmane-Elhaou, and is perfect for fans of Stephen King, The Twilight Zone, and The Outer Limits. We’ve got your exclusive first look at the new series as well, which you can find in the images below.

News from the Fallout is set in Nevada in 1962, where a nuclear bomb test has gone awry and subsequently caused a dangerous contaminant to be released into the atmosphere. As you can see in the preview, the artwork of the series leans into that already weighty premise, featuring an ashy black-and-white aesthetic that pulls you into the unsettling state of things.

There’s even an almost Silent Hill-style static to certain pages, with Image comparing it to watching a staticky science fiction film from the 60s. In the series, fans will meet a cast of colorful characters at the nearby diner (Atomic Alley) as they are attacked by any number of horrors that were unleashed by the atomic blast from the secret military facility.

They will even meet a defector from the secret army base named Private Otis Fallows, and as he deals with some hostility from the group, he is also helping them make their way to what is supposed to be a safe haven in Las Vegas. Whether or not that’s the case remains to be seen, but you can check out the full preview of the new series above and below.

[RELATED: Robert Kirkman Explains Why Spawn and Other Image Characters Didn’t Appear in Invincible TV Show (Exclusive)]

“News from the Fallout is a long-gestating project that I’ve been chipping away at for years,” said Condon. “To know that it’s finally coming to life thanks to the incredible Jeffrey Alan Love, who has brought his profoundly unique style of art to this project, is nothing short of amazing. I’m thrilled to work with both Jeff and letterer Hassan Otsmane-Elhaou on this book and I hope that readers are ready for a thrill-packed ride that is unlike any other book you’re likely to find on the shelves of your local comic shop.”

Added Love: “Working with Chris has been wonderful, as he has such a unique personal voice in his writing. Sometimes as an artist working with others I feel like I’m in a cover band, singing someone else’s song, but this collaboration with Chris has been different. It has felt like both our voices have been amplified by the other.”

News from the Fallout #1 will feature covers by Love and Jacob Phillips, and the first issue will hit comic stores on June 25th.

Are you excited for News from the Fallout? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Stephen King Meets The Twilight Zone in Image Comics’ New Series News from the Fallout (Exclusive) appeared first on ComicBook.com.

Saga has been in our lives, with some breaks, for thirteen years and the weight of that time can be felt now more than ever. The series has evolved from the days of two young parents on the run, and has now reached a point where the narrative itself is really living up to the name of the series. This always has been a “saga” in grand terms, but Saga #72 brings us a check-in point for so many specific characters, places, and points in the plot that it feels like the creative team of Fiona Staples and Brian K. Vaughan are reminding us of the scope that their world has. Not to mention, the pair deliver a story where they show that they can change everything without killing anyone (for once) and with just a single piece of shattering dialogue.

Saga #72 not only concludes the latest arc of the series, but puts the entire series on a path toward what will be the final batch of stories (Vaughan notes in the letters section the series is now “two thirds complete”). The framing device for Saga #72 is a proclamation by King Robot, it’s a simple one, with major ramifications for not only all the characters that we know but some brand new ones that have just arrived in the series (and some that got lost along the way). Vaughan is able to take this simple message and frame it around every little nook and cranny of the galaxy, not to mention the varying perspectives that come with that and how they all react. It’s par for the course to denote “Brian K. Vaughan is a good writer,” but he wields an effective pen in this issue.

Some sequences with characters last a few pages as they breakdown and try to dissect this major change in the series, while others are just one panel (the reactions here given depth by the always on point Staples, of course). Vaughan manages to find ways to look at this change (a shifting in allegiances that shocks everyone) through the lens of all manner of people that it will effect, leaving the reader to really sit and wonder about what comes next. To bring it all home of course, Staples and Vaughan remind us at the end of the issue what this story is really about and who our main throughline is; and they do it by making us laugh.

Staples’ eccentric ideas across Saga continue to be a defining attribute in this issue. From a small radio that screams at the listeners with a tiny mouth to a spaceship made of bones, each new page brings a delightful surprise and something you’ve quite literally never seen before. Even when Hazel was just a kid, Staples had an uncanny knack for making her expression a specific focal point of the entire narrative. Now that she’s a teen, with even more personality than readers could have predicted, it’s a unique facet of Saga‘s visual motifs that are its bedrock.

Saga #72 has positioned itself as a unique turning point for the series, not only in how it has concluded this specific arc (one could argue it didn’t fully gel at times) but in how it frames the final 36 issues of the series (Vaughan’s letter column says they’re still aiming for 108 total). The series has always lived up to the hype that it had behind it, but with this specific tale Saga has cemented its place as fully embodying its name. Now all we have is the wait once again, and the questions about what comes next will keep us afloat while we wait for what comes next.

Rating: 5 out of 5

Published by Image Comics

On March 19, 2025

Written by Brian K. Vaughan

Art by Fiona Staples

Letters by Fonografiks

The post Saga #72 Lights the Fuse for the End (Review) appeared first on ComicBook.com.

Hollywood has been relying on comics for some of its most iconic and beloved blockbusters, as seen with the dozens of films from Marvel and DC. However, film and television adaptations of comics go well beyond just those two publishers, with Image Comics finding successful adaptations with The Walking Dead and Invincible on television. There are also plenty of plans for upcoming horror adaptations from Image specifically, with fans eagerly awaiting the horror adaptations of titles like Bitter Root and Wytches. Image Comics has plenty of other horror comics to adapt to the big screen as well, and most of them cover a wide range of subgenres.

Whether it is vampires, serial killers, an obsessive fan, or the unknown, Image Comics has no shortage of horrors awaiting comic readers. These stories will also appeal to die-hard scary movie fans, and they can check them out now at their local comic shop. However, one can also hope that these frightening tales will be brought to the big screen one day as well.

Dark Ride by Joshua Williamson and Andrei Bressan

Dark Ride is made for fans of Universal’s Halloween Horror Nights, haunted attractions, and Five Nights at Freddy’s. Imagine if Walt Disney made a deal with the devil to create his iconic characters and the parks they inspired? That is exactly how Devil Land came to be in Dark Ride, but the horrors are more than just for show. This year-round horror theme park has a devilish, deadly secret to it, one that impacts the guests, as well as the family behind this evil park.

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Parasocial by Alex de Campi and Erica Henderson

In the age of social media, the lines between fans and celebrities have gotten more and more blurred, leading to parasocial relationships that can give the illusion that there is a chance that something real may actually develop. Add to that fan events, like meet-and-greets and conventions, and it’s a perfect storm for a fan to truly misread their relationship with their favorite celebrity. At least, that is the case for one obsessive fan in Parasocial, as she sets her sights on her favorite, washed up actor, leading to a comic that will please fans of Stephen King’s Misery.

I Hate This Place by Kyle Starks and Artyom Topilin

From the Evil Dead franchise to Cabin Fever, cabin-in-the-woods horror movies are pretty popular and commonplace. For fans of these films, look no further than I Hate This Place, which is the ultimate love letter to horror. A couple moves into a farmhouse in the middle of nowhere after inheriting it, but they soon discover this is a place of nightmares. Whatever horrors one can think of, they’ll mostly find it in I Hate This Place, from the supernatural to the extraterrestrial. This is a comic that could go big on the big screen, just like Cabin in the Woods did years ago.

The Deviant by James Tynion IV and Josh Hisxon

Fans of David Fincher’s Zodiac or Seven do not need to look far for the perfect comic for them, as well as one we’d like to see him adapt some day. James Tynion IV is one of the biggest and brightest names in horror comics, but he often deals with the supernatural or extraterrestrial. The Deviant, on the other hand, is his most grounded comic so far. This is a straightforward thriller about an author interviewing a man convicted of being a killer Santa, but as their discussions unfold, a new Santa killer emerges, leaving readers to wonder if the man in prison is truly guilty or if this is a copycat.

Killadelphia by Rodney Barnes and Jason Shawn Alexander

While the popularity of vampires comes in waves in pop culture, one cannot deny that vampires have been a long staple for the horror genre. In the past few years, they have also become the go-to monster again, as seen in shows like Interview with the Vampire, the upcoming film Sinners, and the recently announced Buffy the Vampire Slayer reboot. Same can be said for comics, with Killadelphia being a must-read for vampire fans. Blending horror and noir elements, this is a detective story unlike any other, as a detective and his undead father uncover a vampire conspiracy right in Philadelphia.

[RELATED: Sinners: First Trailer Released for Ryan Coogler & Michael B. Jordan Vampire Movie]

Lovesick by Luana Vecchio

Lovesick is a comic not for the faint of heart, as it pushes the boundaries in terms of sex, violence, and consent. Somehow, though, it keeps readers hooked and wanting to know more about the lead character, Domino, despite all the terrible things she’s done herself. Domino is a dominatrix on the dark web, who, for the right price, will torture and kill her clients, but there are plenty of men who would love to do the same to her. This is one of the best horror comics from Image Comics and is a must-read for any horror fan. It would be a hard-R adaptation, but one that would be well worth it to see Domino brought to the big screen in all her bloody glory.

Feral by Tony Fleecs, Tone Rodriguez, and Trish Forstner

Feral has one of the easiest elevator pitches around. It’s Night of the Living Dead but with cats. In it, a group of house cats are stranded outside during a rabies epidemic, so from their perspective, this is practically a zombie apocalypse. While the cats are adorable and feel pulled straight from a Disney film, there are plenty of horrors that await them. For those who have a soft spot for animals, this may not be for them, but it is a must-read for zombie fans. It would also make for an animated horror film unlike any other.

What Image Comics series would you like to see get adaptations? Let us know in the comments!

The post 7 Image Comics Perfect for a Horror Adaptation appeared first on ComicBook.com.

Image Comics’ Syzygy Publishing is launching a brand new series that dives into the underworld of a city in lockdown, and the team behind Netflix’s acclaimed film Trust is part of the all-star creative team. Today we can exclusively reveal your first look at Dark Honor, a new crime thriller set in New York City during the early days of the pandemic, and the series is written by Ethan Sacks (Star Wars: Bounty Hunters, Old Man Hawkeye) and Trust filmmakers Brian DeCubellis and K.S. Bruce. Dark Honor will also feature a stellar lineup of artists creating the interiors and covers, which you can get a preview of below.

That top-tier art team includes Fico Ossio (Black Lightning, No One Left To Fight), David Messina (Ultimate Spiderman, 3 Keys), Gabriel Guzman (Lady Earth, Predator), Jamal Igle (Molly Danger, The Wrong Earth), colorist Raciel Avila, and letterer JAME, and you can check out some of the initial launch covers below.

The new five-issue series will be Bruce and DeCubellis’ first comics project, and the series started to take shape back in 2020. The story was initially going to be adapted into a film, but a comic series ended up being the perfect medium.

“Dark Honor was born in the earliest days of COVID-19 in New York. As we wrapped filming Trust in March 2020, the city was shutting down, and we wanted to capture that surreal moment. Inspired by neo-noir crime films, we created Rain, a street-savvy hero, and the Hundred Warriors, with Grigor embodying COVID—a relentless, unexpected killer,” DeCubellis said.

[RELATED: Fan-Favorite Image Comics Horror Series Getting Adaptation]

“Dark Honor may be fiction, but its backdrop is real—the empty streets, released prisoners, and desperate scrambles for survival, as an unknown disaster hits New York. Initially written as a screenplay, it felt too raw for film. But with Ethan Sacks’ adaptation, Chris Ryall’s expertise, and an incredible creative team, we’re honored to bring this story to comics,” Bruce said.

“Once I heard K.S. and Brian’s incredible pitch, I knew I wanted to be a part of bringing Dark Honor to comics readers,” Sacks said. “They had me at ‘Hello’—or more accurately, at a modern crime story set in New York City during the earliest and deadliest weeks of the COVID-19 epidemic. Having covered the damage COVID-19 did to my city in 2020 as a journalist for NBC News, it’s been a creative boon to now tackle that place and time as a comic book writer. And with a murderers’ row of talented artists—Fico Ossio, Dave Messina, Jamal Igle, and Gabriel Guzman—it’s only fitting for a book about a row between murderers.”

The official description reads, “For nearly a century, the Hundred have been the strong arm of New York’s underworld. But as COVID-19 paralyzes the city in early 2020, a new force emerges—one that doesn’t fear the disease, only power. A criminal mastermind is mounting his takeover, and unless Rain, daughter of the Hundred’s leader, can unite the last remnants of the fading crime syndicates, the city will fall to a far deadlier plague.”

Dark Honor will hit comic stores on May 28th and is available for pre-order now.

What do you think of Dark Honor? Let us know in the comments, and you can talk all things comics with me on Bluesky @knightofoa!

The post Netflix’s Trust Team Reveals Dark Honor Series for Image Comics (Exclusive) appeared first on ComicBook.com.

Amazon Prime’s Invincible has had about as rough a road to travel as its protagonist Mark Grayson (Steven Yeun). The show came out of the gate red-hot in 2021, punctuated by a finale that was an emotional gut-punch to the soul, as Mark finally discovered and had to come into brutal conflict with the fact that his father, Omni-Man (J.K. Simmons), was actually an evil conqueror from an alien empire. The impact of that seasonal story and its deeply cathartic finale faded in a big way during Invincible Season 2 (with its near-fatal midseason delay), and Season 3 has had a lot to prove in terms of getting back the magic of the first season.

Well, now the Invincible Season 3 Finale is here. And it looks like fans of the show are once again crowning it the GOAT, after witnessing a brutal showdown that makes the first season’s climatic battle look like child’s play.

WARNING: SPOILERS FOLLOW!

Invincible Season 3 Episode 8 Explained

In Invincible Season 3 Episode 8, “I Thought You’d Never Shut Up”, Mark is still reeling from the “Invincible War” against Angstrom Levy and his gang of Mark’s evil variants, when a new Viltrumite commander, Conquest (Jeffrey Dean Morgan), shows up for a “progress report” on how Mark is preparing Earth for conquer. As it turns out, Conquest is less interested in instruction and discipline as he is brutality and sadism, so the fists almost immediately start flying, with human casualties and infrastructure damage growing by the minute.

[RELATED: Latest Update From Invincible Creator on Season 4]

Mark and Conquest’s battle sweeps across the globe, eventually attracting Mark’s loved ones like his little half-brother Oliver and beloved partner Atom Eve (Gillian Jacobs); when Oliver and Eve are both seriously injured by Conquest, Mark finally lets loose and brutally beats the powerful elder Viltrumite into a bloody stump. The episode (and season) ends with Mark reaching a hardline resolution to kill any new threat to his family and friends – while it’s revealed that Cecil and the Global Defense Agency are keeping Conquest (barely) alive to interrogate him about the Viltrumite Empire.

Invincible Fans React to Season 3 Finale

Reactions pouring in from social media range from calling Invincible Season 3 Episode 8 the best of the entire series, to the more faithful fans sipping their tea long and hard, knowing that the storyline, voice cast, and even the animation style would rise to the occasion when truly necessary.

Then there is the wonderful sign of Invincible‘s world and lore truly keeping viewers immersed. There’s currently a lot of character-specific debates about everything from the Season 3 finale’s game-changing reveal of Eve’s true power levels, to fans getting to know what a demented (and also tragically sad!) sociopath Conquest is – even among Viltrumites. JDM is also getting his due credit, after many fans doubted his casting as Conquest, initially.

For the comic book heads, there are already some wonderful side-by-side panels of the comic source material and animated version of the Conquest fight that are being held up in appreciation – as well as general appreciation of how the show’s last few episodes have adapted some beloved comic story arcs.

Finally, there’s the obvious angst as fans now turn from the massive hype of Season 3’s latter half, to wondering when Invincible Season 4 will arrive. For now, Seasons 1-3 are streaming on Amazon Prime Video.

The post Invincible Fans Are GOATing the Show After Epically Brutal Season 3 Finale appeared first on ComicBook.com.

Rogue Sun is one of the most enthralling family dramas around, and all the superpowers thrown into the mix only make those family dynamics even more wonderfully complex. Such is the case once again with Rogue Sun #25, which returns after a few months away with a perfect jumping-on point for new readers and does a pretty solid job of getting readers up to speed on everything that’s happened up until now. Dylan and Marcus are as dysfunctional as ever, though honestly, every segment of the family is experiencing their own changing dynamic, and that’s not even getting into Aurie’s new role either. The inter-family politics are just as intense as the bigger-than-life superhero action, so if you haven’t given Rogue Sun a try, you owe it to yourself to jump on board.

Ryan Parrott and Nick Cotton pick up where they left off with Dylan and Marcus, whose relationship hasn’t gotten any better in the time since, and that’s before more complications arise thanks to Marcus’ previous questionable decisions. Truth be told, as someone who has their own parental baggage with fathers, Dylan is pretty easy to relate to, and it’s actually nice to see him somewhat gaining confidence in himself despite external factors calling that into question.

One of the key draws of the series has always been that Dylan wasn’t exactly a shining knight in the lead hero department, but those flaws have also become tether points for many, and it’s helped Dylan become a far more relatable character as the series has continued. Rogue Sun takes that and runs with it, as not only does Dylan still have to navigate his relationship with Marcus, but now he has the emotional minefield of his mother Gwen to deal with as she is imprisoned for the death of his father.

That’s no small thing, but Parrott and Cotton deftly maneuver through Dylan’s ever-changing view of both being a hero and trying to prove something to his father. Marcus’ actions also continue to have an impact on how Dylan views his mother and what she did, and it doesn’t always go the way you expect.

[RELATED: Will Friedle and Rider Strong Recruited For Upcoming Radiant Black: The Audiobook, Volume One From Image Comics]

The most welcome shakeup though is Aurie, who steps into a new role as a Rogue Sun that is already immensely different from Dylan thanks to her unplanned partnership with Caleb. Caleb is an immediate spark to any situation he’s in, and paired with Aurie’s evolving motivations and view on Dylan and her family, the new duo offers a rich change of pace from what’s happening with Dylan at any given time, and the collisions that happen are as chaotic and exciting as you would imagine.

That collision by the way is also stunning thanks to the gorgeous work of Abel, Natalia Marques, and Becca Carey. While Dylan and Aurie are still learning on the job, there’s an effortless style and suaveness to how they move in a battle, and the flames of the suit and smooth style lines just make these confrontations pop.

The team also brings to life a brand new villain, and though manipulating poisonous green clouds might not sound like the deadliest powerset, it certainly makes an impact in their ever-capable hands and creates some vivid imagery as the flames of Rogue Sun slice through the green fog. That said, some of my favorite moments of the issue are conversations between Dylan and Doty, and these moments are just as immersive and compelling as any grand combat sequence.

Rogue Sun makes its grand return and absolutely shines, and as the Massive-Verse continues to grow by leaps and bounds, Rogue Sun is still one of its biggest stars.

Rating: 4.5 out of 5

Published by Image Comics

On March 12, 2025

Written by Ryan Parrott and Nick Cotton

Art by Abel

Colors by Natalia Marques

Letters by Becca Carey

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

The post Rogue Sun Makes Its Grand Return, and It Was Worth the Wait (Review) appeared first on ComicBook.com.

Many people spend time thinking about how the world will end, and then there are those people who have to live through these catastrophic events day after day after day. This is the premise for Assorted Crisis Events #1, an anthology series whose opening chapter introduces readers to a woman doing her best to navigate all the chaos happening around her. I’ll admit the description of Assorted Crisis Events #1 sounded intriguing, but I still wasn’t prepared for how good it looked and how entertaining mixing divergent timelines could be. It’s not every day you can see a samurai warrior walking down the street next to a cyborg or caveman.

Ashley is the name of our protagonist in Assorted Crisis Events #1. She lives in a neighborhood that is at the epicenter of crisscrossing timelines. Not only are worlds colliding outside her doorstep, but filmmakers are also trying to capitalize on the area by making their movies there. Why pay for special effects in your post-apocalyptic films when you can get them for free on a corner block? It does make sense, even if it’s definitely a little grimy and underhanded. Plus, people like Ashley can be used as extras and they don’t even have to pay them.

We follow Ashley as she attempts to get her broken clock fixed and go to work, but it’s the little things that stand out the most. If you’re not paying close attention you could miss many of the background characters who are lost in time. There’s also the beautiful flash of colors that pop off the page and help attract the readers’ eyes to important items, one of which is Ashley’s smartphone which gives her threat-level notifications. If you’re going to live in a warzone, it’s best to have an app that can let you know just how crazy things are before you head home.

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The color work really is the silent star in Assorted Crisis Events. For example, Ashley’s tan skin and wardrobe keep their colors, while everything in the background is given a slightly subdued color tone. It keeps the main focus on Ashley and the individuals she encounters, but offers just enough to not wash away the craziness happening around her. Ashley deserves credit for how she handles everything. You can tell she’s been living in this crazy for a good amount of time, yet she doesn’t let it get her down or affect her overall attitude… at least until Assorted Crisis Events #1’s final pages.

So yes, Ashley appears to have adapted to all the crisis events happening around her, but part of that is also knowing that her neighborhood has people trying to make movies there. Some of the events are “real” while others are fabricated. Not every alien or mutated freak comes is lost in time. This becomes a problem when the explosions and chaos turn out to be very real, and not movie magic. It all comes at the end of a very chaotic day, with the panels contorting and transitioning as timelines merge into a colorful symphony. I’ve enjoyed her story so much that I want to see it continue in the next issue, but the anthology nature of the series doesn’t make that likely.

But that’s the beauty of Assorted Crisis Events. Next time, we can see how someone else is dealing with these crises and if they’re on par with what Ashley experienced. Things can’t get any worse, right? This is probably something Ashley was telling herself too right before the proverbial sh*t hit the fan.

Rating: 5 out of 5

Published by Image Comics

On March 12, 2024

Written by Deniz Camp

Art by Eric Zawadzki

Colors by Jordie Bellaire

Letters by Hassan Otsmane-Elhaou

The post Assorted Crisis Events #1 Turns the End of the World Into a Colorful Masterpiece (Review) appeared first on ComicBook.com.

Image Comics is one of the most important comic publishers around. Since 1992, Image has allowed creators to put out books that they owned, making all of the money, and telling the stories they want. Image has published brilliant comics, and once upon a time gave starts to some of the greatest creators in comic history. Marvel poached heavily from Images in the late 2000s and early 2010s, getting a load of writers and artists that had cut their teeth at Image. One of these writers is now known as one of the greatest writers of all time — Jonathan Hickman. Jonathan Hickman’s work on superhero comics has gained him legions of fans, but there’s one Image/Hickman book that feels prescient in 2025 — The Nightly News.

The Nightly News is a six issue series that ran from 2006 to 2007. It was written and drawn by Hickman, and for fans who are more used to his sci-fi and superhero books, this is a very different experience. The comic itself is all about the Voice, a secret cult who targets the news outlets of New York City in an attack meant to change the world. The book has multiple twists and turns throughout its run, and its message is one that everyone needed to hear before they even thought about voting in 2024.

The Nightly News Is an Indictment of the Power of the Media and its Relationship with Government

The first thing that anyone notices about The Nightly News is the unique visual style. Hickman doesn’t really draw comics anymore, but his sense of design and page layout is, frankly, revolutionary. He eschews the panel structure of comics as much as possible, which gives the book a strange feel, but one that definitely helps to make its point. There’s a sense of chaos to the whole thing, which is something that cults use to indoctrinate their members; they are the antidote to chaos. Another thing that long time Hickman fans will notice is the usage of white and the infographics. This is the beginning of what is now the Hickman style, and it feels like a comic that is on the bleeding edge.

The infographics of the book are the key to the whole thing. Hickman meticulously researched the news media in the United State and the way it intersects with the government. The Nightly News is strangely apolitical in a lot of ways, something that is hard to find currently, but it does have a message — the media and the government have teamed up to control the American people since the advent of radio and TV. Hickman uses the infographics to show how the media has become smaller and smaller, with the majority of American media companies owned by just six entities. These six entities control the focus of the the people, and are able to manufacture public opinion, all while the government controls them. The Voice exists to fight them, as people who have been hurt by the media commit terrorist attacks to damage them.

[RELATED: 3 Comics to Read if You Love Yellowjackets (and Want More)]

Looking at the political situation in the United States in the last few years, the stratification of the news media is a huge problem. The term “fake news” didn’t exist when Hickman did The Nightly News and the independent “news” market we have today hadn’t crystallized either. Hickman bases characters in the media on real people, and uses actual quotes to show the hubris of the media. The media in The Nightly News is a function of control; and while it may seem that the current state of the media, one where the people have more of a voice than ever, may be able to sidestep the problems of The Nightly News, it’s easy to see the same problems in the independent media as it is in the corporate media, as politicians and political appointees more actively control the media than ever.

The Nightly News isn’t just a story about the news media and why it can be a tool of evil, but also a book that warns of the power of cults. The Voice has a “noble” goal, breaking the power of the media and the government that controls it, but even that is shown to be false as the truth about the Voice is revealed. The twist feels exactly like the independent news media of today — one controlled by a sinister force trying to take even more power into their already powerful hands. The Nightly News is about the problems with the kind of power that media and the government had, and those problems have created the United States that we see on the TV and on our devices every day.

The Nightly News Predicted the World of Today

The lessons of The Nightly News aren’t much different than they were in 2007; back then, this was a polemic about the ways that the government and the powerful are able to control the public. In the last 18 years, a lot of changed with the news media, but one thing that hasn’t changed is the inordinate amount of power it has over the American people. Even with the media moving online and the power of anyone to report the news and give their spin, there’s still the same problem with the media in 2025 as there are in The Nightly News.

The Nightly News is a deep, thoughtful work, and because of that it would be easy for some people to take it the wrong way. Everyone knows that person who talks about why they don’t trust the “mainstream media” while also parroting the talking points of a slew of media commentators who get their marching orders from the same people as the mainstream media. They would read The Nightly News and never see what it says about the media they love. However, it’s a book that has predicted the way the electoral cycles of the last decade have went, as the government and the media have controlled the truth. Look at the news tomorrow; you’ll see exactly what The Nightly News warns us of. Image is responsible for some great works, as is Hickman, but few of them can stand with the message of The Nightly News.

The post This Image Comics Series is More Important Than Ever Almost 20 Years Later appeared first on ComicBook.com.

As Showtime’s hit series Yellowjackets unleashes its third season of psychological horror and survival drama, fans craving more stories about darkness, transformation, and complex female relationships have plenty to seek out in the world of comics. The show’s compelling blend of teenage dynamics, supernatural elements, and unflinching examination of trauma has sparked renewed interest in similar narratives across different mediums. For those seeking to dive deeper into stories that echo the series’ themes of isolation, power, and the blurred lines between prey and predator, several remarkable comic series offer equally haunting journeys.

These carefully crafted graphic narratives don’t just mirror Yellowjackets‘ exploration of horror and humanity – they expand on it in unique and compelling ways. From Southern Gothic terror to historical reimaginings and modern teenage werewolf tales, these comics demonstrate how the medium can deliver sophisticated storytelling that resonates with fans of horror and drama.

Harrow County

Cullen Bunn and Tyler Crook’s Harrow County transports readers to a 1930s southern landscape where a young woman named Emmy discovers her connection to dark supernatural forces. Like Yellowjackets, the series explores themes of inherited trauma and the price of power with watercolor artwork that shifts seamlessly between pastoral charm and grotesque horror. The story’s examination of a young woman grappling with her own potential for darkness while navigating complex relationships with those around her will feel familiar to Yellowjackets fans. The series’ unique approach to southern gothic horror and its deep exploration of family legacies adds another layer to its appeal.

Manifest Destiny

Image Comics’ Manifest Destiny by Chris Dingess and Matthew Roberts offers a different kind of survival horror, reimagining the Lewis and Clark expedition as a monster-hunting mission. While tonally distinct from Yellowjackets, its exploration of isolation, group dynamics under extreme pressure, and the psychological toll of survival makes it a compelling companion piece. The series excels at examining how civilized facades crack under wilderness conditions – a theme Yellowjackets viewers will recognize. Through its 48-issue run, the comic builds a rich mythology while maintaining a focus on the human cost of survival and exploration.

Squad

For those particularly drawn to Yellowjackets‘ exploration of teenage social dynamics and transformation, Maggie Tokuda-Hall and Lisa Sterle’s Squad provides a sharp contemporary take on high school horror. The graphic novel follows a group of popular girls who happen to be werewolves, using their otherworldly abilities to exact vigilante justice. While more overtly supernatural than Yellowjackets, its examination of power, friendship, and moral compromise resonates with similar themes. The book’s modern setting and unflinching approach to teenage social dynamics make it especially relevant to fans of the show’s present-day storyline.

What makes these comics particularly compelling to Yellowjackets fans isn’t just their surface-level similarities but their sophisticated approach to horror storytelling. Each series understands that true horror often comes from internal struggles and interpersonal dynamics rather than external threats alone. They share Yellowjackets‘ appreciation for slow-burn psychological tension and complicated female characters who defy easy categorization as heroes or villains.

The artistic approaches in these comics also deserve special attention. Harrow County’s watercolor aesthetics create an atmosphere of dreamy unease, while Manifest Destiny’s detailed period artwork grounds its supernatural elements in historical reality. Squad’s contemporary visual style perfectly captures the glossy facade of high school popularity while revealing the darkness beneath. Each series uses the comic medium to its full potential, creating immersive worlds that complement their challenging themes.

[RELATED – Yellowjackets Season 3 Premiere Recap: ‘It Girl’ (Spoilers)]

The success of Yellowjackets and these comics suggests a growing appetite for horror narratives that prioritize character development and thematic depth over simple scares. These stories recognize that the most compelling horror often emerges from exploring how ordinary people respond to extraordinary circumstances and how the line between victim and perpetrator can become dangerously thin.

For Yellowjackets fans waiting between episodes, these comics offer new worlds to explore while maintaining the psychological complexity and moral ambiguity that makes the show so appealing. Each brings its own unique perspective to similar themes, demonstrating the rich possibilities when creators approach horror with sophistication and depth.

What’s particularly striking about these selections is how each approaches the concept of transformation – a central theme in Yellowjackets. In Harrow County, Emmy’s journey from innocent farm girl to powerful supernatural entity mirrors the gradual transformation of the Yellowjackets from high school athletes to wilderness survivors. Manifest Destiny explores how the harsh realities of survival can transform not just individuals but entire groups, while Squad directly tackles physical transformation as a metaphor for power and social status.

These comics also share Yellowjackets‘ interest in examining female relationships under extreme circumstances. While the show masterfully depicts the evolution of friendships and rivalries both in the past and present, each comic offers its own perspective on how bonds between women can be both sustaining and destructive. Squad delves into the politics of high school friendship, Harrow County explores mentorship and inheritance between women, and even Manifest Destiny, despite its male protagonists, doesn’t shy away from examining power dynamics and survival through a gendered lens.

Whether readers are drawn to period pieces, survival stories, or contemporary horror, these selections provide engaging alternatives that expand upon the themes that make Yellowjackets such a memorable viewing experience. Each series demonstrates that the horror genre, when handled with care and sophistication, can be a powerful vehicle for exploring intricate human relationships and societal issues while never losing sight of its ability to thrill and unsettle.

The post 3 Comics to Read if You Love Yellowjackets (and Want More) appeared first on ComicBook.com.

Dune has long been one of the most popular sci-fi works of all time. Frank Herbert’s classic novel spawned a universe of spin-offs, and was the basis of the critically acclaimed Dune and Dune: Part Two. Herbert created a complex universe with his story and Herbert’s six Dune books are more about human nature, politics, and ecology than they are space battles. However, one of the most interesting parts of the Dune universe is the way that it drops readers into the deep end of its narrative and reveals more and more its universe as time goes on. Dune doesn’t hold the reader hand and lead them through its story, and the movies followed suit.

Fans of the Dune universe love the sense of discovery that comes from experiencing it. For fans who want a more complex sci-fi experience, Image Comics has one of the best sci-fi comics ever written — Prophet, by Brandon Graham, Simon Roy, Farel Dalrymple, Giannis Milogiannis, Joseph Bergin III, Lin Visel, Paul Davey, Ron Ackins, Ed Brisson, and Ariana Maher. Prophet grew out of the one of the most maligned superhero lines of all time, and it’s perfect for Dune fans who want something different from sci-fi as a genre.

Prophet Takes Reader on a Journey They Never Imagined

The origins of Prophet stretch back to the beginning of Image Comics. Writer/artist Rob Liefeld, one of the chief agitators that led to the Image Seven leaving Marvel, created his own Extreme Studios imprint of comics. Extreme was based around the book Youngblood, a team comic starring a rather generic group of “cool” superheroes, and Prophet was introduced in the second issue. He was the cliche soldier from the future come back to stop something terrible from happening, and eventually graduated to his own book, which became a bestseller in the beginning of the run. However, like most Extreme books, it wasn’t known for its adroit writing; it was all style, no substance, and that style wasn’t cool for that long. Prophet ended with issue 20 and very few people thought about it again.

In 2012, though, Prophet returned with its 21st issue. For fans who had read the original series, this book was completely new. It began with a pod digging up from underground and John Prophet coming out of it. He takes in his surroundings, on an Earth that was very different from the one that he expected, checks his equipment, and embarks on the “mission”, which is to find his way to the Thauili Van towers and reawaken the Earth Empire. Readers are inundated with new alien races and their technology, learning as the story goes on just why Earth is home to so many aliens and the fate of the few humans we see. After his mission is complete, the book jumps to another planet, one where another Prophet has awakened thanks to the message sent from the Thauili Van towers and goes about his mission. The next follows a group of Prophets, each one slightly different than the other, and in the 26th issue, readers are introduced to the hero of the story, Old Man Prophet.

[RELATED: New Image Series Takes Shots at Batman (and It’s Hilarious)]

The first twelve issues of Prophet are all worldbuilding, and there is a lot to build. There are multiple Prophets because the original John Prophet was a near perfect supersoldier and the Earth Empire made him and his clones into their backbone. Readers learn about the history of the Earth Empire and its fall at the hands of Old Man Prophet. The reawakened Earth Empire sees Old Man Prophet prepare for war again, gathering allies new and old to counteract the power of the resurgent Earth Empire. Links are constructed to the old ’90s Extreme comics, as readers learn about the fate of the members of the Youngblood and the roles they played in the evolution of humanity and the Earth Empire. Characters like Diehard, Badrock, Lady Supreme, Troll, and several others play big roles in the story as well, but the book makes sure that if the readers knows nothing about those older Image comics, they won’t miss anything.

Much like Dune, Prophet takes it story in some brilliant directions that readers would never be able to guess. The book’s revelations lead to a greater and greater understanding of the setting and characters, but even as it reveals its secrets, Prophet always feels like there’s more out there than just what readers can see. Much like Dune, it feels like it’s a living breathing universe full of beings and powers out there doing their own thing. Dune has the Bene Gesserit, Prophet has the Earth Mothers. Dune has mysteries of the sandworms’ origin, Prophet has the mysterious evolution of McCall’s Children. While Prophet isn’t as deeply philosophical as Dune — its narrative is rather simple despite a late stage twist — but the depth of its universe brings it to Dune‘s level.

Prophet Takes Readers On An Epic Journey

Dune is one of those seminal works of sci-fi that doesn’t always work for everyone. To truly enjoy it, one has to realize that they aren’t going to understand everything that’s going on right away. Prophet is exactly the same way. The story’s charm comes from the way it unfolds, each new facet answering questions and leading to the next one. Much like Dune, Prophet isn’t trying to tell a story the exact same way as every other sci-fi story out there, it’s trying to tell its own story, and that makes all the difference.

Prophet is a journey and that what makes it such a perfect sci-fi experience. It’s a work of amazing imagination, created by a team of writers and artists working at the top of their game. It’s an epic in every sense of the word. Anyone who loves Dune, or even just loves more complex sci-fi, should give Prophet a try.

What do you think? Let us know your thoughts in our comment section below!

The post This Image Sci-Fi Comic Is Perfect for Fans of Dune appeared first on ComicBook.com.

From the moment the first issue of Watchmen arrived in 1986, the landscape of superhero comics was forever changed. The series, from writer Alan Moore, artist Dave Gibbons, and colorist John Higgins, redefined how people considered the genre, deconstructing the very idea of superheroes with its alternate history story of superpowered entities and their impact on world events and politics. It’s a story that has, nearly 40 years later, maintained its popularity, spawning prequels and sequels and various adaptations both in animation and live action as well. The story — or at least its concept — is so seminal that pretty much every superhero story that approaches superpowered people as something other than do-gooders here for the benefit of humanity has found itself compared to Watchmen. It makes sense: every new decade seems to want its own Watchmen.

The latest comic to get such a comparison is The Power Fantasy. From writer Kieron Gillen and artist Caspar Wijngaard, the Image comic debuted in 2024 and almost immediately there were some big comparisons between The Power Fantasy and Watchmen. With both stories featuring a small group of flawed superpowered individuals and their interactions in world events — and the precarious position those interactions put humanity in — it’s easy to see why the two stories would, on the surface, seem similar. However, while The Power Fantasy owes a lot to Watchmen for paving the way, it’s simply not the same. It might actually be better.

What Was Watchmen About?

Given that Watchmen has become a piece of art that is so deeply ingrained in popular culture that it’s had countless imitators and expansions, it’s worth taking a moment to refresh ourselves on what Watchmen is about. Set in an alternate reality where the emergence of superheroes has dramatically altered the course of U.S. (and world) history, the story picks up in 1985. With superheroes having grown unpopular with the public leading to them being outlawed, the murder of a man named Edward Blake prompts investigation by a costumed vigilante, Rorschach. Blake, it turns out, was the real identity of The Comedian, a costumed hero working with the U.S. government.

As Rorshach investigates, he reaches out to his former fellow heroes — Daniel Dreiberg/Nite Owl, Jon Osterman/Doctor Manhattan, Laurie Juspeczyk/Silk Spectre, and Adrian Veidt/Ozymandias — to warn them, believing that Blake’s murder is part of a larger plot against costumed heroes. Of course, the former superheroes have issues of their own. Doctor Manhattan is incorrectly accused of being the cause of cancer in those close to him, prompting him to exile himself to Mars, which heightens tensions between the U.S. and the Soviets, Veidt is nearly assassinated, and Juspeczyk begins a romance with Dreiberg and resume vigilante efforts. The story culminates in Rorschach and Dreiberg finding evidence that Veidt may be behind the conspiracy against the heroes. It turns out that they are right. Veidt has been setting things up as part of a plan to prevent nuclear war via staging a fake alien invasion that would in turn see heroes come back into fashion… at the cost of half the population of New York. He murdered Blake when Blake discovered the plan as well as orchestrated all the obstacles the others encountered in their investigation. Ultimately, the heroes are too late to stop Veidt, and the squid attack takes place, resulting in mass death and destruction. While Veidt’s act is horrific, he wasn’t wrong about it bringing about peace and the heroes decide to keep the truth a secret after deeming the truth would do more harm than good. Doctor Manhattan also ends up killing the dissenting Rorschach to ensure silence. Things end on a somewhat bleak note with Doctor Manhattan declaring that “nothing ever ends” — and a fringe publication receives Rorschach’s journal, suggesting that the truth may still come out someday… if anyone will listen.

The Power Fantasy Has Big Similarities — and Differences

On the surface, The Power Fantasy does seem eerily like Watchmen. It, too, is an alternate reality with the emergence of six super powered people altering history. The title, which is only six issues in at this point, hasn’t fully revealed all the ways that the superpowers have impacted geopolitical events, but we get some big reveals, including that in 1969 the government tried to get rid of one of the most powerful of the people — Valentina — nuking a music festival in New Mexico she was attending. It didn’t harm her but led her to exile herself to protect others and led people to believe that she herself was radioactive. As the story is unfolding, we learn more and more about these superpowers — the so-called Nuclear Family or Atomics — and how they came together to co-exist while also keeping reigns on humanity in what they see as their protecting them from, well, themselves. There’s even one of the group, Magus, who is revealed to be working with the government after their most recent attempt to kill another superpower, Heavy.

[RELATED: In The Power Fantasy #6 The Government Takeover Will Continue Until Morale Improves (Review)]

But beyond the superficial similarities, The Power Fantasy is nothing like Watchmen. The biggest deviation is the relationship between the Nuclear Family members. While the heroes in Watchmen were still on relatively decent terms with one another despite no longer being active, the powered people of The Power Fantasy aren’t close at all. Over time, their “family” has fractured with none of them seemingly fully trusting of each other and indeed, it’s shown that there are secrets and manipulations at play across different factions within the family. This is a family with bitterness and secrets, which is not something you want with these people having self-appointed themselves the guardians of humanity. It makes for a very different dynamic and that is what sets the series apart: we’re one bad family falling out from utter destruction.

It’s the Humanity of the Superpowers That Makes The Power Fantasy Better

While Watchmen certainly had elements of humanity within its powered characters, at its core the story was more a “what if” scenario asking the question of what it would truly be like for super powered people to live among us, especially if they had the power of life and death over us all. The Power Fantasy takes that concept — the “what if” of it all — but makes it less about what they can do for and to weak, defenseless humanity and more about the humanity of the super powered people themselves. At its core, The Power Fantasy is a story about a very badly broken family on a dangerous collision course. It’s a story that is enriched by the stakes — after all, the safety and well-being of humanity is at risk if things end up going boom — but for all the elements of the story that function around the superpowers and their roles, it’s what they are doing to each other that is of real interest and the storytelling.

Knowing that we’re dealing with these extremely human superhuman beings in turn makes the base story even more chilling. There’s deep anti-superpowers sentiment, leading to one of them, Heavy, creating an off-world safe haven that threatens humans so much they try to have him killed and when it takes extreme measures to talk Heavy down from retaliating, the deeper fractures in the family start to show. Those deeper fractures include a fed-up Magus who has apparently always had an inflated sense of self who capitalizes on the growing rift to align himself with the government, essentially becoming an unelected leader with obscene amounts of power beyond his superpower skills, something with eerie similarities to real-world events in American politics. And seemingly playing all sides against the middle is Etienne, a Charles Xavier-meets-Doctor Manhattan type who is on every most wanted list in the world for killing everyone involved in the attack on Heavy with a mere thought but it’s not his terrifying powers that make him perhaps the scariest of them all; it’s the illusion he presents even to himself of being ethical and, in turn, focused on humanity. Of all the superpowers we’ve met thus far, he’s the most chilling because not only is he playing all sides against the middle, but he’s the only player we’ve really met (there are still a few superpowers we’ve not formally met) whose motivations are obscured and who might actually believe his own lies.

To put it another way, while Watchmen was a sort of deconstruction of superheroes by taking them to darker places than we would expect from Superman and the like, The Power Fantasy is more of a confrontation, asking the far more frightening question of “what if superpowered beings are exactly like we are, just without limits?” Given how complicated, flawed, and often tribalistic human beings are, it’s this inversion of things that makes the story more complex and far more relevant, offering the space to take the reader deeper into the darkest corners of the human experience because, after all, these superpowered beings are sort of human themselves.

Watchmen will always be something of a gold standard when it comes to deconstructionist superhero stories. Before it, there really wasn’t much in the way of a serious critical look at the world of superpowered characters. The quality of the work cannot be disputed. But every generation finds ways to improve upon the past and The Power Fantasy is doing just that. By leaning into what the Nuclear Family can do to one another and the wild, unsettlingly relatable humanity of that even as they have godlike abilities, Gillen and Wijngaard are setting a new standard. They’re answering the question of “who watches the Watchmen” and it turns out that “they watch themselves” is not only the answer, but it’s perhaps more dangerous than anything we’ve ever seen. And it rules.

The Power Fantasy #6 is on sale now.

The post No, The Power Fantasy Isn’t Watchmen (But It Might Be Better) appeared first on ComicBook.com.

G.I. Joe #4 comes out swinging with a high-velocity issue that pits the Joes against insurmountable odds while making you believe they’ve got just the tiniest sliver of a chance to succeed. That’s been around since the book’s first issue but is especially poignant in issue #4, and it can’t help but endear you that much more to this ragtag crew just trying to get the job done and survive to make it home. That allows the larger-than-life franchise elements and characters to maximize their impact without losing the moment-to-moment tension of what’s happening to the book’s heroes, and if that isn’t G.I. Joe at its core then I don’t know what is.

Joshua Williamson continues to navigate that balancing act to great success, hitting with big action sequences that lean into the spectacle and fun of the franchise while still keeping the attention on this evolving (and still a bit dysfunctional) team of Joes. A brilliant example of this is found in the issue’s first few pages, with the team in the midst of a high-speed escape from the Crimson Twins. These characters, the vehicles they drive, and the weapons they use are all bigger than life, but it always comes back to the characters at the center of the story, and you most certainly care what happens to them.

That particular sequence and several more throughout the issue are absolutely gorgeous by the way, and the brilliant team of artist Tom Reilly, colorist Jordie Bellaire, and letterer Rus Wooton also makes each action set piece feel unique and distinct from what’s come before.

The book’s brand new character Risk brings some welcome unpredictability and mystery to the series, and so far the issues between Risk and just about everyone make for comedy gold. That said, Cobra kind of steals the show here, both in terms of their grand plans and their roster of characters, and it certainly feels like the Joes are getting their butts handed to them quite a bit, both in this issue and in the series overall.

[RELATED: Threezero G.I. Joe Baroness Sixth-Scale Figure Is Up For Pre-Order]

That underdog element though is important, and it’s something I’ve grown to love. This issue heavily plays into that element, and while the jury is out on whether Duke is just unhinged or knows something we all don’t, I still can’t help but give him the benefit of the doubt. The unpredictability of this series is one of its key strengths, and the series isn’t likely to let that go anytime soon.

The team has found a way to ground the core concept of G.I. Joe and its characters without losing the epic fun that made the franchise such a hit in the first place.

Rating: 4.5 out of 5

Published by Skybound

On February 19, 2025

Written by Joshua Williamson

Art by Tom Reilly

Colors by Jordie Bellaire

Letters by Rus Wooton

What did you think of G.I. Joe #4? Let us know in the comments and you can also talk all things comics and G.I. Joe with me on Bluesky @knightofoa!

The post G.I. Joe #4 Hits the Gas and Never Looks Back (Review) appeared first on ComicBook.com.

It’s been a few months since Kieron Gillen and Caspar Wijngaard’s hit Image Comics series has published a new issue, but The Power Fantasy #6 could not have arrived at a better time in the world (complimentary for the comic, derogatory for the world). The fresh start of a new arc has two major things working in its favor, reintroducing readers back into the world after a brief time away while also managing to push its story ahead. As readers may have expected from its unique approach to “superpowers” in the first five issues, the latest chapter of The Power Fantasy continues to prove that there’s nothing else quite like it on the shelves.

Picking up after the major cliffhanger from issue #5, Jacky Magus has fully positioned himself in the US Government, taking on the role of “Secretary of Magic” for the United States. An unelected person taking a top position in the executive branch from a division that didn’t exist previously? It couldn’t possibly feel like anything currently in the news, not at all. As a result of his actions the other atomics have to now perform a bit of a dance to figure out where everyone stands, the longstanding struggle of this entire series (and its deadly lead characters) put on full display once again.

Gillen’s deft plotting manages to not only juggle reintegrating us back into the world but keep things moving (and interesting) throughout. Naturally, there are some big surprises along the way, with major character reveals that will shape not only this current arc but the issues that are set to follow (Gillen confirms the series could run for 50 issues if things go well). Etienne and Val have long been two of the most interesting pieces of this larger puzzle, but Magus’ new role gives him an extra dimension and room for Gillen to explore in fun and meaningful ways. Heavy is also given the spotlight here along with Tonya, the Atomic that helped kick off the story back in issue 1. Mystery still abounds though, and Gillen teases it out in ways that keep you engaged, especially with Eliza, the demonic Atomic.

[RELATED: The Power Fantasy #1 Advance Review: A Game of Superpowers]

A key ingredient of The Power Fantasy that has been true since issue #1, and remains the case here, is the artwork by Caspar Wijngaard consistently evokes a specific mood in each panel. Even if the page itself is a conversation between three characters that aren’t even on the same planet, Wijngaard manages to make sure that the color aura that surrounds each of them contributes to the larger emotional beat of where they are at that time and what they’re trying to convey. This is even true for characters talking in the same room, it’s a unique style that tends to buck major comic book tradition, but rewards the reader along the way.

That also plays into the later unique paneling that he displays. One page could be a fractured tableau to give us a deeper sense of a character’s mental wellbeing, and the next could be stacks of long panels showing off the vistas of the world (and where the heck everyone is), half the excitement here is the journey of what things look like with the next page turn. That’s one of the highest compliments I can give The Power Fantasy, you’re never lost visually when reading it, and Wijngaard’s artwork maintains a high level of consistency with crisp details.

I would not recommend newcomers immediately dive into The Power Fantasy #6, since it is built on five very important issues with a lot of added context and insight, there’s something amazing about the storytelling fluidity and how it gentle glided me back into this world. Where this series has always succeeded are the places that it continues to excel, it’s a layered and nuanced story that brings superhero comics to a level that they haven’t ever existed. Though every major publisher is finding success with reworks of their most famous characters right now, none of them are quite hitting like The Power Fantasy.

Rating: 5 out of 5

Published by: Image Comics

On: February 19, 2025

Written by: Kieron Gillen

Art by: Caspar Wijngaard

Colors by: Caspar Wijngaard

Letters by: Clayton Cowles

The post In The Power Fantasy #6 The Government Takeover Will Continue Until Morale Improves (Review) appeared first on ComicBook.com.

Comic book writer Donny Cates, known for his groundbreaking runs on Venom, Thor, and Hulk, has announced his return to comics following a prolonged absence from the industry. The writer’s departure in 2023 came after a series of personal challenges, including a serious car accident in 2022 that resulted in temporary amnesia, forcing him to step away from several high-profile projects. As a result, his runs on both Thor and Hulk concluded prematurely, leaving numerous plotlines unresolved. Now, after nearly two years away from monthly comics, Cates has confirmed multiple new projects are in development, with announcements scheduled for this summer.

“Just wanted to check in with all of you and let you know that your boy is back on the dance floor,” Cates shared on Instagram. “Expect announcements this summer. And then another one after that. What do you think? Anyone want to guess? If you get it right I’ll buy your first issue.” The playful tone of his announcement suggests a renewed energy from the writer, who has spent the intervening time focused on recovery while maintaining limited involvement in the industry through consulting roles, including providing additional literary material for Sony’s Kraven the Hunter and serving as a creative consultant on Venom: The Last Dance.

[RELATED: Spider-Man Is About to Get a New Sidekick (and They’re Bringing Back the Black Suit)]

The timing of Cates’ return carries particular significance given the impact of his last major works. His final contributions to Marvel Comics concluded with Thor #35 and Hulk #14 in 2023, following runs that redefined both characters for a new generation. Under his pen, Thor became the herald of Galactus and faced off against a time-displaced version of Thanos, while the Hulk was reimagined as a starship powered by Bruce Banner’s rage. These innovative takes on established characters exemplified Cates’ ability to respect continuity while pushing boundaries, a trait that earned him a devoted following among readers.

What’s Next for Donny Cates?

The creator’s return to comics promises to be significant, given his track record of commercial and critical success. Before his hiatus, Cates had established himself as one of the industry’s most dynamic writers, known for ambitious storylines that frequently crossed over between titles. His work on Venom introduced the character Knull and led to two major Marvel events, “Absolute Carnage” and “King in Black,” which became some of Marvel’s bestselling crossover events of the past decade. Additionally, his creator-owned work through Image Comics, including series like God Country, Redneck, and Vanish, demonstrated his versatility across genres and ability to craft compelling original narratives.

Cates’ previous work spans both major publishers and creator-owned titles, suggesting several possible directions for his return. His strong relationship with Marvel Comics makes new Marvel projects a distinct possibility. However, his last creator-owned work, Vanish, concluded in June 2023 with several storylines that could potentially be revisited. Through his production company KLC Press, founded with artist Ryan Stegman, Cates also has an established platform for launching new independent projects.

Stay tuned for updates on Donny Cates’ new projects. Meanwhile, his previous works, including Thor, Hulk, and Venom, are currently available through Marvel Comics, while his creator-owned series can be found through Image Comics. What do you think Cates will do next? Join the discussion in the comments!

The post Fan-Favorite Writer Donny Cates Confirms Return to Comics in 2025 appeared first on ComicBook.com.

Image Comics fans are set to see one of their favorites jump to the world of animation, and the team behind Netflix’s hit series Big Mouth is at the helm. Image’s horror series Nights is being developed for an animated series (via THR), and Big Mouth studio Titmouse is bringing the series to reality. Making the announcement even better is that Nights writer Wyatt Kennedy and artist Luigi Formisano will also be involved in the project, so horror fans and fans of comics all have a reason to rejoice.

Nights successfully launched its first arc that was fittingly titled season one, but it remains to be seen if the show will adapt it straight up season for season or spread out the story a bit across multiple seasons as new issues are released.

Titmouse creative director Alexei Bochenek is excited to deliver fans an experience like he had when he used to stay up late and find himself glued to Toonami, and he called Nights a “generational experience in the making.”

“Reading it reminds me of when I used to stay up late watching FLCL at midnight on Toonami, having my mind blown not just by how dynamic it was, but by how seen it made me feel, a mirror to my whole self, good and bad, dreams and fears. If you know you know,” Bochenek said. “I want to bring that feeling back to the animation fans like me who have been chasing it ever since, and introduce a whole new audience to the experience of discovering themselves through a new show that they feel seen by and become huge champions of, too. That’s what Nights is.”

[RELATED: DC’s Absolute Batman Just Revealed the Gnarliest Cape & Cowl Design Ever]

The realm of animation is a perfect one for Kennedy as well, and he revealed that he’s always looked at animation first for an adaptation as opposed to live-action. “From our earliest conversations, Alexei and his team immediately understood the soul of our strange little story, and their passionate collaborative spirit leaves me confident that we’re crafting something that fans of the book and newcomers alike will love,” Kennedy said.

As for the animated style of the show, Titmouse says the plan is to embrace the early 2000s look and feel of the comic, which takes place in 2003. Titmouse has created hit shows like Legend of Vox Machina, Star Trek: Lower Decks, and The Venture Bros., so they are quite adept at capturing a property’s personality with a sense of unique style, and that should follow suit with Nights.

In fact, Formisano revealed that some of his favorite shows are from Titmouse, so this couldn’t be a bigger dream pairing. “It’s a huge honor to work with a team who loves this story as much as Wyatt and I do, and I can’t wait for fans to see what we create together,” Formisano said.

There’s no word on a release date or window yet, but we’ll keep you posted. In the meantime you can catch up on Nights ahead of the show with Nights TP, Vol. 1, and you can find the official description right here.

“It’s 2003, supernatural creatures casually exist amongst humans, and America is made up of 31 states. Vince Okonma has lost his parents, moved in with his secret mercenary cousin and his video game-making roommate, and befriended “the greatest vampire who’s ever lived.” And that’s just the first 20 pages. From WYATT KENNEDY (BOLERO) and newcomer LUIGI FORMISANO, a new vision of urban gothic adventure starts here! Welcome to Florida, where the youth is wasted on the young… Collects NIGHTS #1-6″

Are you excited for Nights? Let us know in the comments and you can talk all things comics and animation with me on Bluesky @knightofoa!

The post Fan-Favorite Image Comics Horror Series Getting Adaptation appeared first on ComicBook.com.

In 2018, Marvel Comics announced that it had secured the rights to publish new comics based on Robert E. Howard’s iconic fantasy hero Conan, setting writer Jason Aaron, artist Mahmud Asrar, and colorist Matthew Wilson at the helm of a new Conan the Barbarian comic series that launched in January 2019. While Marvel’s return to publishing Conan comics proved fleeting, the 12-issue run that began the short-lived new era proved popular enough with fans for Marvel to reunite the creative trio for the six-issue King Conan series that served as the finale to the publisher’s second tenure as custodian of the Cimmerian’s comic adventures in 2022.

Bug Wars, published by Image Comics, sees Aaron, Asrar, and Wilson reuniting (with letterer Becca Carey entering the mix). Given their creative history, readers may expect Bug Wars to be a bit of Conan-esque sword-and-sorcery genre fare shrunk down to insect scale in an exercise similar to what Pixar’s A Bug’s Life did with the basic premise lifted from Akira Kurosawa’s classic Japanese historical drama, Seven Samurai. They wouldn’t be wrong, but that’s only half of the equation as Bug Wars also reimagines the premise of the family film classic Honey, I Shrunk the Kids as an ultra-violent power fantasy. In Bug Wars #1, one of these halves proves more compelling than the other.

Bug Wars #1 begins by establishing the setting of the Yard, which exists in the backyard of a human home. Here, beneath human notice, conflict rages as beetle berserkers attack an anthill kingdom like the Visigoths crashing against the walls of Rome, but all taking place at a scale that could fit in a terrarium.

But the Yard is, on the whole, bigger than any one battle or any pair of dysfunctional territorial neighbors. A row of six panels across a two-page spread introduces readers to the names of several factions existing in the Yard, conveyed in captions with text meant to appear handwritten, suggesting that these are places entities encountered and recorded by someone capable of communicating with humans. Yet, the artwork only shows us these havens of the Yard’s bug cultures as they appear to human eyes – Swarm City as a bit of overgrown foliage, the Wor Wraiders hovering around their familiar nests – which adds an alluring sense of mystery. In a matter of a few panels, the creative team builds a world that hints at exciting adventure, populated by sapient insects, that may stand alongside similarly premised stories like Mouse Guard and The Mice Templar (though less murine-centric, obviously).

Unlike those stories, Bug Wars features humans, and their involvement in the world of the Yard is central to the plot. The Slaymaker family (yes, Slaymaker) are moving into the home that abuts the Yard. It’s a tough move given that this is the same house where Sydney Slaymaker, the elder of two sons, discovered his entomologist father dead, having seemingly been partially eaten alive by the bugs he was studying. The death of the Slaymaker boys’ father affected Sydney and his younger brother, Slade Slaymaker, in opposite ways.

Having been traumatized, Sydney grew to fear and hate bugs passionately. Conversely, Slade, who can’t remember his father, seems to have inherited his fascination with bugs to connect with the father he never knew. While an interesting contrast, both brothers express themselves in over-the-top ways, the put-upon nerd Slade talking about virtually nothing other than bugs throughout the entire issue, while Sydney – whose long hair, jeans, and plain black t-shirt suggests an affinity for heavy metal – goes as far as to nail a bug to his front door as a threatening warning to, apparently, any other bug who may come looking for trouble (he even writes a note to accompany the morbid display, in case the would-be insect toughs who pass by are literate in English). These one-note characterizations, along with some gruesome panels and blunt use of profanity for emphasis, make the human half of the Bug Wars equation feel somewhat juvenile.

But the crux of Bug Wars is where the human and insect worlds meet. What Bug Wars #1 tantalizing does not say outright is that the Slaymaker father knew of and interacted with the Yard, opening up the possibility that he was killed with intent, and now one of his sons is following in his footsteps. From the issue’s narration, we learn there’s much we don’t know about the boys’ father and the world of the Yard and are primed to discover those truths as the series progresses, turning the premise into something not far from Tom King, Bilquis Evely, and Matheus Lopez’s recently acclaimed fantasy series Helen of Wyndhorn though the tones are quite different, with Bug Wars being a more muscular affair, visually, with a focus on gory detail, it’s first issue punctuated by a moment of violent empowerment. Though we can’t know, one could be charitable and assume that’s the point, and as Bug Wars continues, it’ll chart its hero’s maturation as he reckons with the grisly power he has come to possess.

Bug Wars looks to be a story about how the absence of a father and the secrets they once kept can change the trajectory of a son’s life. There’s potential in that, but how the creators marry the two worlds they’ve introduced here, and whether they can keep from overindulging in puerile violence, remains to be seen.

Rating: 3.5 out of 5

Published by Image Comics

On February 12, 2025

Written by Jason Aaron

Art by Mahmud Asrar

Colors by Matthew Wilson

Letters by Becca Carey

The post Bug Wars Is a Gory Take On Conan the Barbarian Meets Honey, I Shrunk the Kids (Review) appeared first on ComicBook.com.

An unexpected comic book series is topping Amazon Canada’s sales charts a decade after its publication — and current events may be playing a role for its resurgence. This week, Image Comics noted that We Stand On Guard, a 2015 series written by Brian K. Vaughan with art by Steve Skroce and colors by Matt Hollingsworth is currently the #1 Best Seller in Science Fiction Graphic Novels on Amazon Canada. Given the time that’s passed since the series was published — the deluxe hardcover graphic novel was published in June 2016 and the Amazon Canada listing for the paperback is dated 2017 — its sudden resurgence is a little unexpected, but recent trade tensions between the United States and Canada could be the reason.

Set 100 years in the future, We Stand On Guard is a dystopian story that follows a group of Canadian civilians turned freedom fighters defending their homeland from invasion by a technologically superior United States of America. The series is action-packed and gritty, pulling no punches and while it’s centered around sci-fi — there are some big freaking robots in this story — it’s also political, something that Vaughan said back in 2016 was by design.

“Niko Henrichon and I had already done an allegory about noncombatant victims of war with Pride of Baghdad, but now I wanted to write about actual violent resistance against a country I love, in a way that would hopefully be relatable to anyone, regardless of nationality,” Vaughan told The Beat. “Steve and I never wanted this to be boring ‘commentary’, but underneath the pulp and giant robot guts, it’s definitely political.”

[RELATED: Could Fantastic Four: First Steps Subtly Be Adapting This Critically Acclaimed Comics Series?]

So, why is the idea of a war between Canada and the United States of interest now, especially to Canadian readers? To that, we go to current events. Earlier this month, President Donald Trump signed an executive order to impose significant tariffs on imports from Mexico, Canada, and China, placing duties of 25% on imports from Canada, though energy imports would be taxed at a 10% rate. Canada, for its part, fought back with matching tariffs, including those on alcohol and fruit. However, just one day later those tariffs were put on pause by Trump for at least 30-days after talks with Canadian Prime Minister Justin Trudeau.

While the tariff tension may be a major reason for the spike in interest in We Stand on Guard, it also may not be the only one. President Trump has also previously been vocal about wanting to make Canada the 51st U.S. state, something that likely does not sit well with most Canadians. With a potential looming trade war and even the talk of the U.S. wanting Canada to become a state, it makes sense that a book which sees Canada invaded would be of unique interest at this point in history.

We Stand On Guard is available in graphic novel format now – in both the U.S. and in Canada. Have you read We Stand On Guard? Let us know your thoughts in the commen

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A new comic series is calling Batman out — or rather, calling out two of the Dark Knight’s bigger controversies. In Monkey Meat: The Summer Batch #1 from Juni Ba, the upcoming Image Comics title features hilarious nods to two of DC Comics’ more interesting controversies surrounding Batman, specifically the infamous “Death in the Family” storyline and a sex scene that DC wouldn’t allow Harley Quinn producers to include in the animated series’ third season. The references were spotted in a preview of Monkey Meat: The Summer Batch #1, due out March 5th (via Bleeding Cool) and are hilarious.

In the comic, there’s a sequence where the narration discusses the fate of the sidekick Monkey Girl, who “despite years as a faithful sidekick” ends up being best known for a story where she’s killed, resurrected, and comes back traumatized. It’s explained that the storyline was at the behest of the readers, who offered the character’s fate up for them to choose. While it’s a direct reference to DC Comics’ having readers vote on the fate of Jason Todd’s Robin for “A Death in the Family”, the reference in Monkey Meat doesn’t quite stop there. It goes on to reference another DC “controversy”, specifically the idea of a Batman/Catwoman sex scene in Harley Quinn in which Batman would have been performing oral sex on Catwoman — something DC firmly sad no to. How does that translate in Monkey Meat? Well, they ask “three fans” about why they voted to kill Monkey Girl with one responding “Now they can finally do what the fans want instead of the company keeping them from it. Like eat p*ssy.” You can check out the page for yourself below.

[RELATED: Harley Quinn Star Kaley Cuoco Reacts to Banned Batman Sex Scene]

The Batman Controversies, Explained (Briefly)

What makes the Monkey Meat: Summer Batch #1 “jabs” at these Batman controversies is that it provides a bit of commentary on how one thing is considered acceptable — specifically the death of Jason Todd — and the other is not. For those who may not be entirely familiar, here’s a brief breakdown of both controversies. “A Death in the Family” is a 1988 Batman storyline written by Jim Starlin with art by Jim Aparo. Considered one of the most important and iconic Batman storylines, the story sees the death of Jason Todd, the second Robin, die at the hands of the Joker but it wasn’t merely a straightforward storyline. Instead, fans could call in on a 900 number to vote and, thus, determine Jason’s fate. Ultimately, the votes were not in Jason’s favor and he died. The character was later resurrected as the Red Hood, complete with a lot of trauma. The story was, even in its time, extremely controversial.

As for the Batman/Catwoman of it all, that controversy is a bit more recent. Back in 2021, Harley Quinn series co-creator Jason Halpern revealed that while they had been given a good bit of freedom by Warner Bros., there were some things they simply could not do, including a proposed sex scene between Batman and Catwoman.

“A perfect example of that is in this third season of Harley [when] we had a moment where Batman was going down on Catwoman,’ Halpern said. “And DC was like, ‘You can’t do that. You absolutely cannot do that.’ They’re like, ‘Heroes don’t do that,’ So, we said, ‘Are you saying heroes are just selfish lovers?’ They were like, ‘No it’s that we sell consumer toys for heroes. It’s hard to sell a toy if Batman is also going down on someone.”

It’s the “selling toys” and capitalism/consumerism of it all that Monkey Meat seems to be poking at, with a character in the panel reacting to the idea that fans should dictate what characters can do: “Nah man! There’ kids characters!”

What Is Monkey Meat: The Summer Batch #1 About?

A follow up to Monkey Meat: The First Batch, Monkey Meat: The Summer Batch brings readers back to vacation on Monkey Meat Island for “what promises to be an entertaining and gonzo escape. What could be more diverting than a vacation to a hellish west African fantasy island run by a corporation of questionable intent? Embark on a brand-new set of adventures to amuse (and mentally scar) the whole family! Exotic locations, debt-collecting forest witches, and a superhero monkey suing the corporation that owns him. All these and more await our guests.”

The five-issue series is written by, and features art by, Juni Ba. It is scheduled to be published by Image Comics on March 5th.

What do you think about Monkey Meat: The Summer Batch #1 making a hilarious nod to some of DC Comics’ more interesting Batman controversies? Let us know in our comment section!

The post New Image Series Takes Shots at Batman (and It’s Hilarious) appeared first on ComicBook.com.

Image Comics has announced that Rob Liefeld’s hit ’90s comic series Youngblood is getting fully-remastered, with each issue set to be released in deluxe collector’s editions. The Youngblood Deluxe releases will take each issue of the series and bring them back into comic book store shelves with major enhancements, meaning readers hoping for facsimiles of the originals comics won’t find them here. According to a press release from Image, the Youngblood Deluxe issues will be “re-scripted, re-colored, re-lettered, and remastered to take the reader’s experience to the next level.”

“This is the ultimate way to experience Youngblood,” Liefeld said in a statement. “These characters mean so much to me and to revisit them like this is the absolute best way to read the comic that literally started the revolution and transformed the industry!”

The re-mastered deluxe versions of Youngblood marks the first time that the original series has actively been in print in many years. In Youngblood Deluxe #1, readers will enter the world of Badrock, Shaft, Die-Hard, Vogue, Sentinel, Riptide, Cougar, Chapel, and more, for 40 pages of eye-popping, mind-melting action. Youngblood Deluxe #1 will be available at comic book shops on Wednesday, April 16.

First teased by Liefeld in the pages of other comics, Youngblood was created as a superhero team that not only fought crime, but saw its superheroes become celebrities. This lead to the group not only battling ne’er-do-wells but also balancing things like their endorsement deals that they had on the side, delivering a very meta-take on superheroes during one of the biggest eras comic book publishing.

Youngblood has been rebooted a few times not only by Liefeld but other prominent comic creators, with Watchmen‘s Alan Moore even penning a few issues along the way. Last October brought news that Liefeld would be returning to Youngblood with all-new stories that he will both write and draw, which remains in the pipeline.

The Youngblood Deluxe edition issues aren’t the only way Image Comics is celebrating Liefeld’s series, as this April will also see the release of the massive Youngblood Vault Edition hardcover. This massive over-sized hardcover, which retails for $150, features “every piece of Rob Liefeld art from Youngblood #1-4, covers, pin-ups, trading cards, and more in meticulously reproduced archival quality.”

The post Rob Liefeld’s Youngblood Getting Deluxe Remasters From Image Comics appeared first on ComicBook.com.

Let’s not beat around the bush: as a franchise, Transformers is in deep trouble. This is especially true for the saga on the big screen, where audiences have begun to give this series the cold shoulder no matter how positive the critical reception is. In 2023, Transformers: Rise of the Beasts became the lowest-grossing live-action Transformers movie in history. This past September, Transformers One outright bombed with a $128.27 million worldwide haul on a $75 million budget.

No wonder Hasbro has announced it’s pulling back on co-financing movie adaptations of its toys. To rub salt into the wounds, there isn’t a massive culture-defining animated Transformers TV show currently on the airwaves introducing these characters to a new generation of youngsters. Even the toys haven’t been making much in the way of headlines beyond collectibles aimed at nostalgic adults. How did the Transformers franchise get into this shape? On a happier note, though, how could there also be a spark of hope for this long-running saga?

How the Transformers Franchise Got Into Trouble

The Transformers saga got into its current position simply by exhausting nostalgia for as long as it could. The ’80s kids who grew up on “The Touch” and Peter Cullen’s iconic Optimus Prime kept coming out to the original Transformers movies (despite their toxic reviews and eschewing of Transformers canon) and buying merchandise. However, it’s clear now that titles like Transformers: Age of Extinction didn’t do much to cultivate the next generation of Transformers fans. By the time superior family-friendly movies like Bumblebee and Transformers One opened, it was too late. The well had been tainted.

In terms of yesteryear pop culture properties that appeal to youngsters and adults alike, the world has moved on to things like Sonic the Hedgehog or The Super Mario Bros. Movie. Meanwhile, children’s television, the domain the Transformers first exploded in back in the 1980s, no longer belongs to these robots. 2010s animated Transformers shows like Transformers: Prime or Transformers: Robots in Disguise couldn’t hold a candle to the popularity of, say, Adventure Time or Steven Universe.

With this inability to generate new fans, Transformers is stuck in an awkward situation. People recognize Optimus Prime, but they also don’t have tremendously fond memories associated with either him or the franchise he originated from. Still, even in the midst of this turmoil, hope springs eternal. The comic book incarnations of the Transformers offer some hope that these characters aren’t gone just yet.

[RELATED: Michael Bay’s Transformers Movies Were Almost Derailed After the First Film]

Hope Lies Not in the Stars but in Comics

In 2023, Skybound Entertainment and Image Comics began running a series of Transformers comics that immediately captured the public’s imagination. Not only have sales been strong for these comics, but they’ve also garnered incredibly positive reviews championing how well they make the various Autobots and Decepticons dramatically compelling characters. Also running simultaneously is another acclaimed Transformers comic book line, Energon Universe, overseen by Invincible creator Robert Kirkman.

Energon Universe also garnered positive marks from readers, particularly for the creative ways it incorporated new details into Transformers lore. While these comic sagas feature visuals and storyline details harkening back to older Transformers mythos, it’s also clear they’re generating fanbases unique unto themselves. Right now, the passionate fervor surrounding these Transformers comics is evocative of how IDW’s Teenage Mutant Ninja Turtles comics got that franchise back on its feet. The miniseries The Last Ronin especially overhauled expectations for what a Ninja Turtles story could look and feel like.

Those creative risks led to a resurging Ninja Turtles fanbase that was more than ready to embrace new movies like 2023’s Teenage Mutant Ninja Turtles: Mutant Mayhem. Only time will tell if the ongoing comic book exploits of Transformers lead to a similar renaissance. For now, though, these successful comics show that these characters can still garner new fans and anchor compelling stories.

Best of all, they offer a glimmer of hope that this saga can evolve beyond just evoking 1980s nostalgia or reminding people of terrible Michael Bay movies. A fresh generation could have versions of Optimus Prime and Cybertron of their own that rekindle a love for this fictional mechanical world. These Autobots may have been knocked out at the box office, but they’re most certainly not down and out just yet. Like Ninja Turtles, Transformers are finding a brand new lease on life in the wide, exciting world of comic books.

Transformers One is now streaming on Paramount+

The post The Transformers Franchise Is in Trouble (but There’s One Bright Spot) appeared first on ComicBook.com.

When the rich and famous — particularly in Hollywood — do messed up things and find themselves in compromising positions, they call on a fixer to mitigate the damage and make things go away. But what about when it’s Hollywood After Dark and it’s the things that go bump in the night that need things fixed for them? That’s the premise of Freddie The Fix from writer Garth Ennis and artist Mike Perkins and while the premise is intriguing and the idea of werewolves, vampires, zombies and more getting in over their heads in a decidedly debauched Hollywood is fascinating, this one shot manages to miss the mark as a horror offering and weave a tale that is more wandering than it is complex.

Freddie The Fix opens up with our fixer, Freddie, explaining in narration what exactly his job is as he’s on his way to something he has to fix: Lou the Werewolf has gone a little too far with a male sex worker leading to a pretty gruesome death. It’s just another day at the office for Freddie who counsels his client on how to deal with the situation while also offering some sage advice on things he shouldn’t be doing generally even though he admits to himself it’s not going to stick and he’ll be back to dealing with Lou again at some point. He next finds himself called to the office of a movie mogul where he’s given news of something much bigger that he needs to deal with: the Boogeyman has died and it’s something that needs to be dealt with ASAP.

The Boogeyman is made out to be a real evil and his death being an overall win, but Freddie reluctantly signs on to help clean up the death — specifically to make sure that the death goes largely unnoticed. As Freddie starts to investigate and work on tying up loose ends, however, he finds himself dealing with a larger conspiracy and finds out that the Boogeyman’s death may not be exactly as it seems. Just another day at work for the fixer. Generally, it’s an interesting premise. Freddie’s work takes him on pretty much a tour of just about every sort of supernatural or horror creature you can imagine. We’re also taken on a bit of a side tour when Freddie is himself threatened as he continues his work, revealing that sometimes Freddie’s work means that he’s helping the evil get away with things, making him largely a morally grey figure.

[RELATED: Laura Kinney: Wolverine #1 Review — A Marvel Fan-Favorite Finds New Purpose]

But while the story is full of horrific creatures and things that traditionally are at home on the pages of horror stories, Freddie The Fix never really rises to a horror story. Instead, the whole issue feels like a long, rambling slice of life for Freddie that barely scratches the surface of the sort of dark things he encounters. Instead, the story leans too hard on shock value and sexual perversion to be edgy. Nearly every creature we encounter in the story has some sort of kink and most of the encounters Freddie has with various creatures and characters throughout the story comes with either a sexual sight gag or some direct reference to sex, usually in some sort of attempt at humor — particularly there’s a dildo joke that just feels played out and unnecessary.

As for the actual tension and mystery of the issue — the circumstances around the Boogeyman’s death — that almost feels like a bit of an aside. The issue tries very hard to interconnect the various creatures Freddie encounters as part of this big shocking death, but the ties seem superficial at best and when the issue does reveal what really went on with the Boogeyman, it’s not only something that the reader could have easily guessed, but the connections the issue tried to thread just don’t work. And, given that this is a one-shot issue and therefore a complete story, the resolution feels too easy and too clean, especially when things end by going full circle back to the mess from the beginning. Just another day at the office for Freddie.

While the story aspect of Freddie The Fix leaves quite a bit to be desired, however, the art is actually pretty solid. The art in the issue has something of a 70s vibe to it and the horror creatures are particularly well-crafted. Even the dinosaurs (yes, there are dinosaurs in this) are pretty great. In terms of colors, the issue does a great job of setting tone and mood using color, which is great considering how dense the actual writing is. The result is art that actual goes a lot further in telling the story than the writing on the page does. The only real weakness there is that some of the renderings of faces seems to change from page to page, but fortunately the character count is low enough that it’s easy to keep everyone straight.

Ultimately, Freddie The Fix has an interesting premise that it largely wastes on trying to be edgy, sacrificing shock value for actual story, and overstuffing the pages with a lot of writing that doesn’t necessarily get the job done. While the story is set as the debut offering for the creator-owned and driven horror showcase Ninth Circle, it really serves as sort of a weak introduction. The story, instead of functioning as something with horror and scares, feels more like elaborate world building. The reader is left with the feeling that there should be so much more to this story. We just unfortunately don’t get it.

Published by: Image Comics

On: December 18, 2024

Written by: Garth Ennis

Art by: Mike Perkins

Colors by: Mike Spicery and Andy Troy

Letters by: Rob Steen

The post Freddie the Fix #1 Review: Old Tropes, No Horror appeared first on ComicBook.com.

Image Comics has veered in many directions in its over thirty year history. At first, the indie publisher tried to be like the companies the superstars of the ‘Image Seven’ – Jim Lee, Todd McFarlane, Rob Liefeld, Marc Silvestri, Erik Larsen, Jim Valentino, and Whilce Potracio – had come from, creating a somewhat coherent superhero universe where crossovers and such were possible. As founders like Liefeld and Silvestri left and returned, this changed and eventually, Image morphed to the structure it’s in now – a publishing house of unconnected titles by the best writers and artists in the industry. However, Geoff John‘s Ghost Machine imprint has changed that, giving Image its own multiverse.

Rocketfellers #2, by Peter Tomasi and Francis Manapul, features a two-page spread where Manapul is joined by the other superstar artists of Ghost Machine – Jason Fabok, Gary Frank, Bryan Hitch, Peter Snejberg, and Ivan Reis – to show the four worlds of this new universe. The Ghost Machine comics – Geiger, Junkyard Joe, Rook Exodus, Redcoat, Hyde Street, Rocketfellers, and the upcoming Hornsby & Halo – have already made quite a splash and revealing the multiversal nature of the new imprint is a recipe for something special. Of course, anyone following the career of Johns, Tomasi, or Brad Meltzer knew that a multiverse was inevitable.

Ghost Machine’s Multiverse Is Being Constructed By The Best In The Business

Johns, Tomasi, and Meltzer all cut teeth on comic writing at DC. All three were long unabashed fans of the publisher’s Silver and Bronze Age, and the defining feature of that time period in DC was the multiverse, that infinite expanse of Earths that gave DC Comics’ creators the capacity to tell any kind of the story with the publisher’s superheroes. However, the multiverse was also confusing for more casual fans, and it was ended with 1985’s Crisis On Infinite Earths. That lasted for twenty years, when Johns, Tomasi, and, to a lesser extent, Meltzer were all apart of the build-up to Infinite Crisis, the Johns-written event book that laid the seeds for the return of the DC Multiverse. Johns and Tomasi were later a part of the construction of the New 52, an all-new DC Multiverse, in 2011. Johns would leave the comic writing side of things for a time to help with the DCEU, but would return with DC: Rebirth #1, again changing the continuity of the DC Multiverse and leading into Doomsday Clock and Flashpoint Beyond, where he talked about the Omniverse and the Metaverse. So, anyone expecting Ghost Machine not to have a multiverse, especially with its diverse range of comics, hasn’t really been paying attention.

The strength of Ghost Machine so far has been how its given readers so much in such a short period of time. Geiger is a post apocalyptic superhero epic, Junkyard Joe feels like an old DC war comic, Redcoat takes from the real world with its immortal Revolutionary War era British lead, Hyde Street opens the doors to horror, Rook Exodus is dystopian sci-fi, and Rocketfellers is a family sci-fi set in the far future. That’s a huge variety of books, and the line is full of talent from many of the best to ever work in the industry in the last thirty years – Johns, Tomasi, Meltzer, Frank, Reis, Snejberg, Manapul, Hitch, Fabok. This is exactly the line-up that people would want to run an all-new multiverse of titles and ideas.

It also certainly helps that Johns seems creatively rejuvenated with the line. He went from one of the biggest stars of the ’00s – joining the rarefied air of talents like Waid and Morrison as architects of the best of DC – to a creator that many had gotten tired of by the midpoint of the ’10s. His works at DC after DC: Rebirth #1 weren’t as beloved as what came before, and although its arguable that he ended strong – Flashpoint Beyond, The New Golden Age, Justice Society Of America, and especially Stargirl: The Lost Children were all rather well-received by fans and critics – the end of his tenure at DC wasn’t nearly as illustrious as its beginning. Ghost Machine has seen Johns pump out great new stories and ideas, paying homage to his past works but still creating something new. A revitalized Johns in charge of his own multiverse should be a recipe for success.

The Ghost Machine Multiverse Gives Image Yet Another Blockbuster Franchise

Image Comics has been on something of a tear since the early ’10s. The publisher has continually scored the best talent in the comic industry and allowed them to tell the stories they want, ones they retain full ownership and control over. Image famously only owns the iconic “I” logo – but that logo has become a mark of quality. Discerning fans know that Image is the best place to go in the indie comic market for the best variety of amazing comics. Ghost Machine has given them another weapon in their arsenal, a multiverse from some of the most prolific creators in superhero comics from the last thirty years.

Image may be far from the halcyon days of its founding, when its comics were outselling most Marvel and DC books without an X, a spider, or a bat on the cover, but its hard to argue with the depth of talent and creativity at the publisher. The Ghost Machine Multiverse is yet another feather in Image’s cap and one that has already made a lot of fans happy. Image works so well because of the cornucopia of various titles under its umbrella, and giving readers more inter-related books, especially from talents of the caliber that work at Ghost Machine, is only going to pay dividends.

You can check out Ghost Machine at Image Comics.

The post Image Comics Reveals Its New Multiverse appeared first on ComicBook.com.

Time travel stories are classic. Tales of people going back and forward in time can be found in almost every type of media, often delivering stories of adventure as the characters find themselves in unfamiliar circumstances, often trying to find a way to not only survive but make their way back home as well. The Rocketfellers is one such story. Written by Peter J. Tomasi with art from Francis Manapul, The Rocketfellers takes on the idea of what might happen if you combined The Jetsons with something like Lost in Space or The Swiss Family Robinson, just with time travel thrown in — and with a manhunt of sorts and the fate of the future to up the stakes. And while the first issue doesn’t fully outline many of the details of why this adventure is happening or reveal too much about the titular family at the story’s center, The Rocketfellers #1 has just enough intrigue jet propel things forward for what could be a perfectly timed adventure.

The Rocketfellers #1, more or less, starts things in media res with readers being introduced to the family in the 25th century as things are starting to go south for them. The family — dad Roland, mom Rachel, kids Richie and Rae, and grandpa Rodney and grandma Rosie — is fleeing from an unexplained threat. While the adults are trying to keep things chill for the sake of the kids it is clear that something or someone is chasing them. The family is headed for a time pod but are being pursued by Chronex. Whatever the reason for the pursuit, it’s important enough Rosie is willing to sacrifice herself so everyone else can escape not to a place, but a time: the 21st century.

From there, the issue establishes what life in a “primitive” time is like for the Rocketfellers. Despite being in the 21st century for a year, they aren’t fully acclimating. They barely know their neighbors, they’re having a difficult time fitting in, and everyone is eager to head back home but aren’t able to just yet. Eventually, it’s revealed that they may not get to go home at all and, more than that, there is something mysterious that is the cause for all of the upheaval — and it is suggested that things might get worse, both in the future and the present.

[RELATED: You Won’t Feel a Thing #1 Advance Review: Twilight Noir That Pulls You In]

Overall, the issue is good. It’s a fun read and the art has a slightly retro, space-age quality to it that feels a little larger than life, making it fit well with the story. That said, The Rocketfellers #1 spends most of its time not revealing anything. It, in a sense, feels less like a comic book and more like a half hour episode of television meant to simply introduce the cast and general conceit without really diving into the story. With that in mind, the issue gives readers a sense for each of the members of the Rocketfeller family and their personalities as well as how they are adjusting — or not adjusting — to their new home. In terms of tension and forward motion, things really only start to get interesting in the last few pages when readers find out that things back in the future are still high risk and that there may not be a happy ending and while that is enough to make one want to turn the page for the next part — scheduled to come out in December — it feels like there could have been just a little more to the story offered here. Beyond that, however, there’s a freshness to the story that isn’t necessarily superhero-coded and just feels like an old school sci-fi story, something that there’s always more room for in comics.

While the story could use just a little more meat and we don’t get to know our characters perhaps as well as we might like just yet, The Rocketfellers #1 is a fun first issue that brings slightly kitschy sci-fi to life in a story that is as curious as it is centered in humanity. With solid art and plenty of questions, there is a lot to be interested in with just this first issue and it makes for an intriguing prospect going forward.

Published by: Image Comics

On: November 20, 2024

Written by: Peter J. Tomasi

Art by: Francis Manapul

Colors by: Francis Manapul

Letters by: Rob Leigh

Cover by: Francis Manapul

The post The Rocketfellers #1 Review: An Intriguing Time Travel Adventure appeared first on ComicBook.com.

G.I. Joe #1 gave Duke’s team their very first mission, though it was no easy task. While initially thought to be a straightforward protection detail, things quickly escalated into a full-blown firefight, and the Joes found themselves significantly outnumbered and outgunned. That was partly thanks to Destro’s lethal new Energon-powered weapons, and as the battle started to turn against them, a fan-favorite character sacrificed their life to make sure the team accomplished the mission. It’s only the first issue, but G.I. Joe is now down one member of the team, and you can find our spoilery breakdown below.

The issue has the Joe team taking on their first mission as a new group, and the task is relatively straightforward. Transformers tech from a massive crash is being transported to a secure facility for research and after a number of break-ins at several weapons and advanced tech facilities, including M.A.R.S Industries, the Joe team is going to follow along with this latest pickup and keep the facility and the technology they are researching safe.

Thing is Cobra Commander and Destro have the same plan for Cobra, only they plan to hit that facility and steal that technology since it contains traces of Energon, which they can now track. It’s a simple mission for them too, as they seek to break in, get the tech, and leave. Little do both sides know they are now on a collision course with each other.

Complete Chaos

The battle begins with a hail of gunfire from a Cobra F.A.N.G. and then builds up from there, with Duke diving out a window to bring it down. In the facility things only get worse after a grenade takes out part of the team, clearing the way for Vipers to move in with their boosted weapons. The Joes are now being attacked with literal lasers while Cover Girl and Clutch are trying to wheel the tech out of there before the Vipers can get it.

[RELATED: Scarlett Team Reveals How John Wick, Kim Possible, and More Inspired G.I. Joe Solo Series (Exclusive)]

Unfortunately, the Vipers catch up, but Rock ‘N Roll gets in the mix and takes a few out to try and buy them some time. He is clocked with a vicious punch after being held by a number of soldiers, and Clutch and Cover Girl are unable to make an exit.

Heroic Sacrifice

That’s when Rock ‘N Roll vows that Cobra isn’t getting the machine, telling Duke “Don’t worry, Duke. I’ve been shot before. I can handle a light show! As Duke watches from the F.A.N.G. he just took control of, Rock ‘N Roll charges in towards two armed Vipers, and the final page shows both Vipers hitting Rock ‘N Roll with shots at point blank range. From the artwork, there are at least eight shots that go through him, ending one Joe’s life in the team’s very first mission.

This will obviously have a huge effect on the team moving forward, though they won’t even get much of a chance to process this given that Cobra is still steps away from stealing the technology they came here to protect. If the others make it out alive, they will have a lot to deal with after the loss of their teammate, and one of the most well-liked people on the team.

What did you think of the ending of G.I. Joe #1? You can talk all things G.I. Joe and comics with me on Threads and Twitter @mattaguilarcb and on Bluesky @knightofoa!

The post A G.I. Joe Fan Favorite Just Gave Their Life for the Team’s Very First Mission appeared first on ComicBook.com.

Happy new comic book day! It’s another major week in comics, and the ComicBook staff have come together to break down and review as many of the big comics releasing this week as possible. Now obviously this isn’t every single comic on stands, but we’re breaking down new releases from Marvel, DC, Image Comics, BOOM! Studios, Dark Horse, Dynamite, Oni Press, IDW, Mad Cave Studios, DSTLRY, and more!

We’ve also carved out some additional space for three of this week’s biggest books, including Black Lightning #1, Amazing Spider-Man #61, and G.I. Joe #1, so if our smaller review here piques your interest, make sure to check out the full review for a much more comprehensive analysis of all three issues. As for ratings, we keep things simple with a whole or half number out of five, and you can check out some of our previous reviews right here. With all that said, let’s get to this week’s new comics!

DC

Absolute Batman #2
Absolute Batman #1 was phenomenal. Absolute Batman #2 takes that kick off and goes deeper, digging into who Bruce Wayne is as well as the Gotham he lives in and continues to build its story, pulling back layers of not only the threat to the city but to its new hero as well. The pace is a bit slower this issue — there is a lot to read and a lot to dig into as we get a bit more information about how Batman operates as well as a deeper look at how that traumatic day at the zoo changed him, but it all comes together very well and while certain parts are different in this take, they move in very much the same way. Nick Dragotta’s art also continues to be incredible. It’s just a fantastic issue. – Nicole Drum
Rating: 5 out of 5

Action Comics #1075
I have said this before and I continue to say it: the current Action Comics run is stronger without the Superboys story in the middle. While one can assume that that story will eventually connect with Superman’s issues with the Phantom Zone and Krypton, it feels more like a space-taking break to stretch the larger tale out. As for that larger tale, seeing Clark get to learn some truths about his parents and homeworld first hand has been very interesting and this week even more so as it is information he gains on Krypton in the past that informs what is happening on Earth now as issues with the Phantom Zone kick up. Tying the truth about the past to the present makes this a very interesting and rich story and will definitely have an impact on Clark going forward as well. – Nicole Drum
Rating: 4 out of 5

Batman and Robin #15
Phillip Kennedy Johnson goes deeper into his story of Batman having to deal with a new murderer in town — who may or may not be connected to something from Batman’s past — and while the story is dense in places, it’s a very well-written story that ultimately leans more into Damian’s story and his finding of his purpose than the issues facing the city. Yes, there is plenty about the new murderer in town to deal with but leaning into Damian and what he experiences gives this story a new depth and tone that just works very, very well.
-Nicole Drum
Rating: 4 out of 5

Black Lightning #1
While Black Lightning #1 is a little light on the social and cultural aspects of the story, the issue leans into the strengths of the character overall. By centering the story and its mystery into the personal — specifically family — Black Lightning #1 creates a compelling story that not only resonates but helps further flesh out what the post-Absolute Power landscape looks like. It’s a solid read and it will be very interesting to see where things go from here.
-Nicole Drum
Rating: 4 out of 5 (Read the full review here)

DC Vs. Vampires: World War V #4
Anyone who knows me probably knows that I adore Damian Wayne, which probably makes it rather easy to surmise how much I’m currently loving DC Vs. Vampires: World War V. That goes tenfold for World War V #4, which essentially has half of the book being a long overdue confrontation between Damian and his father Ra’s al Ghul. Matthew Rosenberg knocks this confrontation out of the park, and if you had it on your bingo card that you’d see a Green Lantern Alfred and a Batsuit-clad Ra’s dueling it out, well, you’re simply really good at bingo. Then there are the other compelling plots of Mr. Miracle and the child he’s so desperately trying to protect and how the always unpredictable John Constantine factors into that quest, as well as what’s happening in the capital city with a close to death Barbara Gordon. It’s all compelling on its own, but together it’s not to be missed, and that also aptly describes Otto Schmidt and Pierluigi Casolino’s wonderful artwork and colors throughout the issue, especially anytime Grodd or Arrow are in the limelight. World War V continues to take chances and find new ways to explore longtime characters, and is a world I will never mind returning to. – Matthew Aguilar
Rating: 4 out of 5

Green Lantern #17
Civil Corps continues to shake up the cosmic corner of the DC Universe in Green Lantern #17, and somehow part 2 is just as epic as part 1. The sheer amount of things happening on different fronts throughout the issue is at times mind-boggling, and I’m not quite sure how writer Jeremy Adams keeps it all straight. That said, it comes together brilliantly, with every character and concept introduced over the course of the past year coming into play in some crucial way. Meanwhile, artist Xermanico and colorist Romulo Fajardo Jr. are simply on fire, with villains that pop off the page and collisions that feel truly epic in scope, even if they don’t involve a literal rage-fueled planet. Green Lantern has hit must-read status, and it’s crazy that we’re only at chapter two. – Matthew Aguilar
Rating: 5 out of 5

Marvel

Captain America #15
Since the beginning of this run, the only thing that has felt even remotely successful is the characterization of Steve Rogers. That remains true 15 issues in, and even then it’s not exactly consistent. But this run’s handling of Steve looks a lot better when seeing how completely misunderstood and misused a character like Peter Parker is. Very little in this issue — or this series — feels quite like you think it should. – Charlie Ridgely
Rating: 1 out of 5

Conquest 2099 #3
Dracula is a character that Marvel doesn’t utilize nearly enough. Sure, there’s more freedom here in the world of 2099, but Orlando shows just how compelling a character he can be. Combined with some great-looking action sequences and you’ve got another exciting 2099 entry from the writer who has conquered it over the past few years. Also, more comics should have giant space sharks.
– Charlie Ridgely
Rating: 4 out of 5

Deadpool #8
Deadpool’s daughter remains at the steering wheel in the face of her father’s apparent demise and this latest issue is one that tends to buckle under the weight of simply too many moving pieces for its own good. Ellie doesn’t get nearly as much time to shine here as she should, wading through a sea of exposition and an endless stream of villains stealing the spotlight. It’s unfortunate that Marvel Comics has already confirmed that the Merc With A Mouth is already set to return, dampening the effect of seeing Ellie on her own. Still, there are some humorous moments to be had and some interesting action set pieces but the series could be much more than what we are currently seeing now.
-Evan Valentine
Rating 2.5 out of 5

Psylocke #1
Psylocke #1 is built on solid thematic ground. Kwannon is struggling with the transition from being a living weapon to simply living and is compensating by doing a lot of side jobs during her downtime from the X-Men. When Cyclops benches her because he thinks she’s pushing herself too hard (ironic, coming from Scott), she instead takes a mission involving the trafficking of young mutants that triggers some trauma from her childhood training by the Hand, which pushes her back to her old habits. The visuals are sleek and strong — there are some nice splash pages and action scenes, making heavy use of afterimage effects to convey Psylocke’s ninja-like speed — but the book also looks like practically everything Marvel is putting out these days. Similarly, while the story is solid enough aside from a few questionable points (Why is Psylocke being so secretive about all of this? Why does she bother with the “I’ll buy the kids” ruse if she was just going to attack head-on anyway?), it doesn’t do much to distinguish Psylocke from other antihero types with traumatic backstories. Fans waiting for Kwannon to have her moment to shine solo will be pleased but don’t expect anything that stands out much from the crowd.
– Jamie Lovett
Rating: 3 out of 5

Star Wars: Ewoks #2
This is more of the book I was looking for when I cracked open the debut issue last month. It’s still a bit heavier on the dialogue than it needs to be, causing the story to drag just a hair every once in a while, but it’s also a great reminder of how wonderful the Ewoks as a community can be when harnessed correctly. They’re pure, adorable, and hilarious. It’s awesome to see them get a real spotlight that isn’t just catering to kids.
– Charlie Ridgely
Rating: 4 out of 5

The Amazing Spider-Man #61
Kelly and McGuinness can capably deliver a story in the tried and true Amazing Spider-Man mold, as the first half of this issue attests. They’re trying something different, which is commendable, but endowing Spidey with magical powers feels more like a stunt than a meaningful story. More depth may come as the story progresses. For now, readers are better off enjoying the nice art and snappy dialog. – Jamie Lovett
Rating: 3.5 out of 5

The Spectacular Spider-Men #9
Writer Greg Weisman is joined by artists Andres Genolet and Emilio Laiso in following New York’s two top Spider-Men. Weisman has always had a good handle on Peter and Miles and this issue proves why, especially when it comes to thinking outside the box within the Friendly Neighborhood Spider-Men’s smaller universe. In dealing with the problem of their friend Juliet’s new superpowers, Miles and Peter pull out all the stops and all the moving pieces work well in joining here for a solid solo issue. Genolet and Laiso work well in filling Ramos’ shoes here when it comes to the comic’s art and Weisman establishes what could be an interesting new hero to join the Wallcrawlers’ crime-fighting mission. The Spectacular Spider-Men remains the best Spidey book this side of Ultimate and here’s to a long future for the team-up comic. – Evan Valentine
Rating: 4.5 out of 5 (Read the full review here)

Ultimate X-Men #9
I run into the same issues reviewing Ultimate X-Men release after release, where I’m left thinking that this could be a solid enough story on its own but as the premiere spot in the Ultimate universe for these new mutants, it falls short. Peach Momoko’s art here works well in presenting a story that crosses the strengths of North American comic books with Japanese manga but it can often be a little jarring in terms of the lack of detail in some panels. The water color approach is a gorgeous one at times but it feels so against the grain from the rest of the universe. Our characters also seem so spread out and discombobulated after nine issues that you’re left wondering where the story is going, but not in an interesting and enticing way. Ultimate X-Men needs something and I don’t know what that is. – Evan Valentine
Rating: 2 out of 5

Uncanny X-Men #5
The fight against the creepy, powerful villain known as Sarah Gaunt continues here, with both writer Gail Simone and artist David Marquez able to prove why Uncanny X-Men is the best of the X-Books to come out of the “From The Ashes” era. We get more great characterization for Rogue here, along with some dynamic set pieces for the X-Men and their “new class” of youngster that might one day stand toe-to-toe with their elders. Simone has a great understanding of all the characters involved here, working well to make this issue a nice conclusion to the series’ first arc. Krakoa left some big shoes to fill but luckily, Uncanny is able to do so with ease. If you’ve been wary of where Marvel’s mightiest mutants could go following the Krakoa Era, Uncanny X-Men is the book for you.
-Evan Valentine
Rating: 4.5 out of 5

Venom #39
Venom #39 spins too many plates, meaning a couple fall to the ground. Writer Torunn Grønbekk has to connect all the plot threads that have been ongoing in this series to the larger Venom War, as well as wrap-up these tie-in issues, and it proves to be too much for one single issue. Germán Peralta & Cafu are the credited artists for the issue, which is at its best when it just sticks to traditional comic book action (a brief Venom vs Loki fight is one of the best sequences) because the weight of the plots compound on each other. At least the ending for Venom War seems to be a cool one, and the conclusion here is at least an easy tee-up for the finale. – Spencer Perry
Rating: 3 out of 5

Image Comics

G.I. Joe #1
The Energon Universe has been a truly special thing to watch, and the universe continues to grow and expand with the highly anticipated launch of G.I. Joe #1. After four stellar mini-series focused on key characters like Duke, Cobra Commander, Destro, and Scarlett, it’s time to get the team together and hit the ground running, and that’s exactly what G.I. Joe #1 delivers. Joshua Williamson, Tom Reilly, Jordie Bellaire, and Rus Wooton have brought big action and even bigger stakes to the series while also investing in the key relationships and personalities that give the series and the franchise overall its heart and soul. G.I. Joe finds the right mix of nostalgia and classic concepts to coincide with its modern themes and storytelling, and it’s a promising first step for the series. – Matthew Aguilar
Rating: 4.5 out of 5 (Read the full review here)

Precious Metal #6
The finale of Precious Metal delivers exactly what you want after the previous five issues, a gorgeous spread from artist Ian Bertram and color artist Matt Hollingsworth. Since the beginning the world and characters of Precious Metal have been what kept it interesting, largely because of a visual style truly unlike anything else on the stands. Series writer Darcy Van Poelgeest does their best to make it all make sense. Much of Precious Metal has not been totally coherent for a few issues, but that’s okay when the vibes themselves are quite immaculate. Clocking in at almost sixty pages though, this is going to be one of the best bang for your buck purchases of the week. – Spencer Perry
Rating: 4 out of 5

Transformers #14
The Energon Universe continues with interesting stories for both the past and the present of this new take on the Transformers’ universe. The fourteenth issue follows in the mighty footsteps that we’ve seen from the series so far, slamming together the Cybertronians with GI Joe and Cobra in a compelling fusion. Both the writing and art here are on point though I did have a minor complaint with the flashback. There’s something of an element of Starscream’s agency taken from him in relation to his decision to be a Decepticon and it might rub some Transformers’ fans the wrong way but it’s a minor bump in the road. The Energon Universe makes the Decepticons a truly scary force to be reckoned with and this latest issue is one that proves that even grievously injured, Starscream is a terrifying character. – Evan Valentine
Rating: 4 out of 5

Witchblade #5
The new issue of Witchblade is bookended with goodness. At the top, a moment of extreme self-reflection where scribe Marguerite Bennett digs deep into the thematic arc of the entire series, with a wild action sequence to conclude things. In the middle is…not necessarily wheel spinning in terms of plot, but it’s moving the pieces around the board. Series artist Giuseppe Cafaro and colorist Arif Prianto continue to keep the mood evocative and interesting however, maintaining an interesting visual style that defines this volume just as much as its politics. – Spencer Perry
Rating: 4 out of 5

Other Publishers

Black Hammer: Spiral City #1
Jeff Lemire’s latest volume in the Black Hammer universe has a unique hook. The previous batch carried the subtitle of “The End” and in true Black Hammer fashion Lemire has picked up the pieces from it in a way that no other comic series before has managed to address. Following the events of an explosive multiversal event comic, things can’t just go back to normal, and Black Hammer: Spiral City is forced into a fractured narrative to address the pieces left behind. This offers not only a few different perspectives that are worth exploring but also means that there is perhaps not enough room for each story (at least in the first issue). Teddy Kristiansen enters as the artist for the series, and his style certainly fits the thematic tone of Black Hammer: Spiral City. Kristiansen does a good job with the expository elements, framing it as a storybook recapping major Black Hammer events, but some other instances leave out detail entirely which makes the visuals sometimes feel incomplete. As a longtime fan of Black Hammer as a whole I’m excited to see where this goes, though it’s hard not to notice that visually this feels like a step down from Dean Ormston and Malachi Ward. – Spencer Perry
Rating: 3.5 out of 5

Epitaphs From The Abyss #5
My only real concern with most issues of Epitaphs from the Abyss to date has been that the stories, more often than not, feel a little short or incomplete and that’s true for issue #5. While the three stories in this issue are good, they feel less like complete stories and more like pitches for longer tales — particularly Matt Kindt’s “Forever Home” which is absolutely a horror mystery I would read if it were fleshed out just a little more rather than feeling like a synopsis. The third story, Joanne Starer’s “All New You” has perhaps the biggest message about society and culture, and Matthew Rosenberg’s “Some Things You Lose, Some Things You Give Away” may be the strongest and most heartbreaking, but something about them just feels unfinished and unsettled which in turn gives the overall issue a feeling that there could be something more. – Nicole Drum
Rating: 3 out of 5

I Heart Skull-Crusher #7
Skull-Crusher may lose the details here and there (the tournament itself is impossible to keep up with), but it has crafted such an enjoyable world and cast of characters that it’s often hard to care that much. You’re consistently having a great time.
– Charlie Ridgely
Rating: 4 out of 5

Minor Arcana #3
Sometimes you have to hit a personal rock bottom in order to find your way back up and that seems to be the heart of Minor Arcana #3. While the first two issues of the series saw Theresa trying to avoid herself and her gifts — as well as her past — this issue sees her reach a turning point and in that turning point, acceptance. Jeff Lemire does a fantastic job of keeping the story very tightly centered, both emotionally and narratively with Theresa going less into her supernatural power and more into the things that haunt her. It makes for an extremely satisfying story that almost stands on its own. It’s easily the best of the series thus far. – Nicole Drum
Rating: 5 out of 5

Power Rangers Prime #1
After an eight-year saga a new era officially begins in Power Rangers Prime #1, and it’s quite the introduction. Power Rangers Prime has the beloved DNA of the previous comics and the larger franchise, but weaves those touchstone elements into something refreshingly new and unique. Melissa Flores quickly establishes the new status quo as well as the history and mythology that set it in place, and that new history is already providing several intriguing new societal elements and conflicts. Flores also gets to work establishing two promising new characters and their rather contrasting personalities, all juxtaposed by the one known figure in Lauren, which keeps things grounded despite all the changes. Artist Michael Yg, colorist Fabi Marques, and letterer Ed Dukeshire hit the ground running from the very first page, and while we don’t get much in the way of traditional Ranger action, what we do see looks fantastic. That said, some of the most impressive moments are quieter in nature, with one particularly gorgeous panel presenting Mark’s history through a truly unique lens. As for that last page, well, it shakes things up considerably, and combined with everything else in the issue, makes for one hell of a first impression. Power Rangers Prime is off to a stellar start, and I can’t wait to see what happens next.
– Matthew Aguilar
Rating: 4.5 out of 5

Star Trek: Lower Decks #1
Despite many being apprehensive of Star Trek: Lower Decks, given how far it seemed to venture from what Star Trek had always been until then, fans have come to embrace the show and will lament its ending after five seasons. Those fans should take heart in the existence of Star Trek: Lower Decks #1, which promises future adventures that successfully translate the charm, heart, and humor of Lower Decks into a new medium.
– Jamie Lovett
Rating: 4 out of 5

Teenage Mutant Ninja Turtles: Mutant Nation #2
Teenage Mutant Ninja Turtles: Mutant Nation #2 is again split into two stories. The first follows Raphael as he’s forced into helping Metalhead invade Area 51. The pacing here is a little slow as most of the chapter is spent recalling how Metalhead got here, and the artwork is a bit flat, but it sets up a compelling premise for what’s to come. The back story is more energetic, continuing to chronicle Casey Jones’ time with Karai’s Foot Clan in Japan. Erik Burnham has done an admirable job of establishing a believable and fun rapport between the members of Karai’s gang, while  Mateus Santolouco’s artwork is as sharp and dynamic as always. Altogether, it’s a pretty strong package for TMNT fans.
– Jamie Lovett
Rating: 3.5 out of 5

The Terminator #2
The Terminator #2 takes the story into the Vietnam War, where a Terminator is on the loose to seemingly eliminate a future threat to Skynet in the same mode as the original Terminator movies. The issue doesn’t provide many specifics, which makes it hard to get too invested, especially with the needlessly circuitous dialog in which the protagonist dances around the fact that the “treasure” he’s hunting for is his Vietnamese wife and child even when there’s no one around to hide that information from. The visuals struggle with the action, with tanks seemingly appearing out of nowhere, and the sparse artwork fails to convey the full weight of the destruction occurring. It’s hardly unreadable, but it struggles on almost every level. – Jamie Lovett
Rating: 2 out of 5

Time Waits #2
Time Waits #2 suffers somewhat from being the middle chapter of this story and thus has to juggle the full chaos of what’s occurring across the time stream. That means fewer endearing moments with our cast and more wild action as time-hopping mercenaries show up to ruin everyone’s day. That’s not such a terrible trade, at least not when it looks as good as it does in these pages. There are strong thematic underpinnings here as an all-powerful capitalist corporation from the future attempts to control all of humanity in a dystopian future by retrieving food seeds from the past, but it’s the personal stuff — the rivalry between Blue and his old squad leader, the tension in his relationships to his wife and Duke — and that carries the book and its stronger for it.
-Jamie Lovett
Rating: 4 out of 5

The post Comic Book Reviews for This Week: 11/13/2024 appeared first on ComicBook.com.

It has been said that the best and most effective horror stories are rooted in reality. That doesn’t mean that such horrors are based on true stories per se, but rather that they speak to something of the human experience that is authentic and relatable and when it comes to It Happened on Hyde Street: Devour #1, that is exactly the kind of horror story readers get. A one-shot set within the world of Geoff John’s new Hyde Street series, It Happened on Hyde Street: Devour #1 explores not exactly what’s going on on Hyde Street and the mystery set up with Mr. X-Ray, but instead dives into how some of the poor souls ensnared by the various bad actors on Hyde Street end up there — and in doing so provides a bit of incisive commentary on body image and to fixation with being thin.

Written by Maytal Zchut with art by Leila Leiz, Devour #1 is a story told over three generations — a mother, daughter, and granddaughter — through the bulk of the story is centered around the granddaughter, Lily. Lily is preparing for her wedding but finds it difficult to fit perfectly into a wedding dress. It’s a scenario not uncommon for many brides, and Lily finds herself dieting to make it work. Except, it’s difficult and it is something not made any easier by her mother and grandmother, who are both incredibly thin. As readers learn from the outset, Lily’s grandmother was once overweight herself but wandered into the shop of Miss Goodbody who sold her a mysterious supplement called Devour that promised a dramatic and miraculous body transformation. Of course, because Miss Goodbody’s shop is on Hyde Street, this miracle weight loss comes at a price beyond just the generational trauma of a fixation on being thin.

What works particularly well about Devour #1 is that the real horror is less the truth about Devour — which the story does reveal and it is, on its own, quite horrifying — and more the reality of body image and the fixation on thinness as a hallmark of beauty. Lily’s grandmother is shown as being insecure about her body in 1983 despite being surrounded by the reassurances of her daughter (and before that, her husband) that she is beautiful as she is. The grandmother puts her own fatphobia onto her daughter, Patricia, even before she takes Devour, shaming the child for wanting cookies and warning her not to become fat like her mother. While we are never actually shown what happens with Patricia growing up, it becomes clear very quickly that Patricia has ended up on Devour as well, and though she initially advocates for Lily to have her own path towards comfort in her body, the pressure ultimately becomes too much and the cycle starts again, just in a more terrifying way than before as Lily becomes a mother herself.

While Devour #1 has a horror twist about what the active ingredient in the Devour product really is (and suggests what Miss Goodbody is really doing when she pushes her “miracle” product on people, Zchut does a fantastic job of making the real horror not the diet supplement, but the pressure placed on women by society and even their own loved ones to be thin. It is, in a sense, a timeless subject, but also one brought a little more to the surface discourse in recent months with the availability of medications that have been helping people lose weight. In particular, Lily’s struggle to lose weight on her own or “naturally” is particularly incisive as we see the young woman do everything “right” but still not achieve the goal placed on her by the perceptions of others. It’s perhaps in the contrast between Lily seemingly being somewhat content with who she is and the way those closest to her are trying to force her to be someone else where the most chilling — and heartbreaking — commentary lies and thus, makes the turn at the end with Lily and her own newborn daughter the real horror in the story more than anything Miss Goodbody is doing.

[RELATED: Hyde Street #1 Review: An Enticing Introduction Down a Dark Path]

Artistically, Leiz does a fantastic job of presenting the “normal” bodies of Lily and of her pre-Devour grandmother with respect and even beauty. They are some of the loveliest images in the entire book, as contrasted by with the skeletal forms of post-Devour grandmother and Patricia who both, despite being the thin ideal, look twisted and ugly. There are also some fantastic Easter eggs for Hyde Street sprinkled in the issue’s art as well, with Leiz incorporating the characters in a way that does not distract from the tale playing out in a subtly sinister fashion page by page.

While we are still getting to know the overall world of Hyde Street in the main comic, It Happened on Hyde Street: Devour #1 makes for a strong and impressive introduction to the lure of the world. By speaking to something that is so relatable and unfortunately common for many by taking on the obsession with being thin, Devour #1 reminds readers just how easy it is to succumb to the lure of a quick fix with no thought to the consequences. The result is a horror that maybe isn’t full of jump scares or gore, but settles right into the thoughts and is deeply uncomfortable less for the world the story inhabits, but for the world the reader actually exists in.

Published by Image Comics

On October 30, 2024

Written by Maytal Zchut

Art by Leila Leiz

Colors by Alex Sinclair

Letters by Rob Leigh

Cover by Ivan Reis, Danny Miki, and Brad Anderson

The post It Happened On Hyde Street: Devour #1 Review: An Unsettling, Relatable Horror Story appeared first on ComicBook.com.

Happy new comic book day! It’s another major week in comics, and the ComicBook staff have come together to break down and review as many of the big comics releasing this week as possible. Now obviously this isn’t every single comic on stands, but we’re breaking down new releases from Marvel, DC, Image Comics, BOOM! Studios, Dark Horse, Dynamite, Oni Press, Mad Cave Studios, DSTLRY, and more!

We’ve also carved out some additional space for three of this week’s biggest books, including Absolute Batman #1, Blade: Red Band #1, and The Terminator #1, so if our smaller review here piques your interest, make sure to check out the full review for a much more comprehensive analysis of all three issues. As for ratings, we keep things simple with a whole or half number out of five, and you can check out some of our previous reviews right here. With all that said, let’s get to this week’s new comics!

DC

Absolute Batman #1: Reinvention isn’t an unfamiliar concept for comics, but it’s not one that always works. However, with Absolute Batman #1 Snyder and Dragotta have not only successfully reinvented and reimagined one of the most iconic and beloved characters in popular culture, but have kicked off a very well-crafted story as well. With a strong balance of familiar elements and a new approach that is both more contemporary and more grounded, Absolute Batman #1 has given new readers a compelling jumping on point while offering longtime comics fans plenty to be interested in as well. It’s a well-crafted issue that works on all levels and will be fascinating to see where it goes from here. The issue is well-paced and full of interesting details and action as well as sets up a fascinating story. It’s a great kickoff. – Nicole Drum (Click here for full review)
Rating: 5 out of 5

Action Comics #1070: Action Comics #1070 is a solid comic. The issue sees Superman have to deal with an unexpected — and unsettling — threat when something emerges from the Phantom Zone that pushes Superman to his limits. The mechanics of the story is, as most opening chapters are, largely setup but it’s good setup that sees a little bit of classic teamwork between Superman and not only Supergirl, but Jimmy Olsen as well. It’s a story with solid balance between real stakes and intrigue that makes it a good read. The backup story, a Supergirl tale from Mariko Tamaki, is also solid, though it feels more like a slow burn than a direct mystery. Overall, this is a great issue and well worth the read.
– Nicole Drum
Rating: 5 out of 5

Batman and Robin #14: While it is a little disappointing to see Damian regress a bit back to his more petulant behavior after the relationship between him and Bruce came so far in the previous arc, Batman and Robin #14 is a fascinating issue that kicks off a chilling new adventure in which a new threat starts reenacting horrible crimes from Gotham’s dark history. There’s a lot to enjoy here: digging into Gotham’s history and tragedies is of course enjoyable, but structuring the story with Bruce and Damian split up as things kick off makes it even more interesting. The art here is also solid. It’s a good start. – Nicole Drum
Rating: 4 out of 5

Batman: Full Moon #1: Batman’s fight against a new werewolf foe proves to be a serviceable new entry into DC’s Black Label imprint. Rodney Barnes’ script takes a bit of time to really coalesce, but offers some tragic and pointed analysis of fear and faith once it does. Stevan Subic’s art fluctuates between a gritty and shadowy brilliance and unflattering character designs, but neither extreme really feels out of place in the story’s aesthetic. Overall, Full Moon is far from the most interesting or headline-grabbing new Batman book to launch this week, but it still possesses a lot of promise. – Jenna Anderson
Rating: 3.5 out of 5

DC Vs. Vampires: World War V #3: As the newest fight in the DC vs Vampires universe continues to coalesce, even the most satisfying of plot points don’t stop the series from delivering more of the same. Matthew Rosenberg’s script does possess some clever and character-driven moments, but remains as dissonant and scattered as previous installments. Otto Schmidt’s art renders the carnage and splatters of blood well, but leaves other panels with bizarre facial expressions and underwhelming backgrounds. While this is issue is promising for the overall arc of DC vs. Vampires, it still feels like something is missing. – Jenna Anderson
Rating: 3 out of 5

Green Lantern Civil Corps Special #1: The Green Lantern corner of the universe has changed quite a bit over the past year, and all of those changes collide with the fallout from Absolute Power in the Green Lantern Civil Corps Special #1. Those who have been keeping up with the various Lantern happenings in Green Lantern, War Journal, the recent Superman backup stories, and Absolute Power will be right at home, and writers Jeremy Adams and Phillip Kennedy Johnson do a good job of getting you up to speed on what the other book’s been up to if you haven’t been keeping up with everything. The new elements in play from all of those various stories inject some fresh energy into the mix, though just seeing some of your favorites together again gives the book some welcome nostalgia as well, and longtime Lantern fans will enjoy one particular appearance immensely. The team of artist Salvador Larroca and colorist Luis Guerrero know how to craft some epic ring-slinging, with creative constructs and bigger than life action that utilizes the unique power set the Lanterns possess. There is perhaps too much happening at times, and those who haven’t been keeping up with everything might still be a bit lost in certain moments, but those are small quibbles, as the Green Lantern Civil Corps Special delivers big action, shocking reveals, and the promise of even better things ahead for the Corps.
– Matthew Aguilar
Rating: 4 out of 5

Marvel

Amazing Spider-Man #59: Peter Parker and Lonnie Lincoln’s slobberknocker of a death match continues in Zeb Wells and John Romita Jr’s latest issue of the Amazing Spider-Man. As mentioned in my last issue review, this is one of the most brutal fights that the wallcrawler has ever been a part of, reminiscent of his previous battle with Morlun as he finds himself bouncing off the brick wall that is Tombstone. It’s an emotional, heart-pounding thrill ride as the two super-powered brawlers fight for the life of Janice Lincoln. On top of both combatants pitting their strength against one another, they are also placing their ideologies against one another as well and it really works here. Wells has had his issues throughout his ASM run but he is looking to go out with a band thanks to this final fight. – Evan Valentine
Rating 4.5 out of 5

Blade: Red Band #1: Eric Brooks has been having a tough go of things in recent Marvel Comics days. Thanks to the events of Marvel’s Blood Hunt, Blade has found himself shunning society thanks to being possessed by the first vampire, Varnae. While Marvel’s most popular vampire hunter was able to escape the crossover without shedding this mortal coil, Blade finds his life at an impasse as he attempts to figure out what to do next. Fortunately, or perhaps unfortunately for Blade, his next big challenge falls at his doorstep in the form of a mysterious group that are hoping the vampire hunter will give them some major assistance. – Evan Valentine (Click here for full review)
Rating: 2.5 out of 5

Fantastic Four #26: Marvel’s First Family — more specifically, Reed and Johnny — get into the spooky spirit with yet another truly delightful issue. As the duo’s predicament grows more and more outlandish, Ryan North’s script roots the events in some wonderful characterization and genuinely hilarious one-liners. Ivan Fiorelli’s art perfectly compliments the genre-bending lunacy of the narrative, without veering too far from Marvel’s house style. This issue is yet another example of how consistently stellar this new Fantastic Four run is. – Jenna Anderson
Rating: 5 out of 5

Marvel Zombies: Dawn of Decay #2: The new take on the Marvel Zombies continues and with this departure to a more “Last of Us” style infection, readers do miss out on some of the specific dark comedy that helped make the Marvel Zombies a household name. Ultimately, the partnership between Hulk and Groot here is the star as the green side of Bruce Banner and the Guardians of the Galaxy’s favorite tree. It’s a far more humorous take on the Marvel Zombies overall and it offers just enough to justify its own existence, though it could use a little more bite in terms of this new undead tale. – Evan Valentine
Rating 3 out of 5

Phoenix #4: The clear thesis of Stephanie Phillips’ take on Phoenix is made crystal clear by a meaningful exchange in the first pages of this month’s issue, but making the subtext text doesn’t diminish the power of anything before it or what we see here. Alessandro Miracolo’s art (with colors by David Curiel) continues to be awe-inspiring stuff, whether it’s the major action splash pages with a planetary scale of destruction or quiet character-based moments where two omega-level superheroes are just chatting. Phoenix continues to be the X-Men title that feels the most fresh out of Marvel’s latest relaunch.
– Spencer Perry
Rating: 5 out of 5

Sentinels #1: I don’t remember the last time I felt like a comic book pranked me, but Sentinels first the bill. The moody framing, coloring, and line work on the first page, steeping in what appears to be Barry Windsor-Smith’s influence, had me primed for a story in that vein. Unfortunately, a page turn revealed coloring much more in line with Marvel house standards and linework that didn’t quite fit that bill, but that had entirely abandoned the claustrophobic atmosphere of page one. The premise of Sentinels is interesting in that it takes the concept of the Suicide Squad and puts it into the X-Men’s orbit. However, where previous efforts along similar lines like Hellions put together a team of mutant ne’er-do-wells, Sentinels comprises its team of desperate humans injured during the various cataclysmic events that have beleaguered Marvel’s Earth for years and who have submitted themselves to experimental nanotech procedures to get their lives back only to find themselves disposable, highly-regulated members of a mercenary fireteam and in danger of being bricked by glitches in their new hardware. Mix in the idea of utopias built on such disposable sin-eaters and the plight of the mutants who just lost their promised land and there’s an interesting cocktail of ideas here. It doesn’t quite all come together neatly in these first 20 or so pages, and it’s a shame the issue didn’t commit to the more distinguished visual style of its opening page, but it’s still got enough of a hook to bring readers interested in its layered themes back for more. – Jamie Lovett
Rating: 3.5 out of 5

Spider-Man: Black Suit And Blood #3: Like so many other comic book anthologies, Spider-Man: Black Suit and Blood has its ups and downs. While the red, white, and black-styled comic follows Peter Parker’s misadventures with the symbiote, this latest issue has also injected a wild story involving Battleworld and a mysterious villain named Master Blood. This Kang-centric story is an ingenious one and works well within the parameters of the theme. Ultimately, the stories are solid enough and show the more ruthless side of Your Normally Friendly Spider-Man. The artwork across the board is beyond solid here, putting its stylistic restrictions to good use. This Spidey anthology is a good addition for symbiote fans and supplies some solid stories in Peter’s history. – Evan Valentine
Rating 3.5 out of 5

Star Wars: Ewoks #1: The concept for what this series is going to be is quite good, centering on the Ewoks on the moon of Endor as a group of mercenaries from the fractured Empire returns to collect the weapons they left behind. This first issue takes a long time to get to that conflict, and not all of the setup is particularly interesting. Thankfully, Steve Orlando is a more-than-capable writer and delivers compelling pages even when the story calls for heavy exposition. There’s a lot to be excited about with this series now that the seeds have been planted. – Charlie Ridgely
Rating: 3 out of 5

The Ultimates #5: The Ultimates #5 introduces readers to the new Ultimate Hawkeye, a young Indigenous man who got ahold of Tony Stark’s high-tech arrows and costume and has been using them to blow up oil pipelines and similar. It’s a timely reimagining of the character that fits well into the concept of the Ultimates as a resistance network, and there couldn’t be a more appropriate debut than having this new Hawkeye square off with Captain America. Visually, their fight is relatively low-key despite the explosions and acrobatics, which places a lot more of the focus on the conversation, which dives into minority repression, cultural representation, and the act of stealing meaning from those who would otherwise deny it to you, amounting to another thoughtful and exciting issue. 
– Jamie Lovett
Rating: 4.5 out of 5

Venom #38: This tie-in to Venom War continues to be as unique as it is fun with scribe Torunn Grønbekk injecting some much-needed characterization into Dylan Brock, which ironically couldn’t be done until he was an old man. Germán Peralta & Cafu are credited with art on the issue, with colors by Frank D’Armata, and any time the frame gets too big and the details get smaller there is something lost in the look of the book. Close shots where minutiae are shown off are where this one lives, and luckily there’s more of it than not, though it is noticeable when the detail is absent. – Spencer Perry
Rating: 3.5 out of 5

X-Force #5: Forge’s team jumps from one nexus point to the next thanks to a shortcut through the otherworld without much rhyme or reason in X-Force #4. Forge is written as being so secretive about his reasons for assembling this new X-Force team that it makes it difficult to understand what anyone’s motivations are. The tensions between team members feel superficial and petty, expressed through dialog heavy with technical phrasing and superhero nonsense. The artwork remains vibrant, but that only goes so far when forced to render such a lifeless and listless plot. – Jamie Lovett
Rating: 2.5 out of 5

Image Comics

Geiger #7: When the teachers don’t want the kids getting books, you know there’s going to be a problem. Geiger #7 sees Tariq and Nate deal with some knights before they continue on and encounter some children in danger and, in escorting them back to safety it’s revealed that the reason the kids were out was that they were looking for books — which is apparently something that would not go over well with their teachers. Meanwhile, we’re also introduced to a new King hot on Tariq’s trail. Both elements move the story forward though it’s not quite certain which threat is going to be more challenging, what’s happening with the schoo or this new king. It’s a good issue, though it feels almost like it’s a little short. – Nicole Drum
Rating: 3.5 out of 5

Precious Metals #5: As I’ve said the past few issues, I cannot pretend to tell you that I understand fully what is going on plot-wise with Precious Metal. Scribe Darcy Van Poelgeest is spinning a lot of plates and letting the art by Ian Bertram do a lot of the talking, which leads to instances of new characters appearing and old characters taking on new forms which creates almost an avalanche of insane sci-fi concepts and storytelling that doesn’t hold your hands. In a world where this comic doesn’t look good then that specific style of storytelling would be grating, but Bertram’s linework with Matt Hollingsworth’s colors makes that an easy fault to look around. Precious Metal is wild and I do not understand it fully. – Spencer Perry
Rating: 4 out of 5

Public Domain #9: When a series is about the inner workings of the comic book industry and the pop culture industrial complex of related media built on the backs of its creators, it’s only a matter of time before you get to the chapter set at a comic con. Public Domain reached that point before reaching double digits on its issue count. Chip Zdarsky brilliantly utilizes the high-stakes event to develop his complicated characters while keenly matching the visuals to the dominant emotion of the moment, be it a cockeyed view of an angry son defending his father’s honor or that father’s world blacking out around him as he learns a hard truth about the history of his relationships. Public Domain #9 is a beautiful, nuanced, fast-paced, funny, and insightful new chapter in a series that has been all of that throughout. – Jamie Lovett
Rating: 4.5 out of 5

Scarlett #5: Scarlett’s final chapter leans into the espionage and spycraft that have made the series so captivating while also setting the stage for the hotly anticipated G.I. Joe team series, and it pulls both of those feats off rather impressive. Kelly Thompson’s banter and dialogue between the three leads are delightful, and the artwork and colors of Marco Ferrari and Lee Loughridge deliver several adrenaline-filled sequences that embrace the franchise’s penchant for epic action, all while grounding everything in the smaller more human moments that happen along the way. There’s plenty of story left to tell, so those looking for more of a hard close won’t necessarily find it here. That said, Scarlett has showcased exactly why the character has been a fan favorite for such a long time while also adding even more depth and charm into the mix, and I can’t wait to see where the character goes from here. – Matthew Aguilar
Rating: 4 out of 5

Transformers #13: I’m a sucker for flashback stories when it comes to the lives of the Autobots and the Decepticons, because it’s territory that doesn’t get thoroughly explored that often. While there have been comic stories, and the recent prequel film Transformers ONE, highlighting the past, most Cybertronian-focused stories keep an eye on the present war. In the latest entry in the Energon Universe, we specifically have the chance to focus on the early days of Ulchtar, aka Starscream. What works so well here is showing just how Ulchtar would become the second in command of the Decepticons and what was the match that lit the to creating one of the Autobots’ deadliest villains. Starscream was once a very different character from the one we’ve come to know and in the quiet moments in this issue, it works well at highlighting the calm before the storm on Cybertron. Skybound’s Transformers continues to be one of the greatest representations of the characters and I’d be hard-pressed to name a flaw. – Evan Valentine
Rating 5 out of 5

BOOM! Studios, Dark Horse, and Dynamite

I Heart Skull-Crusher #6: It was always going to be interesting to see what Skull-Crusher did with its story after the team won their way into the pros. The series handles the transition fairly well, setting up some new conflicts in the next tournament and bringing more political players into the drama. – Charlie Ridgely
Rating: 3.5 out of 5

Johnny Quest #3: Series scribe Joe Casey continues to do a lot of fun and exciting work with Jonny Quest, delivering more twists and modern ideas into the world that cement this as a contemporary take on the material. The ideas are only elevated by the crisp pencils by Sebastián Píriz, who makes the action all feel fluid and concise, even if the scene is full of science jargon. Píriz’s artwork is also taken up a notch by color artist Lorenzo Scaramella, who creates the tone and mood in the key action sequences and expands on this world with layers that make this a must-read action series. – Spencer Perry
Rating: 4 out of 5

Minor Arcana #2: What makes Minor Arcana #2 such a good issue are the little revelations. First, we see Theresa finding that there might be something more to what she’s always believed is just a fraud and that revelation unsettles her. That, in turn, causes her to try to run from what she’s just experienced and the reasons she’s come back to her small town in the first place, an act that only leads to another little mystery. It’s a fascinating balance of things and one that feels rooted in the experience most adults have faced at some point in their lives: when the reality of who we are hits a little harder than perhaps we were ready for. While there are still a lot of mysteries to unpack and this issue does have a bit of a slower pace, it’s still an exceptional read and has really lovely art to go along with it. – Nicole Drum
Rating: 3.5 out of 5

Seance in the Asylum #1: When it comes to atmosphere and creating scenarios to give readers the creeps, Seance in the Asylum passes with flying colors. This thing will get you squirming with some unsettling artistic decisions and a whole cast of eerie characters. The problem is this first issue doesn’t do a lot to bring that energy into the story itself. – Charlie Ridgely
Rating: 2.5 out of 5

Space Ghost #6: With its first arc now in the books, Space Ghost cleverly blazes a new trail. David Pepose’s script offers the series’ most earnest chapter thus far, dissecting heroism and personal conflict in some fun ways. Jonathan Lau’s art continues to update Alex Toth’s character designs for modern and shadowy bouts of action, even though a handful of panels are left undercooked. Space Ghost continues to delight. – Jenna Anderson
Rating: 4 out of 5

The Terminator #1: The Terminator #1 might not be the most groundbreaking licensed comic to arrive this year (an honor that is easily given to the Aliens vs. Avengers crossover book from Marvel), but its debut issue is nothing short of a pleasant surprise. By shifting focus away from the worn-out stories of the franchise’s main protagonists, this first issue is able to craft a portrait of ordinary life in an anything-but-ordinary robot apocalypse. On both a narrative and aesthetic level, The Terminator #1 is so straightforward and effective that its attempts at a larger narrative feel like an afterthought — but you still can not help but be excited to see this creative team eventually tackle it. Whether you have voraciously followed every chapter in the Terminator saga, or are jumping into the decades-old story for the very first time, you will probably find something impactful in this debut issue. – Jenna Anderson (Click here for full review)
Rating: 4.5 out of 5

The post Comic Book Reviews for This Week: 10/9/2024 appeared first on ComicBook.com.

Rob Liefeld, the creator of Deadpool and one of the best-selling comic book artists of the last 40 years, is finally set to reunite with one of his most beloved projects: Youngblood. The series, which Liefeld created in the 1980s, then brought to Image Comics as one of its 1992 launch titles, centers on a government-sponsored superhero team, their battles with villains and the internal personality clashes and politics that threaten to get in the way of saving the world. Liefeld had abandoned Youngblood amid a dispute with Rip Media, Inc., who handles the rights for the property. 

In addition to the new series, Image will publish the Youngblood Vault Edition, featuring high-resolution scans of the original art from the 1992 Youngblood series, collected in a deluxe, oversized hardcover. There will also be a facsimile edition of Youngblood #1, to timed to hit in April (the month that original book launched in 1992). There’s no word on whether there could be more Vault Editions down the line if this one does well.

“It’s so great that I can run into the comfort of characters that I created, that launched a movement,” Liefeld told THR. “They carry such history. I love Youngblood so much. These characters are my absolute passion.”

It’s the first time Liefeld has worked with Rip Media’s Scott Mitchell Rosenberg. The dissolution of Awesome Comics in 2000 saw Liefeld split the company’s assets three ways​, with investment partners Rosenberg and John Hyde. Each of the three would have rights over eight of the company’s 24 distinct properties to exploit in other media, with Liefeld maintaining publishing rights over the characters he created. That changed in 2018, when Rosenberg told Liefeld that he had partnered with a new party, a man named Andrew Rev, to finance Youngblood comics and toys. It now appears Rev simply licensed the property, and didn’t own it, opening the door for Liefeld to return to the property.

Liefeld will write and draw a new series published by Image Comics. He recently said goodbye to Deadpool, telling fans that he would use the later years of his career to explore characters he owns. It appears that he just couldn’t say no to a return to Youngblood now that things have changed.

“Rob and I are a fantastic team, and I’m as excited now for Youngblood‘s relaunch as I was in 1992 for its initial launch,” Rosenberg told THR. “I’m excited to bring them to audiences old and new with their original creator, Rob Liefeld.”

Keep your eyes on ComicBook for more details on the Youngblood revival by Liefeld and company.

The post Rob Liefeld Returning to Youngblood After Nearly a Decade Away appeared first on ComicBook.com.

Happy new comic book day! It’s another major week in comics, and the ComicBook staff have come together to break down and review as many of the big comics releasing this week as possible. Now obviously this isn’t every single comic on stands, but we’re breaking down new releases from Marvel, DC, Image Comics, BOOM! Studios, Dark Horse, Dynamite, Oni Press, Mad Cave Studios, DSTLRY, and more!

We’ve also carved out some additional space for three of this week’s biggest books, including Storm #1, the DC All In Special #1, and Hyde Street #1, so if our smaller review here piques your interest, make sure to check out the full review for a much more comprehensive analysis of all three issues. As for ratings, we keep things simple with a whole or half number out of five, and you can check out some of our previous reviews right here!

With all that said, let’s get to this week’s new comics!

DC #1

Absolute Power #4

DC’s latest landmark event culminates in a brilliantly constructed and satisfying-enough fashion. Mark Waid’s narrative does occasionally land on some predictable plot twists, but the interplay between the characters is still too good to criticize. Dan Mora’s art is as excellent as ever, especially as the fighting grows more volatile. Even with the All-In and Absolute initiatives clearly on the horizon, it’s apparent that Absolute Power got to end on its own high-octane terms. – Jenna Anderson

Rating: 4 out of 5 

Batman #153

Batman #153 is a dense issue that sets up a lot of things that could be very interesting going forward. Thanks to Bruce Wayne’s efforts, Gotham may actually be starting to turn a corner into something good, but not everyone is happy about that and Batman can’t trust it. Add in a new vigilante, The Riddler having supposedly gone straight, and some corporate shenanigans with a stunning twist, you’ve got the brewing of a complicated and deeply personal Batman tale that could answer the question of whether Gotham can really change. There’s also a surprising death, just to keep things even more interesting and mysterious. It’s the best issue of Batman in a while, hands down. – Nicole Drum

Rating: 4 out of 5

Birds of Prey #14

The start of Birds of Prey’s newest arc boasts a unique blend of entertainment and intrigue that only it can uniquely deliver. As the arc’s central conflict builds in somewhat of a slow burn, the fun is largely found in the team dynamics, all of which Kelly Thompson crafts very strongly. Sami Basri joins the series’ aesthetic in a seamless way, rendering awesome sartorial looks and epic fight sequences in equal measure. If you’ve missed out on this Birds of Prey run so far, DC’s new jumping-on point is a great opportunity to fix that. – Jenna Anderson

Rating: 5 out of 5

DC All In Special #1

DC jumps into a bold new era with the much anticipated DC All In Special, an ambitious flipbook-style issue that seeks to set the status quo of the main universe while simultaneously detailing the origins of the Absolute Universe. It’s a daunting task, and while there’s a lot to get to, the team is up for the task, crafting a one-of-a-kind special that delivers on its mission statement while still letting the heroes and villains that power this grand universe shine on their own individual levels. This is just the beginning, but with All In DC has put its best foot forward, and the future couldn’t be brighter. – Matthew Aguilar

Rating: 4.5 out of 5 (Read the full review right here)

DC’s I Know What You Did Last Crisis #1

Just in time for Halloween, DC Comics has crafted eight bone-chilling stories to celebrate the spooky season. The comic publishers have long held an enjoyable trend of creating anthology comics that celebrate a specific holiday. Much like any anthology comic book issue, Last Crisis has its share of hits and misses, bringing together veteran comic creators and newcomers to the DC Universe. Surprisingly enough, not only does this issue create some skin-crawling stories for DC’s heroes but also has some entries that act as further examinations of major crossovers including Infinite Crisis and Final Crisis. One story in particular featuring Nightwing and Superboy Prime written by none other than former DC head Dan Didio is worth your attention. If you’re looking for a fun, breezy set of eight stories exploring big and small DC characters like, I Know What You Did Last Crisis is worth its $8.99 price tag. – Evan Valentine

Rating 3.5 out of 5

DC #2

Justice Society of America #12

With Justice Society of America #11 having wrapped up the story, this week’s finale – Justice Society of America #12 – ends up being just a really nice post script to the story and for Stargirl fans, it’s a beautiful one. The issue is narrated by Courtney as she graduates high school and, over the overlay of some truly epic fight scenes, recounts the thing’s she’s learned as she closes out one chapter and prepares for whatever comes next. There’s nothing especially groundbreaking here, but Johns does a fantastic job of meditating on the challenges of life and how we never really face them alone. It’s a beautiful and fitting way to commemorate Stargirl’s 25th anniversary as well as close out this series overall. – Nicole Drum

Rating: 4.5 out of 5

My Adventures With Superman #5

My Adventures With Superman #5 sees Superman face off in a final battle for Amazo and at the same time, sees Amazo come to understand where he came from and his purpose – as well as how he’s deviated from it. It’s a tense issue with Superman advocating for the good in Amazo against a force that wants less to protect Earth but more to get his own glory and it all sets up for what promises to be a massive finale. This whole series has been a delightand this issue is no exception, especially with a little humor courtesy Ma and Pa Kent. – Nicole Drum

Rating: 5 out of 5

Plastic Man No More! #2

As Eel’s predicament gets more unpredictable and horrifying, Plastic Man No More! firmly establishes itself as one of DC’s most distinct miniseries in recent memory. Christopher Cantwell’s script is an emotional masterpiece, raising the stakes while allowing for some delightfully adult moments of character. Alex Lins’ art does double duty in rendering Eel’s modern body horror and unsettlingly quaint time with the Justice League, with the end result being both well-executed and skin-crawling. Do not miss out on Plastic Man No More!, trust me. – Jenna Anderson

Rating: 5 out of 5

Poison Ivy #26

Poison Ivy #26 kicks off a new chapter for Poison Ivy and sees her trying to set right some of the things that went so wrong with her battle against Woodrue, but in the process lands her in the middle of a huge mystery regarding a suburb that has suddenly emerged from the marsh as well as a twist of potentially mistaken identity that is going to make everything just that much harder. While the issue is a little on the slower paced side as it sets up the story, the focus on Janet as the gateway to events works really beautifully. Given the large scale the last arc took, this feels much more pared down but no less as important and it’s overall just very well done. – Nicole Drum

Rating: 4 out of 5

Shazam! #16

Shazam!’s jumping-on point for the All-In initiative is a charming, albeit visually disjointed, new chapter. The highlight is absolutely Josie Campbell’s narrative, which has a delightful grasp on the family’s dynamics and insecurities going into their latest threat. Dan McDaid’s art results in some awkward facial expressions and body composition, but still delivers in key action sequences. – Jenna Anderson

Rating: 3 out of 5

The Nice House By The Sea #3

James Tynion IV is playing his hand in the right order with this series, revealing just enough details that the WTF factor doesn’t overshadow the actual storytelling. The real selling point for The Nice House by the Sea is the artwork by Álvaro Martínez Bueno with colors by Jordie Bellaire. The pair capture not only fundamentally human elements like scrapbooks and photography but manage to evoke specific moods in eerie settings and reveal otherworldly character designs that can only be done in comics. Horror fans have a great one to catch up with if they haven’t made the trip to the House… – Spencer Perry

Rating: 4.5 out of 5

Marvel #1

Daredevil #14

Matt Murdock might have beaten Wilson Fisk once again but he has two heavy challenges to handle in his immediate future. The first is the remnants of the Heat, the Kingpin’s now aimless army, and the second is his own faith. Considering writer Saladin Ahmed has spent the current series seeing Matt as a priest, Murdock having a tete-a-tete with his creator makes sense here and peels back the layers of the character. Matt’s decision to give up his holy profession makes sense here and feels organic to the character, as well as his bristly current standing with Elektra thanks to it. Ahmed and Zagaria deliver an interesting outing for the Guardian Devil with this latest issue while also setting up quite the mystery for Murdock to handle in the imminent future. – Evan Valentine

Rating 4 out of 5

Deadpool #7

Deadpool’s daughter Ellie, and her trusty Carnage-infused hound Princess, are looking to pick up where her dead dad left off. Ultimately, Ellie does a good job of bringing a mix of humor and action that are left in Wade Wilson’s wake though there does feel like something missing from this latest issue. The topic of death is one that has had its fair share of controversy in “cape books” in recent years and the way they approach the Merc With A Mouth’s demise here doesn’t do that topic any favors. Deadpool’s death feels like an afterthought here and that’s a real shame. There is some good story hooks to mine from a scenario like this but for the team of mercenaries, it almost feels like it’s business as usual. While Ellie makes for a solid protagonist, it feels like this move to kill Wade simply doesn’t feel earned here. – Evan Valentine

Rating 3 out of 5

Get Fury #6

It’s such a shame that the characters Garth Ennis writes tend to be the most misunderstood, because he’s so damn good at crafting these gut-punching depictions of humanity that it makes you wonder how anyone could see his take on the Punisher and think any kind of violence could be a good idea. This Castle and Nick Fury story is beyond bleak, but it’s the kind of reflective saga that is impossible to ignore. – Charlie Ridgely

Rating: 4 out of 5

Spider-Gwen: The Ghost Spider #6

Gwen Stacy’s foray into the Marvel Universe continues with a much more subdued issue that features Ghost Spider having a tete-a-tete with Jessica Jones. Gwen’s new series has been very hit or miss as she tangles with classic Spidey villains while keeping the reasoning for her dimension hopping close to her chest. Luckily, this quieter issue gives us a better look into the characters of both Gwen and her potential “big bad”, the Black Tarantula. I’m still not entirely sold on the Ghost Spider’s new status quo when all is said and done but here’s to hoping that future issues can stay truer to this sixth issue than some of its weaker counterparts. – Evan Valentine

Rating 3.5 out of 5

Star Wars: Inquisitors #5

What a wallop of an exclamation point this put on the whole Inquisitors series. It’s a dark ending that lays bare the ideals that tend to lead us to our most devastating losses, both in the real world and in a galaxy far, far away. This also helps build Darth Vader’s legacy as one of the most harrowing villains around, and that is always welcomed. – Charlie Ridgely

Rating: 4 out of 5

Marvel #2

Storm #1

Rather than shying away from Storm’s complex, sometimes conflicting history, Storm #1 embraces it all and comes away with a strong sense of purpose. The issue also lays down several potential complications in Storm’s life and while it is hard to see now how they’ll coalesce into a satisfying and coherent narrative, the strength of this debut issue has earned the creative team some space to make their point. At a time when new superhero comics often struggle to justify their existence, Storm #1 creates the framework to position Storm as a leading superheroine she perhaps should have become a long time. Here’s hoping they can build on this strong start. – Jamie Lovett

Rating: 4 out of 5 (Read the full review right here)

The Immortal Thor #16

Immortal Thor #16 is a beautifully structured superhero story. It begins in a contemplative mode, reflecting on the broad idea of superheroes and supervillains as gods who walk among the mortals of the Marvel Universe before honing in on Thor’s thoughts about his responsibilities as the All-Father of Asgard. From there, it escalates with the introduction of a new foursome of villains, godly avatars comprised of some of Thor’s past foes. Ewing and Bazaldua do an excellent job of slowly ramping up the tension as Thor arrives on Earth and must confront first the earthly authorities that pose him no real threat and then eventually a villain who poses even more threat to them than he does to them before finally facing the combined might of his primal enemies. It’s done with confidence and a sense of introspection largely lacking in many modern superhero comics, which helps make Immortal Thor stand out from the crowd. It may seem odd that assembling four villains who could generously be labeled “B-list” to face off with Thor would be so exciting, but Ewing has shown a knack for elevating such characters and instilling them with new weight and meaning. One expects he’s headed in the same direction again, and that’s something worth anticipating.  – Jamie Lovett

Rating: 4 out of 5

Ultimate Black Panther #9

The latest issue of Black Panther has T’Challa’s storyline marginally spinning its wheels, but writer Bryan Hill and series artist Stefano Caselli do great with the Killmonger and Storm side of the narrative. Hill’s writing in the series is always at its best when he’s keeping us guessing and this arc does just that. Caselli channels the powers of these two characters in unique ways while also delivering plenty of other surprises as they track down the new Sorcerer Supreme. As has been the cast this entire time, Ultimate Black Panther is at its best when setting itself apart, and that remains true here. – Spencer Perry

Rating: 4 out of 5

Venom War #3

If you haven’t been reading Al Ewing’s Venom from the start, the latest issue of Venom War might read like total nonsense, and even if you have it may feel like you’re caught in a whirlpool of lore. Ewing does his best to make it all make sense, but it becomes sensory overload despite. Series artist Iban Coello continues to do great work with the varied characters and symbiotes that are present, this time wrapping up the issue with perhaps its best final page yet. – Spencer Perry

Rating: 3.5 out of 5

X-Men #5

Why do this? Why create a story seemingly of a kind with certain highly-regarded past X-Men issues only to reject what made them great without purpose? To have Kid Omega speak during a psychic rescue, a plot device previously used to justify memorable silent comics, isn’t necessarily out of character – at least not if you roll back all of Kid Omega’s character development from the past 10 years, which is keeping in theme with the current X-Men volume –  but to have him do so without any specific repercussions renders the entire exercise moot. While Ryan Stegman has his strengths as an artist, his style does not have the gracefulness of Frank Quitely or Russell Dauterman, and the journey that Quentin and Kwannon embark on lacks the symbolism that defined past psychic rescue missions, which differentiated them from any other X-Men excursion. The villain reveal feels like yet another example of McKay doing a half-hearted Morrison cover, and having Kid Omega make a statement suggesting an understanding of the need for Psylocke’s professional precision to guide his raw power and then not visualize that any further than a nebulous splash page is a failure of plot. X-Men #5 simply does not measure up to the legacy it seeks to co-op. – Jamie Lovett

Rating: 1.5 out of 5

Image Comics

Hyde Street #1

Overall, Hyde Street #1 is a bit of a departure from what readers might expect from both Johns and Reis, but the story and its art simply works. The characters are interesting, if not mysteries of their own which beg to be unpacked, but the actual setting itself offers just enough questions to make readers want to know more as well as see more, thanks to Reis’ detailed and intricate art.. At its core, Hyde Street #1 sets the stage for what feels like a tale that is going to make the reader ask some hard questions of themselves, but also make them think twice about crossing the street in an unfamiliar neighborhood. It’s a promising start to a new horror story. – Nicole Drum

Rating: 4.5 out of 5 (Read the full review right here)

Redcoat #6

Redcoat’s first story arc comes to a close in grandiose fashion, relying on the strengths of the series when it comes to big set pieces, bizarre supernatural shenanigans, and Simon Pure’s deadpan wit to make for a solid sixth issue. Johns and Hitch end the first arc strong while laying out quite the final page to hint at what is to come. Redcoat is arguably the strongest ongoing series from Ghost Machine and it’s issues like this that help to propel it as a must read for comic book fans. Here’s to hoping that Simon Pure and Albert Einstein are able to keep running with the ball in the future of both Redcoat and Ghost Machine as a whole. – Evan Valentine

Rating 4 out of 5

The Deviant #8

The Deviant is such a beautifully layered crime story that still, eight issues in, has you guessing everything you’re reading. It’s a great thriller even without the stories of identity and desperation and acceptance at its center. The whole package put together and tied with a bow has set the stage for Tynion’s holiday mystery to be an all-timer. – Charlie Ridgely

Rating: 5 out of 5

I Hate Fairyland #16

What an enjoyable return to Fairyland this turned out to be! Young has a couple jokes that don’t quite land and, at times, the dialogue can feel just a tad bit dated, but it’s never something you really mind all that much. Gert is a wonderfully messy character, which allows for the book to be a little messy sometimes, too. Seeing her accept her new role as a hero is such a fun direction for this story, especially when it’s made very clear that her heroics aren’t what she believes them to be. – Charlie Ridgely

Rating: 3.5 out of 5

Oni, Titan, and IDW

Conan: Battle of The Black Stone #2

It’s difficult for a time-hopping, monster-slaying Conan adventure to be anything other than a fun time, and Zub fully understands that. What we have here isn’t the best comic on the shelf by any stretch, but it’s a good time from the first page to the last, and that’s all you need every now and then. – Charlie Ridgely

Rating: 3 out of 5

Cruel Universe #3

The latest issue of Cruel Universe undoubtedly lives up to its concept and name, spinning a crop of largely-intriguing yarns about the dangers of technology. The highlights are definitely found in the latter half of the issue, as Ben H. Winters and Carson Thorn’s “The Deleted Man” and Cullen Bunn and David Rubin’s “Behave” deliver short and twisted parables about the modern pressures of technology. Every chapter is gruesome, and nearly every chapter is memorable, and horror fans owe it to themselves to check it out. – Jenna Anderson

Rating: 4 out of 5

Teenage Mutant Ninja Turtles: Nightwatcher #2

Nightwatcher’s second issue dives into Jennika and the series of events that led her to become the new vigilante protector of Mutant Town. Given that Nightwatcher’s debut depicted the character as a fairly straightforward urban avenger, this sophomore outing provides a surprisingly fantastical origin. It could be seen as unnecessary — Jennika has been protecting Mutant Town as part of the Ninja Turtles clan for a while now, it wouldn’t be surprising if she simply took on a new persona as the neighborhood’s current solo protector to be even more effective in that pursuit — but there is some narrative power in infusing the Nightwatcher with a power born of the cultures of Mutant Town’s people, making Nightwatcher more of an avatar of the community than a longe vengeful protector. The urban-surreal aesthetic of the visuals adds to this sensibility, one that straddles the line between street-level crime fighting and mystical, even occult themes. Nightwatcher #2 provides a strong, compelling origin for Mutant Town’s new protector that should continue to compel as the creators unpack it through future issues of the series.  – Jamie Lovett

Rating: 4 out of 5

The post Comic Book Reviews for This Week: 10/2/2024 appeared first on ComicBook.com.

It’s officially October, the month of all things spooky, scary, and even a little twisted and for fans of horror comics, it also means that Hyde Street #1 is here. The latest from Geoff Johns’ Ghost Machine universe, Hyde Street #1 sees Johns and artist Ivan Reis step into the horror genre unlike we’ve seen from them before to take readers on a journey to a place — the titular Hyde Street — that feels part purgatory, part nightmare and all mystery full of tormented souls, dark mysteries, and perhaps even a disturbing look at humanity and what people will do to avoid their fate.

Hyde Street #1 opens up with a truly unsettling encounter between a seemingly kindly old lady who finds herself suddenly confused as she walks down the street with her groceries. There’s a great deal of construction cluttering up the intersection and things are strangely unfamiliar to her. She’s soon helped out by a young scout, but it’s quickly revealed that this isn’t merely a good deed. The old woman has dark secrets and the scout is on a mission to make her face them. It’s through that disturbing sequence that at least part of the nature of Hyde Street is revealed and we’re soon initiated into the idea that Hyde Street is itself disturbing, but so are its “residents” and their motives. We’re also introduced to Mr. X-Ray, another resident and it’s soon explained that even the residents have dark stories and that they’re all serving someone even darker, all playing a twisted game of presumably redemption from what feels like a much larger hell.

Narratively, it’s an interesting first issue. Johns sets up Mr. X-Ray as something of a protagonist even though he is far from an innocent — we learn about his own callousness and poor life choices early on — but much about the man or exactly why he’s ended up on Hyde Street remains a mystery. We’re also introduced to Pranky, the young scout, who seems to be filling a similar role to Mr. X-Ray but has a very different and more disturbing way of going about the task. The dynamic between the characters leaves a lot to unpack, but with plenty of tension as the first issue establishes a sort of rivalry between the two that only seems to be getting started. As for mechanics of Hyde Street and both of the characters we’re introduced to, Johns leaves quite a few things left to be revealed and in doing so, makes things just a bit more intriguing. The story is a slow burn that is just satisfying enough to enjoy but leaves the reader wanting more.

Art wise, Reis’s art is intricate and very detailed. Particular standouts in the issue are the facial features and expressions on the characters, which offer not only a bit of humanity — even in the old lady with a dark secret — but also contains secrets within themselves. Pranky in particular feels especially artistically fleshed out to the point where the visual of his dark turn is almost more impactful than what he’s saying in any given panel. Beyond just the characters, however, Reis has created a richly detailed world that manages to capture looking like any other city street or neighborhood with ease while also darkening every corner with shadow and suggestion of the horror to come. The art is made even more impactful by Brad Anderson’s colors, which are perfectly toned to be just the right amount of spooky.

Overall, Hyde Street #1 is a bit of a departure from what readers might expect from both Johns and Reis, but the story and its art simply works. The characters are interesting, if not mysteries of their own which beg to be unpacked, but the actual setting itself offers just enough questions to make readers want to know more. At its core, Hyde Street #1 sets the stage for what feels like a tale that is going to make the reader ask some hard questions of themselves, but also make them think twice about crossing the street in an unfamiliar neighborhood. It’s a promising start to a new horror story.

Published by Image Comics

On October 2, 2024

Written by Geoff Johns

Art by Ivan Reis

Colors by Brad Anderson

Inks by Danny Miki

Letters by Rob Leigh

Cover by Reis, Miki and Anderson

The post Hyde Street #1 Review: An Enticing Introduction Down a Dark Path appeared first on ComicBook.com.

Another Ryan Murphy series is coming to FX and this time, it’s based on comics. According to Deadline, FX has ordered The Beauty, an adaptation of the 2016 Image Comics title of the same name. The new series is part of Murphy’s overall Disney deal and is set to star frequent Murphy collaborator Evan Peters, Anthony Ramos, Jeremy Pope, and Ashton Kutcher. Peters, Ramos, and Pope will also executive produce. Murphy will also write and executive producer the series with Matt Hodgson. Production on an 11-episode first season is expected to begin this fall. Not details on characters have been revealed.

The 2016 graphic novel The Beauty comes from creators Jeremy Haun and Jason A. Hurley and is described as follows, “Modern society is obsessed with outward beauty. What if there was a way to guarantee you could become more and more beautiful every day? What if it was a sexually transmitted disease? In the world of The Beauty, physical perfection is attainable. The vast majority of the population has taken advantage of it, but Detectives Foster and Vaughn will soon discover it comes at a terrible price.”

As was noted above, Peters is a frequent collaborator with Murphy, with Peters having previously appeared in nine seasons of Murphy’s American Horror Story. He also appeared in the first season of Murphy’s Pose and most recently starred in Murphy’s Netflix series Dahmer — Monster: The Jeffrey Dahmer Story. Pope has also worked with Murphy before, appearing in both Pose as well as Netflix’s Hollywood. Ramos is best known for his roles in Broadway’s Hamilton and most recently appeared in Twisters alongside Glen Powell and Daisy Edgar Jones.  Kutcher is best known for starring in Fox’s That 70’s Show as well as starring in shows like Two and a Half Men on CBS.

The Beauty is just the latest series from Murphy, who is himself known for series such as American Horror Story, American Horror Stories, American Crime Story, American Sports Story, 9-1-1, and the recently debuted Grotesquerie. He also has two other series in the works, American Love Story for FX and All’s Fair for Hulu. It was also recently announced that, with 9-1-1: Lone Star ending on Fox, another 9-1-1 spinoff is in the works at ABC.

“Time Minear and I are working on a new spinoff that we’re actually writing, and that we hope to get on the air next fall,” Murphy told Variety. “Sadly, we all love Lone Star, but the financials just didn’t work. It’s a Disney company that was on a. Fox network, and it just was never going to work. And we had a long run of it. So now we’re going to launch a new show in a new city that I can’t name, but it’s fun. And 9-1-1 moved to ABC and suddenly became, I think, the biggest show on Thursday night. They obviously have an appetite for that, so we’re going to give them another one that I really love.”

The post American Horror Story Creator Adapting Image Comics’ The Beauty Into TV Series appeared first on ComicBook.com.

Ghost Machine has released an official trailer for Hyde Street, the upcoming horror series from writer Geoff Johns and artist Ivan Reis. The series serves as the flagship title for a new horror universe within Ghost Machine, so the name “Hyde Street” is more than just a single title, it’s also a broader banner or setting that will be applied to a few upcoming titles. This one, though, kicks off on Wednesday, October 2nd at comic shops and online. You can see the trailer, which not only gives fans a look inside of the first issue but also features a few words from Geoff Johns and Ivan Reis, below.

Per the official synopsis, “Hyde Street debuts this week from Geoff Johns, Ivan Reis, Danny Miki, Brad Anderson, Rob Leigh & Image Comics. In every city and town, off every country road and metropolis avenue, if you make a wrong turn…you might find yourself on Hyde Street. But be careful who you talk to and what you do because the consequences make death itself seem like the easy way out. Introducing MR. X-RAY! PRANKY, THE WORLD’S MOST DANGEROUS SCOUT! MISS GOODBODY! AND MANY MORE…out to delight, fright, and say good night. What is their secret and that of Hyde Street? Only they know. For now.”  

“We call our horror universe Hyde Street, and also the series that debuts a brand new generation of horror,” Johns teases in the trailer. Later, he adds, “Hyde Street is a place in any town or any city or country or remote place in the world. Hyde Street is a seemingly good place, but there are some dark tensions designed within, and there are people you’ll meet on Hyde Street who you’ll regret meeting.”

“Hyde Street is not only a typical horror story,” Reis said. “Of course we have scary moments, but it is about your humanity — what makes you human?”

Johns teases that the book will build out the various horror characters of Ghost Machine’s shared universe one at a time, saying, “The scary thing about Hyde Street [is], you don’t find yourself on Hyde Street. Hyde Street finds you.”

All Ghost Machine titles, including Geiger, Redcoat, Rook: Exodus, and more, are also available across many digital platforms, including Amazon Kindle, Apple Books, and Google Play.

Here’s the listing of variant covers Hyde Street #1, which includes a Blackest Night variant by Reis:

• Cover A by Reis, Danny Miki & Anderson – Lunar Code 0824IM297
• Cover B by Gary Frank & Anderson – Lunar Code 0824IM298 
• Cover C 1:25 copy incentive by Kelley Jones & Anderson – Lunar Code 0824IM299 
• Cover D 1:50 copy incentive by Mike Deodato & Anderson – Lunar Code 0824IM300 
• Cover E 1:1000 copy incentive by Reis Original Art Convention Sketch Cover (Limit One Per Store) – Lunar Code 0824IM301
• Cover F Blank Sketch – Lunar Code 0824IM302
• Cover G 1:100 copy incentive Blackest Night homage by Reis, Miki & Anderson – Lunar Code 0824IM803

The post Ghost Machine’s Hyde Street Trailer Released appeared first on ComicBook.com.

The co-creator of The Boys comic book series is one of the individuals behind a new horror imprint. Writer Garth Ennis co-created The Boys alongside artist Darick Robertson, with the mature series becoming one of the breakout hits at Dynamite and inspiring the live-action series at Prime Video. Ennis has remained a prolific creator in the comic book world, and his next challenge will come as a co-founder of Ninth Circle, a horror imprint published at Image Comics. Ennis’ first title under Ninth Circle is Freddie The Fix alongside artist Mike Perkins, with a release date set for December 11th.

Deadline reports the other founders of Ninth Circle includes The Equalizer showrunner Adam Glass, Marguerite Bennett (DC’s Bombshells), Joe Pruett (Negative Burn) and Ram V (The Many Deaths of Laila Starr). ABGO’s Michael Bogner and TFC Management’s David Stone are also named as part of the Ninth Circle leadership team. It sounds like select titles under the Ninth Circle banner could be adapted into other media, as Kimberly Steward (Manchester By The Sea, Suspiria) of K Period Media is listed as a lead investor. This has become common after the success of the Marvel Cinematic Universe, with companies looking to scoop up creator-owned properties in the hopes of finding the next big thing.

According to the founders, Ninth Circle titles “will explore all of the dark avenues of the horror genre, including the paranormal and demonic, slashers, creatures, psychological, and even a dash of comedy, all coming straight to readers from the deepest depths of Hell.” 

What is Freddie The Fix about?

Freddie The Fix is billed as a darkly humorous and horrific series that follows Freddie, a fixer who cleans up the messes left behind by the monstrous stars of Hollywood: werewolves, vampires, zombies, aliens, bogeymen, predators, and…things.   

“I’ve always been a big horror fan,” said Ennis. “With Freddie the Fix, I hope to shock, thrill, and entertain our fans (and maybe give them a laugh or two along the way).”

Ninth Circle books are billed as standalone tales of terror, releasing double-sized issues each month. Joining the roster next to Freddie The Fix are titles from writer Marguerite Bennett and artist Jill Thompson (Neil Gaiman’s The Sandman, the Scary Godmother series, Wonder Woman), writer Joe Pruett and artist Butch Guice (The Flash, Winter Soldier, Birds of Prey), and Glass with art by Bernard Chang (X-Men, Deadpool, Superman). More creators will be announced at a later date.

“Ninth Circle is all about embracing the horror genre in all its forms,” Glass said. “With Garth’s unparalleled ability to craft unforgettable worlds; Ram, Marguerite and Joe’s daring eye for pushing the boundaries of the medium; and my own experience in storytelling across multiple mediums, we can’t wait to share these stories with fans.”

The post The Boys Co-Creator Garth Ennis Among Founders of New Ninth Circle Horror Imprint appeared first on ComicBook.com.

Happy new comic book day! It’s another major week in comics, and the ComicBook staff have come together to break down and review as many of the big comics releasing this week as possible. Now obviously this isn’t every single comic on stands, but we’re breaking down new releases from Marvel, DC, Image Comics, BOOM! Studios, Dark Horse, Dynamite, Oni Press, Mad Cave Studios, DSTLRY, and more!

We’ve also carved out some additional space for three of this week’s biggest books, including Catwoman #68, Dazzler #1, and The Moon Is Following Us #1, so if our smaller review here piques your interest, make sure to check out the full review for a much more comprehensive analysis of both issues. As for ratings, we keep things simple with a whole or half number out of five, and you can check out some of our previous reviews right here!

With all that said, let’s get to this week’s new comics!

DC #1

Batman/Superman: World’s Finest #31

Mark Waid is still in the driver’s seat when it comes to World’s Finest, doing double duty on both this and DC’s latest crossover, Absolute Power. Unfortunately, Absolute Power’s gain is World’s Finest’s loss as artist Dan Mora has jumped onto the former. While new fill-in artist Adrian Gutierrez provides a worthy effort, there are some chinks in the armor for the new team-up book. The story luckily is a sound one, once again bringing the Justice League face-to-face with the body-controlling villain known as Eclipso. As he has in the past, Waid makes writing DC’s biggest heroes seem easy and that isn’t lost here when it comes to their respective personalities and histories. World’s Finest remains one of DC’s best books but this latest issue doesn’t feel as strong as what came before it. – Evan Valentine

Rating 4 out of 5

Catwoman #68

These past two years of Catwoman have been filled with some undeniable bright spots, as Selina’s personality as both a superhero and an ever-evolving woman has been charmingly fleshed out. While the grand finale of Catwoman #68 might not tie everything up in a perfect bow, it still carries that same sense of scrappiness and reverence for its titular protagonist. Regardless of whatever the future holds for Selina Kyle, this run has proven to be an entertaining chapter in her journey. – Jenna Anderson

Rating: 4 out of 5 (Click here for full review)

Dark Knights of Steel: Allwinter #3

Dark Knights of Steel’s latest chapter unfolds in a sentimental, high-octane way. Jay Kristoff delivers both on character and on clever action, and Tirso’s art and colors in the main story are nothing short of outstanding, playing with the medium of comics in some fun and compelling ways. The “Heir to the Sea” backup story from Tom Taylor and Ricardo Federici also delivers some emotion and verisimilitude, even though it feels like a bit of an afterthought compared to the main story. – Jenna Anderson

Rating: 3.5 out of 5

DC #2

John Constantine, Hellblazer: Dead in America #9

John Constantine, Hellblazer: Dead in America #9 is fantastic. The issue is very dense and centers less around Constantine and more around a would-be actor, Danny, as he recounts how he’s gotten into a particular situation involving conspiracy and black magic in Hollywood – to put it lightly – but what the issue does and does beautifully is not only weaves a dark story of magic and corruption, but also highlights the darker side of conspiracy and prejudice in America. This issue is fascinating and layered and at times, unsettling and while reading the rest of this series would be a good idea to fully grasp everything, this issue on its own stands out as something with a lot to think about. Si Spurrier, simply put, knocks it out of the park. – Nicole Drum

Rating: 5 out of 5

Jenny Sparks #2

Jenny Sparks #2 almost immediately falls into the trap I feared it would from the first issue: it gets needlessly complicated very quickly with aspects of the story difficult to keep straight with the story jumping around quite a bit between what is going on in the bar and Jenny’s response to it – as well as some 9/11 thrown in as well. The core mystery of what is going on with Captain Atom doesn’t really feel like it progresses much other than his declaration that he wants to be a god and whatever it is that Jenny is supposedly able to do before the “real” heroes show up remains unclear. It’s a very dense issue that feels overfull in places with its ultimate direction feeling increasingly unclear. – Nicole Drum

Rating: 2 out of 5

Superman #18

Absolute Power continues to roll towards its conclusion, and Superman #18 looks to be a key piece of the big finale. Joshua Williamson tackles several elements of Waller’s plan throughout the issue, though at the heart of the issue is Superman and Zatanna’s opposing views on magic, with both evolving immensely by issue’s end. Jamal Campbell and Ariana Maher once again make a dynamite team, bringing as much intensity to a sit-down conversation with Neron as they do a brawl for survival with Waller’s latest lethal creation, though some of the best moments are the heartwarming ones along the way. Superman’s Absolute Power tie-in continues to be a shining example of what a tie-in and a team-up should be, and deserves all the praise. — Matthew Aguilar

Rating: 5 out of 5

Wonder Woman #13

While I feel like the Absolute Power tie-in aspect of things probably doesn’t help with the strength of the issue, Wonder Woman #13 i also just sort of bland on its own. The issue continues the jailbreak mission that Wonder Woman and Damian are on, but most of the issue is spent distracted with Diana and Steve losing focus on what they’re supposed to be doing – rescuing the heroes – and instead focusing on each other, complete with multiple make out sessions that Damian feels the need to comment incessantly are “gross”. From a humanity aspect, it is nice to see the romance between Diana and Steve highlighted, but there’s just something about the issue being so fixated on this one particular thing that feels out of place. The backup story about Trinity’s “secret origin” feels equally as fluffy and unserious, resulting in an overall product that feels like it’s merely treading water to get through the Absolute Power event. – Nicole Drum

Rating: 2 out of 5

Marvel #1

The Avengers #18

If you had told me Hyperion would be the person to bring the best out of the Avengers I would not have believed you, but with Avengers #18, that is indeed the case. In the second chapter of Impact, Jed MacKay simultaneously deals with the present threat Hyperion poses to the world and the concepts of grief and isolation that power it while also exploring how the Avengers approach the difficult decisions pertaining to life and death, and that’s on top of Storm’s brilliant introduction to the team. MacKay even finds a moment or two for the X-Men, including a quick but on-point exchange between Storm and Cyclops. The team of Valerio Schiti and Bryan Valenza truly make Storm feel like a force of nature in every single panel, including a final page that is truly stunning, and that’s saying something after some gorgeous pages showcasing the grand teamwork between the Avengers and the X-Men. This is easily one of my favorite issues of Avengers thus far, and it primes the stage for a promising next chapter for Marvel’s most powerful team. – Matthew Aguilar

Rating: 5 out of 5

Dazzler #1

Dazzler #1 isn’t some big, action-packed issue with a hard-driving plot that it’s setting up. Instead, the issue feels a bit like a love letter to the character that strongly connects her to a real-world popstar and, in doing so, makes her feel more accessible outside of Marvel fans. There’s also the reminder of how complex the relationship between mutant kind and humanity has always been within the Marvel universe all wrapped up in a pop rock package, complete with lyrics. The issue isn’t breaking any new ground, but it’s a lot of fun. – Nicole Drum

Rating: 3 out of 5 (Click here for full review)

Deadpool #6

The death of Wade Wilson has been an event that has been touted by Marvel Comics for months and this issue is apparently the one where we see it happen. The vast majority of the issue follows Deadpool’s daughter, his Carnage-infused beast, and Taskmaster taking on a threat where they are holding back their “claws”. This sixth issue works as a good introduction to Ellie taking on her father’s mantle, demonstrating how she is her own character while still maintaining the fun of the original Merc With A Mouth. It’s an interesting angle to take and it works here. Ziglar and Antonio do a solid job here for Wade Wilson’s swan song, setting up some interesting beats for the comic to take up in the future. – Evan Valentine

Rating 4 out of 5

Spider-Man: Black Suit & Blood #2

As many of these Marvel anthology books go, the stories are a mixed bag, but the ones found in Spider-Man: Black Suit & Blood are all tackling the theme of the title in unique ways. “The Edges of Rage” by Erica Schultz, Marcelo Ferreira, Roberto Poggi, and Andres Mossa, takes a unique look at the emotional spectrum Peter is on while the host of the symbiote while “Burgers, Fries and Blood” by Dan Jurgens and Chris Sotomayor puts a funny spin on the idea. The best of the trio is “Shock and Awe” by Greg Weisman and Javi Fernández, putting a unique perspective on the idea of Peter and Venom’s bond and visualizing it in a way that only comics can. – Spencer Perry

Rating: 4 out of 5

Marvel #2

Spirits of Vengeance #1

Spirits of Vengeance scribe Sabir Pirzada is putting the pieces all in the right place with this first issue, all while clearly balancing a love for the Ghost Riders comes of yore in addition to carving out their own Marvel path. This requires a lot of table setting, which is on the surface fine, but the artwork by Sean Damien Hill marginally suffers from the slower pace. Hill’s heart is clearly in the flames, as the moments where the titular characters appear are where the imagery pops and personal stylizations are more appealing (the regular folk that appear in this one sometimes look….off). This is a fine starting point and one where hopefully the gas pedal can be pressed on moving forward. – Spencer Perry

Rating: 3 out of 5

Star Wars: Darth Vader #50

This series might have “Darth Vader” in the title, but longtime readers know that the narrative has always extended beyond him. While Star Wars #50 served as a standalone issue that attempted to bridge the gap between the end of that series and what’s to come, Star Wars: Darth Vader #50 instead opted to wrap up a number of narrative threads, which included our titular Sith Lord as well as the Imperial Schism, Sabé, and Ochi of Bestoon. With audiences already aware of what’s on store for the galaxy far, far away, as this chapter leads into the events of Star Wars: Return of the Jedi, we’re left a bit perplexed but the somewhat definitive resolution to various plot threads. On the one hand, being given satisfying endings to these characters and their journeys feels rewarding to readers who have been with the series for four years, though it also feels like the book misses the mark by doing nothing to really tease anything that’s to come in the established canon. We aren’t expecting any outright teases of future projects, though by focusing entirely on wrapping on these story threads as opposed to doing anything to plant the seed for what the future holds for these characters or how the events of Return of the Jedi could possibly be recontextualized with reveals made in this book, we feel a bit disappointed. The actual work being put in by writer Greg Pak and his many artistic collaborators is all entertaining and engaging, yet this final issue in a years-long narrative leaves us feeling largely underwhelmed. – Patrick Cavanaugh

Rating: 3 out of 5

The Incredible Hulk #17

Over 17 issues, I have run out of ways to sing The Incredible Hulk’s praises. There are layers to this new, evil mythology that are woven so directly into the framework of Hulk’s character and psyche that it feels like so much of this has always been a part of Hulk lore. Now we’ve finally reached the Eldest and her debut is the furthest thing from disappointing, showing that Johnson, Klein and the team know how to knock em down just as well as they set them up. – Charlie Ridgely

Rating: 5 out of 5

Ultimate X-Men #7

In this brave new world of the Ultimate Universe, X-Men can often feel like the odd duck out. The series takes a drastically different approach to these new mutants and in doing so, can be quite jarring in how it portrays its “X-Men”. I put quotes around X-Men as it doesn’t feel as though this is like any team we’ve seen before, which comes with some big disadvantages. As a manga reader myself, I can appreciate the style being incorporated in this new series, which at times had me thinking of Junji Ito, the horror artist that has become a big name in the field. Ultimately however, the story feels like it suffers with its identity and would have benefitted far more by not being a part of this Ultimate universe but rather as its own thing. There are some interesting concepts and ideas here to be sure, but it ultimately feels like many of them fail to land with such a drastic re-telling of Marvel’s mighty mutants. It’s a frustrating read and I think in a vacuum, Ultimate X-Men would have benefitted far more with the story it is attempting to convey. – Evan Valentine

Rating 2.5 out of 5

X-Factor #2

X-Factor #2 feels less like a case of early 2000s deja vu than the series’ debut, focusing on Havok and Polaris’ increasingly complicated relationship. How do you maintain a relationship between a centrist and someone who has become increasingly radicalized against the mainstream? It’s an interesting premise that hopefully will get more attention as the series progresses. The rest of the issue is dedicated to giving us a sense of the new characters filling out X-Factor’s roster and the team dynamic and is mostly played for legitimate laughs, though with fewer barbs to the humor than one might expect if they’re familiar with Mark Russell’s usual brand of satire. The visuals, however, do a stellar job of selling the all too clean facade of what X-Factor is all about with soft colors and strong jaws. – Jamie Lovett

Rating: 3 out of 5

X-Men #4

X-Men #4 follows the same basic plot as the past several issues, with Cyclops’ team embarking on another mutant retrieval mission. The biggest difference this time is the fill-in artist providing less serviceable but unmemorable visuals and Cyclops himself doesn’t leave the base, instead trusting Magik to lead the squad. Scenes of Magik playing chess remotely with a mystery figure bookend the issue, underpinning a fatalistic philosophy that the mutants can never win but only delay their eventual defeat. However, the story fails to make a convincing argument for why Magik bothers to delay what she seems to feel is inevitable, coming off instead like an inorganic motif meant to double down on the series’ already dour mood. Similarly, Beast begins showing some of his old arrogance, acting like he can’t be bothered with a mission to save an endangered mutant, which oddly, makes the reformed human supervillain Juggernaut seem most heroic of the group. Trevor Fitzroy’s “doing it for the views” motivation feels a decade outdated and the mystery villain reveal isn’t going to make anyone’s jaw drop as it feels entirely random. At four issues in, this latest X-Men volume is already feeling rote. – Jamie Lovett

Rating: 2.5 out of 5

Image Comics #1

Destro #4

Of the many story beats that have helped make the Energon Universe a success, the origins of Cobra has been one of my favorites. The new Image comic book line has done an exceptional job of building up GI Joe’s villainous counterpart in a similar style to Marvel’s Avengers, introducing and fleshing out the individual parts that make up the whole. Destro specifically is first and foremost an arms dealer, venturing quite far into espionage along with cat-and-mouse tactics that help build the character here. Watters and Bressan have a plan when it comes to Cobra’s resident metal-mask-wearing higher-up and I can’t wait to see what it is. The Energon Universe came out swinging and it continues to do so with each new series further fleshing out its universe. – Evan Valentine

Rating 4.5 out of 5

Falling In Love On The Path To Hell #4

Aesthetically, narratively, and conceptually, this series continues to be something compelling. Gerry Duggan and Gary Brown’s work allows for some poignant, but profound moments of character and worldbuilding, which are accentuated beautifully by Chris O’Halloran’s colors. I’m very curious to see what the future holds for this book. – Jenna Anderson

Rating: 4 out of 5

G.I. JOE: A Real American Hero #310

G.I. Joe: A Real American Hero is in full climax mode as it wraps up its first arc, yet things are still escalating. Dawn Moreno’s moral quandary resolves with satisfaction as Springfield, or at least one portion, goes up in flames around her. The issue is heavy on the action, but it’s always clear, easy to follow, and exciting as feints and counterstrikes unfold. With more factions set to join the fray, it’s unclear how the conflict will resolve, which makes it all the more thrilling. – Jamie Lovett

Rating: 3.5 out of 5

Image Comics #2

Ice Cream Man #41

Ice Cream Man is one of the most criminally underrated comic books on the market today, let alone one of the most criminally underrated horror comic books on the market. The series’ anthology style always works wonders in presenting truly outside-of-the-box stories and issue #41 is no exception. Prince and O’Halloran are once again on their A-game here in presenting the story of a secret agent in Cuba, coming face-to-face with a challenge that is as horrific as it is hilarious. This one and done story is exceptionally solid, once again highlighting the creepy world of the Ice Cream Man and how readers need to expect the unexpected whenever they pick up an issue. A must-read for horror and comic book fans alike. – Evan Valentine

Rating 4.5 out of 5

The Power Fantasy #2

The Power Fantasy is only two issues in and the depth of Etienne Lux’s (self?)deceptions and compromises already appear much deeper than he would let on. It makes him a fascinating and multifaceted character seemingly committed to achieving the best outcome by being the worst. It also speaks to the deft writing of the issue that the reporter with color-changing fingernails remains a compelling character when cat against the backdrop of these human atomic bombs, holding her own in a face-to-face with The Power Fantasy’s ersatz sort of Magneto, Heavy, in a way that challenges the surface-level bravado and breaks into human beneath. It’s an intense and provocative read that manages to upend its own stated premise in a way that only makes things more intriguing. – Jamie Lovett

Rating: 4.5 out of 5

The Moon Is Following Us #1

The Moon Is Following Us #1 is a debut issue that leaves and impression. The artwork is stunning, balancing compositions that evoke chaos without becoming chaotic themselves. The twilight colors create a moody sensibility that speaks to the uncertainty at play, and the two leads prove relatable and remarkable, as does their quest, which asks prickly questions about the nature of a parent’s devotion to their child. The creators still have much to reveal as far as where we are and how we got there, though if every issue of the series offers an equally stunning adventure then I’d say there’s no rush. With visuals this stunning, readers should be more than willing to hop onboard and enjoy the ride wherever the epic journey may ultimately take them. – Jamie Lovett

Rating: 4 out of 5 (Click here for full review)

Witchblade #3

The new Witchblade continues to surprise as writer Marguerite Bennett finds a steady balance of bold feminist storytelling mixed in with the gritty action fans are expecting. Series artist Giuseppe Cafaro (aided with colors by Arif Prianto) delivers amazing splash pages in the new issue, some which are major action beats but others which used as interesting focal points for the larger undercurrent of the series. Witchblade remains a fun new chapter for longtime fans but also newcomers that have no idea what any of this is. – Spencer Perry

Rating: 4 out of 5

Other Publishers #1

Epitaphs From The Abyss #3

Epitaphs From the Abyss #3 might be the best of this series thus far, largely on the strength of the first story in the issue which has a twist that you genuinely don’t see coming. There’s also a kind of fun – but not chilling – vampire tale and a very thought-provoking story about the concept of the devil and hell and things being a circle. The issue doesn’t flow from story to story quite as well as previous issues, but that first story is just so good that it elevates the whole thing and makes it a strong overall read. – Nicole Drum

Rating: 3 out of 5

Paranoid Gardens #3

Paranoid Gardens has definitely settled into a wacky, compelling groove. Gerard Way and Shaun Simon’s script progresses the narrative in major ways while still keeping the series’ trademark bizarreness, and Chris Weston’s art stretches things even further into uncanny valley. A lot of questions in Paranoid Gardens remain unanswered, and this issue proves that there is a weird beauty to that. – Jenna Anderson

Rating: 4.5 out of 5 

Star Wars: The High Republic Adventures #10

The story of High Republic Adventures has found a way to get a little more focused, which is such a welcomed change of pace. It’s still not the most interesting of the Star Wars books, but it’s got a wide appeal and characters you consistently love. Now that the narrative isn’t quite as sprawling, it’s much more effective. Plus, there’s that final page name-drop sure to get some folks excited for what’s ahead. – Charlie Ridgely

Rating: 3 out of 5

The Graveyard Club #1

The Graveyard Club has a lot of potential, but fails to really live up to any of it. R.L. Stine’s writing feels dated throughout the book, which is disappointing given all of the iconic horror stories he’s brought us over the years. The dialogue here is largely spoon-feeding exposition and over-explaining what the art could tell us on its own. The lifelessness is made more frustrating by the introduction of a town and characters that seem to have a lot to offer. In concept, The Graveyard Club is fantastic. The execution just doesn’t live up to the idea. – Charlie Ridgely

Rating: 2 out of 5

The post Comic Book Reviews for This Week: 9/18/2024 appeared first on ComicBook.com.

The Moon is Following Us #1 tosses readers into the deep end of a surreal science fantasy adventure already in progress. Daniel Warren Johnson and Riley Rossmo’s introductory issue presents the audience with a mother and father duo embarking on a dangerous quest the specifics of which are vague, but which centers on the fate of their child. Readers are propelled through a brilliantly illustrated adventure at a breakneck pace until finally arriving at the end, where a clearer picture of what’s happening recontextualizes everything. When the reader closes the book, they may be left wanting answers, but likely eager for the next installment.

Our heroes are Sam and Duncan, parents of Penny, whose life hangs in the balance of a struggle involving talking humanoid frogs and a skeevy batlike succubus who deals in fantastic black market technology. While both Sam and Ducnan are clearly dedicated to the well-being of their child, their commitment takes different shades. Sam seems willing to do anything, without question, to save Penny, regardless of what it costs her or Duncan — physically, mentally, or morally. Duncan is more concerned with what happens after they rescue Penny, whether its worth saving her only to then present with two traumatized and morally compromised parents, and perhaps a bleak future ahead.

These attitudes could be seen as overly gendered, Sam playing the overly emotional woman while Duncan acts as her more rational male counterpart, but if that’s true then the traits present in inverted fashion, Sam being shown as the more willful and capable of the two, powered by her emotion, while Duncan’s doubts leave him, at times, fumbling and clumsy in his efforts. Regardless, the tension between the two carries the narrative of this first issue and anchors the readers in something meaningful before the larger scope of the story is made clear.

Well, that and Rossmo’s stunning artwork. Interestingly, Johnson and Rossmo are working together on this series given that Johnson has plenty of critically-acclaimed series under his belt which he both wrote and drew. Where a Johson-drawn version of this story might be a purely balls-to-the-wall heavy metal-infused affair, Rossmo’s more fluid linework leans into the dreamlike nature of the setting. The still moments feel quieter and the emotion on the characters’ faces a bit more subtle, their sadness more insidious and piercing.

Even so, The Moon is Following Us #1 is far from under the top. Genre expectations collide in moments like when a magical item summons a helicopter for a rescue and a frog that might otherwise be at home in The Wind in the Willows shows up in a VW Beetle with a mounted gun. Johnson and Rossmo, it seems, are letting their imaginations run wild on this one, and the issue is practically crackling with energy as a result.

The Moon Is Following Us #1 is a debut issue that leaves and impression. The artwork is stunning, balancing compositions that evoke chaos without becoming chaotic themselves. The twilight colors create a moody sensibility that speaks to the uncertainty at play, and the two leads prove relatable and remarkable, as does their quest, which asks prickly questions about the nature of a parent’s devotion to their child. The creators still have much to reveal as far as where we are and how we got there, though if every issue of the series offers an equally stunning adventure then I’d say there’s no rush. With visuals this stunning, readers should be more than willing to hop onboard and enjoy the ride wherever the epic journey may ultimately take them. 

Published by Image Comics

On September 18th, 2024

Written by Darren Warren Johnson

Art by Riley Rossmo

Colors by Mike Spicer

Letters by Shawn Lee

Cover by Riley Rossmo

The post The Moon Is Following Us #1 Review: Opening the Book on a Stunning Fantasy appeared first on ComicBook.com.

Grant Morrison is seemingly coming back to comics, with Image teasing yesterday that the beloved writer is contributing to the upcoming anthology of Ice Cream Man stories. Morrison’s last major comics project wrapped up in 2021 (although they did return to comics for a short in DC’s 2023 Pride anthology), and they have been focusing on prose novels and screenwriting since. While Morrison had never announced plans to step away from comics, their extended hiatus makes the return notable — especially since Ice Cream Man itself is generating some significant heat right now. The property is reportedly headed to Hollywood with a screenplay by Alfred Gough and Miles Millar, the writing and producing team behind Smallville, Wednesday, and Beetlejuice Beetlejuice.

Image has not yet fully confirmed the Morrison/Ice Cream Man crossover, instead opting to let fans speculate for a while. The publisher shared an ice cream-themed image with Morrison’s name on it in a familiar font.

Morrison has written and/or created some of the most celebrated comics of the last few decades, including The Invisibles, Happy, All-Star Superman, and JLA. They are known for their big, wild ideas and the way they use decades-old continuity in cool, unexpected ways. Morrison’s work is a big inspiration for James Gunn, who has repeatedly cited All-Star Superman as well as Morrison’s Batman run as influential on the development of DC’s new movie and TV universe.

The Ice Cream Man is written and created by W. Maxwell Prince and down by artists Martin Morazzo and Chris O’Halloran. The comic debuted in 2018, and was scooped up for a series at Universal Content Productions almost immediately. At one point, Quibi was developing the project, though it never made it to the screen due to Quibi’s eventual shutdown.

After that, Prince provided an update on the show’s potential screen future, and thankfully the project was still being worked on, though it wasn’t known for what network or service. “I can tell you that it definitely isn’t happening at Quibi!” Prince said. “I’ll say that the [Ice Cream Man] TV show is very much still alive. We’re hoping to have more news very soon.”

That news morphed into the recent movie announcement. Given the anthological nature of the series, a TV show might actually hold together better than a movie…but in a race between Quibi and the guys responsible for Wednesday and Beetlejuice Beetlejuice, there really is no contest.

The Image Comics version of Ice Cream Man is not related to the 1995 direct-to-video horror movie of the same name.

What Is The Ice Cream Man?

“Chocolate, vanilla, existential horror, addiction, musical fantasy…there’s a flavor for everyone’s misery. ICE CREAM MAN is a genre-defying comic book series, featuring disparate “one-shot” tales of sorrow, wonder, and redemption. Each installment features its own cast of strange characters, dealing with their own special sundae of suffering. And on the periphery of all of them, like the twinkly music of his colorful truck, is the Ice Cream Man-a weaver of stories, a purveyor of sweet treats. Friend. Foe. God. Demon. The man who, with a snap of his fingers-lickety split!-can change the course of your life forever.”

The post Image Teases Grant Morrison’s Return To Comics appeared first on ComicBook.com.

Todd McFarlane has become a one-of-a-kind component of the comic space, with record-breaking runs on titles and a number of beloved characters under his belt. The latest title to join McFarlane’s bibliography is Knights vs. Samurai, a new Image Comics series shepherded by actor and comic writer David Dastmalchian. While speaking to ComicBook ahead of the release of Knights vs. Samurai, McFarlane offered praise for Dastmalchian as a collaborative partner on the project.

“I thought that his idea was a breath of fresh air, away from the norms of sort of spandex superheroes,” McFarlane explained in our interview, which you can check out above. “Maybe I’m just showing my age a bit but as I’ve gotten older, my taste have become way more eclectic. As much as I do enjoy superhero comics, I do plenty of myself. I don’t need, nor do I desire a steady diet of it. I’m looking for a little more variety in my reading habits. Plenty of people come and they bring sort of a nice version of another superhero idea. In my mind, I got plenty of superhero ideas I can come up with. I don’t need help on that. What I need help on is things that I’m not sort of adept that. So David walked in, gave me this big idea, but was able to condense it down to the humanity of it real quickly. And it wasn’t based on his initial story, wasn’t he? He didn’t focus on the magic and the wizardry of the world, or the creatures of the world. That was sort of in the back back of the conversation. What was way more interesting with the characters? 

“When you think about [The] Walking Dead, what makes that work?” McFarlane continued. “Is it really the zombie? They’re just a catalyst, right? It’s the humanity of what happens when two people, two families, run into each other and there’s only one gallon of water, and both families are thirsty. What happens, right? The humanity of people, and in this case, different cultures. So David came in big and strong with all of that and I went, ‘Wow.’ And that Knights [vs.] Samurai. That was the easy part, visually. I visualized it as soon as he said what the title was. I know it’s gonna look, but now how do we get people to care about the characters? David came out and pounded me with it. I was like, ‘Man, and they’re dressed like knights in samurai.’ Done, done.”

What Is Knights vs. Samurai About?

In Knights vs. Samurai, Sir Charles Ward, “The Dragon Butcher,” has achieved knighthood, acclaim, and is leading a legion of royal warriors on a noble mission, yet his self-doubt and grief haunt him. Venturing to a mysterious island in the Far East, Charles leads his diverse assembly of fighters (including a giant and two clerics) to seek vengeance against savage monsters who ambushed a group of English missionaries. Arrival on the island reveals that the truth may be drastically different from what Charles was led to believe, and the “savage monsters” he will face are actually a regiment of skillful warriors the likes of which he has never seen.

Knights vs. Samurai #1 will be released wherever comics are sold on September 25th.

The post Knights vs Samurai: Todd McFarlane Reveals Why He Wanted to Work with David Dastmalchian appeared first on ComicBook.com.

As both a prolific character actor and a comic creator, David Dastmalchian has played a role in shepherding some intriguing and unexpected stories. Later this month, Dastmalchian will be working with Todd McFarlane and artist Federico Mele on Knights vs. Samurai, a new Image Comics series that is sure to deliver on that front as well. While speaking to ComicBook about the upcoming release of Knights vs. Samurai, Dastmalchian cited working with James Gunn on 2022’s The Suicide Squad as one of the shining examples for how he approached the relationships of the series.

“Everything, 100%. And I’m glad you asked that question, because when I was writing this story, up until now, almost all of my screenplays, teleplays, plays and comic books have revolved around one central character, with a couple of important supporting characters. But we’re still following a story of a singular character on the hero’s journey, which is a form of storytelling we’re all very accustomed to. Looking at something like The Last Voyage of the Demeter and a crew. A team of people who may not get along, who don’t speak the same language, who are from different cultures, who kind of despise each other. But all of a sudden, having to fight an entity that is bigger than any of them, individually, was certainly influential. But the most important, I would say, was working with someone like James Gunn, who has found this incredible ability, over the years of his storytelling to incorporate an expansive ensemble of characters into a plot. And you absolutely know who each character is, how much you care about them, what you feel about them, their relationship to one another. So I looked back on, not only the time that I got to work with James, but on watching his films and going ‘Holy crap. I need to make sure every interaction has weight, has meaning.'”

“You go, ‘Well, what is there? They’re just on the same team? No, I need a dynamic relationship between these characters, otherwise it’s not gonna mean anything,'” Dastmalchian continued. “I could give a million examples but there’s so much influence. And every great filmmaker I’ve worked with. A storyteller like Todd understands that you can dress the set, you can paint the page with the most badass muscly, gory clashes of Katanas and broadswords and nunchucks and throwing stars against spears, crossbows. It doesn’t amount to a hill of beans if the reader doesn’t give a crap about the characters, and doesn’t care about their relationships.”

What Is Knights vs. Samurai About?

In Knights vs. Samurai, Sir Charles Ward, “The Dragon Butcher,” has achieved knighthood, acclaim, and is leading a legion of royal warriors on a noble mission, yet his self-doubt and grief haunt him. Venturing to a mysterious island in the Far East, Charles leads his diverse assembly of fighters (including a giant and two clerics) to seek vengeance against savage monsters who ambushed a group of English missionaries. Arrival on the island reveals that the truth may be drastically different from what Charles was led to believe, and the “savage monsters” he will face are actually a regiment of skillful warriors the likes of which he has never seen.

Knights vs. Samurai #1 will be released wherever comics are sold on September 25th.

The post Knights vs Samurai Creator David Dastmalchian Reveals Which Film Roles Inspired the Comic appeared first on ComicBook.com.

Eisner-winning comics creator J.H. Williams III (Echolands, The Sandman: Overture, Promethea) and Image Comics are teaming up for a new, illustrated horror story this October with Dracula: A Storybook Portfolio. The storybook retells the classic Dracula tale, featuring over 150 pages of painted illustrations and accompanying story passages. The hardcover Dracula: A Storybook Portfolio book hits shelves this October, just in time for Halloween season, and sounds like it shares some DNA with the work Williams III did on Batwoman at DC.

Dracula: A Storybook Portfolio‘s storybook format, designed to read like an illustrated children’s book, juxtaposes paintings with pages of story. The hope is that the unique presentation will allow Williams III to approach Dracula in a way that hasn’t been done before. Per Image’s announcement, Williams III creates a fantastical and absorbing storytelling experience that goes beyond the typical expectations of an art book, making for a potent combination of illustration and prose. 

“Since I talk about what inspired this project in the foreword inside the book, I’ll just say that I’m excited to have it come out,” said Williams III in a statement. “I don’t think I’ve seen a book quite like this in the modern era. I sought to make it a different kind of thing than what some would expect, an attempt to marry portfolio illustrations with brief passages to create a narrative structure that most art books don’t tend to focus on. Because of it having a single narrative subject, the illustration choices are reflective of that. I gave the prose sections a subtle older style, but delivered with a somewhat brisk sensibility. All with a desire to have it call back to classic storybooks that often became annual favorites of the young and old. Every aspect of the book, with the assistance of Image Comics’ Drew Gill, is geared toward that simple but pleasant idea. The result is unique and hopefully satisfying.”

You can see the cover above, and ordering information below.

The move comes as Image is publishing montly “Universal Monsters” books that look at characters like Frankenstein and The Creature From the Black Lagoon.  

Dracula: A Storybook Portfolio, featuring a cover by Williams III, will be available at local comic book shops on Wednesday, October 9 and independent bookstores, Amazon, Barnes & Noble, Books-a-Million, Indigo, and Waterstones on Tuesday, October 22. Dracula: A Storybook Portfolio will also be available across many digital platforms, including Amazon Kindle, Apple Books, and Google Play.

The post J.H. Williams III To Release Illustrated Dracula Book for Halloween appeared first on ComicBook.com.

The creators of Netflix’s smash series Wednesday and showrunners of the beloved DC hit Smallville are jumping into the world of comics and horror for their newest project The Ice Cream Man. THR is reporting that Alfred Gough and Miles Millar (through their Millar Gough Ink production company) have acquired the film rights to the Image Comics horror anthology series, which follows The Ice Cream Man as they take on a host of different forms and spin a wide range of horror stories. The project is currently in early development, but a search for a writer is currently already underway.

A Long Time Coming

The Ice Cream Man is written and created by W. Maxwell Prince and down by artists Martin Morazzo and Chris O’Halloran, and fans have been waiting to see their version of the hit series make the move to the big or small screen for quite some time. The comic debuted in 2018 and and was scooped up for a series at Universal Content Productions not too long after. Then it entered development as a Quibi series, though it never made it to the screen due to Quibi’s eventual shutdown.

After that, Prince provided an update on the show’s potential screen future, and thankfully the project was still being worked on, though it wasn’t known for what network or service. “I can tell you that it definitely isn’t happening at Quibi!” Prince said. “I’ll say that the [Ice Cream Man] TV show is very much still alive. We’re hoping to have more news very soon.”

Now the series has become a feature film, which will mark a first for the franchise. Gough and Millar most recently wrote the long awaited Tim Burton sequel to Beetlejuice, aptly titled Beetlejuice Beetlejuice. Gough and Millar’s previous films include Spider-Man 2 and Shanghai Noon, so they certainly know how to deliver a property to the big screen. Hopefully Ice Cream Man fans will see their favorite horror anthology get the same treatment, and you can find the official description for The Ice Cream Man Vol. 1 below.

What Is The Ice Cream Man?

“Chocolate, vanilla, existential horror, addiction, musical fantasy…there’s a flavor for everyone’s misery. ICE CREAM MAN is a genre-defying comic book series, featuring disparate “one-shot” tales of sorrow, wonder, and redemption. Each installment features its own cast of strange characters, dealing with their own special sundae of suffering. And on the periphery of all of them, like the twinkly music of his colorful truck, is the Ice Cream Man-a weaver of stories, a purveyor of sweet treats. Friend. Foe. God. Demon. The man who, with a snap of his fingers-lickety split!-can change the course of your life forever.”

Are you excited for The Ice Cream Man’s big screen debut? You can talk all things comics and movies with me on Threads and Twitter @mattaguilarcb!

The post Ice Cream Man Movie In the Works From Smallville and Wednesday Creators appeared first on ComicBook.com.

Image Comics and Ghost Machine today revealed a 1:100 homage cover to Hyde Street #1. The retail incentive homage variant showcases artwork by Ivan Reis, Danny Miki and Brad Anderson, paying homage to Reis’s own cover to the best-selling Blackest Night #1’s debut issue, written by Geoff Johns. This variant sees Reis revisiting one of his most popular covers and will kick off his reteam with Johns on the upcoming Hyde Street launch next month, this time with Nekron — the skeletal Green Lantern villain — replaced by a skull wearing X-ray specs marked “Mr. X-Ray.”

Hyde Street‘s interior art features colors by Brad Anderson, inks by Danny Miki, and letters by Rob Leigh.  

“With this Hyde Street variant cover we wanted to pay tribute not only to a collaboration in our past, but also to our readers and loyal fans who made Blackest Night such a standout success at the time,” said Reis in a statement. 

“When we began talking about the concept of Hyde Street, our minds naturally went to Blackest Night for its dark horror atmosphere, a sandbox that Ivan and I were excited about playing in again,” Johns added. “Like all of Ivan’s work this variant cover is brilliant, and we can’t wait for fans to join us as we discover Hyde Street together.”

Here’s how Ghost Machine describes Hyde Street:

In every city and town, off every country road and metropolis avenue, if you make a wrong turn in your soul… you might find yourself on Hyde Street. But be careful who you talk to and what you do because the consequences make death itself seem like the easy way out. Introducing Mr. X-Ray, Pranky the World’s Most Dangerous Scout, Miss Goodbody, and many more… Out to delight, fright and say good night. What is their secret and that of Hyde Street? Only they know. For now.

For fans of W. Maxwell Prince & Martín Morazzo’s Ice Cream Man and classic Stephen King stories, Hyde Street

 is the perfect tale of terror to haunt readers’ shelves this Halloween.

Hyde Street #1 will be available at comic book shops on Wednesday, October 2:

• Cover A by Reis, Danny Miki & Anderson – Lunar Code 0824IM297
• Cover B by Gary Frank & Anderson – Lunar Code 0824IM298 
• Cover C 1:25 copy incentive by Kelley Jones & Anderson – Lunar Code 0824IM299 
• Cover D 1:50 copy incentive by Mike Deodato & Anderson – Lunar Code 0824IM300 
• Cover E 1:1000 copy incentive by Reis Original Art Convention Sketch Cover (Limit One Per Store) – Lunar Code 0824IM301
• Cover F Blank Sketch – Lunar Code 0824IM302
• Cover G 1:100 copy incentive Blackest Night homage by Reis, Miki & Anderson – Lunar Code 0824IM803

All Ghost Machine titles, including Geiger, Redcoat, Rook: Exodus, and more, are also available across many digital platforms, including Amazon Kindle, Apple Books, and Google Play.

The post Ghost Machine Reveals Blackest Night Homage Cover For New Geoff Johns/Ivan Reis Comic appeared first on ComicBook.com.

Ghost Machine has released a trailer for their upcoming deluxe hardcover of Junkyard Joe. The oversized hardcover, which collects the first story arc of the Geiger spinoff series, is set to hit stores in November, featuring more bonus features than you can shake a robot hand at. Junkyard Joe has quickly become a fan-favorite — so much so that he is actually the subject of Ghost Machine’s first-ever action figure, which they unveiled at Comic Con International in San Diego back in July. The series hails from creators Geoff Johns, Gary Frank, and Brad Anderson.

The series, which naturally evokes characters like G.I. Joe or G.I. Robot, is rooted in the search for humanity. Johns has leaned into the inherent tragedy of the character, both for its storytelling and also in charitable work aimed at benefiting homeless veterans.

“I would just say it is about trauma. It’s about grief. It’s about loss and struggle, and that’s what the story’s about,” Johns told ComicBook in 2022. “It’s not about the people who choose to fight the wars or people that are making the decisions. It’s about the people who are caught in them and then what that experience is. And so, yeah, it’s more of a singular personal story more than a global one.”

The title is part of a broader shared universe for Ghost Machine that includes not just Geiger but titles like Redcoat and Rook: Exodus as well. Ghost Machine is currently preparing to launch the horror side of its universe with Hyde Street, and soon, there will be a number of new titles — including the first books not written by Johns. While Ghost Machine was announced as a creator collective, Johns had such a backlog of work that the first titles have all been his. His partners are coming to the forefront soon, with names like Lamont Magee (Black Lightning), Brad Meltzer (Ordinary People Can Change the World) and Peter J. Tomasi (Super-Sons).

Here’s how Ghost Machine describes the book in their solicitation:

From the explosive pages of Geiger comes Junkyard Joe! The world knows him from the comic strip by recently retired cartoonist Muddy Davis, but the truth stretches back to the Vietnam War. The tragedies of combat and visions of a strange robot soldier that saved Muddy’s life there still haunt him. But dreams become reality when Joe mysteriously shows up on Muddy’s doorstep, warning of a new impending war.

Bonus material includes an exploration of the creative process, variant cover art, and more! Collects Junkyard Joe #1-6 

The post Ghost Machine’s Junkyard Joe Deluxe Hardcover Trailer Released appeared first on ComicBook.com.

It’s a little new, a lot of the usual, but a wide variety of books cross our list this week. Crossed is the most recently optioned series to be revived in the aftermarket while a myriad of new fans are discovering Gwenpool fans. Deadpool and Wolverine are still dominating headlines thanks to the billion-dollar bonanza. Wolverine gets the red-label treatment. Ultron makes a triumphant return while an outlier featuring Elektra appears. No more time to waste; let’s hop into this week’s Top Ten!

Want to know what comic books are trending each week and why? COVRPRICE.COM uses live sales analytics to identify and compile the most robust market price guide, highlighting the weekly top trending comics. No opinions. Just data. Each week, they present a newly updated list of the TOP 10 COMICS trending in the aftermarket. These trends are due to rumors, fan-favorite covers, story-driven content, and content-related news.

Top 10 Comic Books Rising in Value for the Week of 08/26/24

1: CROSSED #0 | AVATAR PRESS | JULY 2008: The Constantine film wasn’t a major commercial success, but the fans loved it and begged for a sequel for years. The Preacher series was much the same way, not commercially a juggernaut, but the fans loved it. Both projects have Garth Ennis in common. Well, another Ennis property has gotten the optioned bug. Crossed features an intriguing premise: a plague infects the world, causing people to act out the darkest things you can think of. Naturally, that sounds like good TV, and fans began scouring the aftermarket for this book! We tracked it at a high sale of $60 for an NM copy and a current NM raw of  $33.

2: WOLVERINE: REVENGE – RED BAND #1 – LEINIL FRANCIS YU – TALES FROM THE CRYPT #39 HOMAGE (1:25) | MARVEL | AUGUST 2024: Fans are celebrating Greg Capullo’s return to Marvel comics and to a Wolverine property no less. The execs must have thought, “Hmmm, how can we make this more Wolverine?” And voila, this book was born! There are more factors than that, like the insane popularity of the Red Band covers/series and the homages to famous PCH books. It’s checking all the boxes for major swaths of the community, hence, brisk aftermarket movement. We tracked it at a high sale of $70 for an NM copy and a current NM raw of $51. 

3: THE UNBELIEVABLE GWENPOOL #1 – GURIHIRU – REGULAR | MARVEL | APRIL 2016: As mentioned last week, a Gwenpool skin was recently made available with the newest season of Fortnite. If purchased, she was available immediately, and there sure have been a few Gwenpools running about. That introduced many individuals to the character for the first time, and some opted to take a harder look. That led them to this book, a low barrier of entry Gwenpool title that screams Fortnite. It’s colorful, wacky, and heavy on the “fun.” Regardless, it’s helping bring new collectors onto the scene, and for that, we say thank you! We tracked it at a high sale of $100 for a CGC 9.8 copy and a current NM raw of $15. 

4: DEADPOOL #31 | MARVEL | JULY 2014: This book marks the first appearance of Ellie Comacho, the daughter of Deadpool, and it’s become a consistent book on this list. Part of that is the upcoming ‘death’ of Wade Wilson and the heir apparent in Ellie stepping into the role for issue #7 of the current run. That’s got fans excited, as Ellie is a relatively under-the-radar character. There’s potential she could be fantastic, and many fans are banking that she will be, opting to take a flyer on her first appearance with a minimal investment. We tracked it at a high sale of $175 for a CGC 9.8 copy and a current NM raw of $27.

5: DAREDEVIL VOL.1 #181 | MARVEL | APRIL 1982: This iconic book has fans taking a second look! This book marks the “death” of Elektra, the often love interest of Daredevil. She’s been in the headlines lately, thanks to Jennifer Garner reprising her ‘Elektra’ role in Deadpool and Wolverine, and the new Punisher and new Daredevil (Elektra) recently duking it out in the comics. And, there have been rumors that another Elektra, this time from the Daredevil and Defenders TV series, may make a return for Daredevil: Born Again. So much Elektra going around! Still, her first appearance is out of reach for the majority of fans, and her death is the next best thing for many. With the Punisher returning to Daredevil: Born Again, could we see Elektra in some capacity once more? Only time will tell! We tracked it at a high sale of $312 for a CGC 9.8 copy and a current NM raw of $36.

6: THE UNCANNY X-MEN VOL.1 #251 | MARVEL | NOVEMBER 1989: Gosh, this under-the-radar book has been heating up for weeks now. Before the release of Deadpool and Wolverine, it was warm thanks to X-Men 97 hype. Then the movie dropped and put it on the map. Double then, the behind-the-scenes started trickling out, going into how they made that scene possible. It’s awesome to see the fantastic classic cover making a comeback! We tracked it at a high sale of $350 for a CGC 9.8 copy and a current NM raw of $25. 

7: THE AVENGERS VOL.1 #55 | MARVEL | AUGUST 1968: Avengers: Age of Ultron is the oft-forgotten Avengers movie, mostly due to being overshadowed by its predecessor and successors. Still, it introduced huge audiences to Ultron, an epic villain who translated well to the screen. Part of that was thanks to an incredible performance by James Spader, who luckily will be returning to the role for an upcoming Vision series. The two were intertwined heavily in the Avengers film, and that was often when both were at their best. Time to make some magic! We tracked it at a high sale of $186 for a CGC 8.5 copy and a current NM raw of $35. 

8: THE POWER FANTASY #1 – CASPAR WIJNGAARD – REGULAR | IMAGE | AUGUST 2024: The community has had their eyes on this book for a while. Even before it dropped, it was garnering heavy interest. Then, the Chase variant dropped, and everyone’s attention shifted. Cover A was still doing well but heavily overshadowed by its limited cousin. Now, Cover A is hitting the spotlight as the chase variant has either been chased down or is growing out of reach monetarily for some collectors, albeit coming back to earth.  We tracked it at a high sale of $23 for an NM copy and a current NM raw of $12.

9: MARVEL SUPER-HEROES SECRET WARS VOL.1 #8 – DIRECT | MARVEL | DECEMBER 1984: You know what it is! It’s the origin of the Black Suit, and a major key for most Spidey fans, AND has the potential to factor into Marvel’s motion picture plans. Potential is the key word here as nothing has been confirmed, so tread lightly. But this book will always be in demand thanks to its proximity to Spider-Man and Venom.  We tracked it at a high sale of $625 for a CGC 9.8 copy and a current NM raw of $152. 

10: INFAMOUS IRON MAN #1 | MARVEL | OCTOBER 2016: The ebb and flow of this book is something else. When it was announced Robert Downey Jr. would step into the role of Dr. Doom in some capacity, this book went bonkers, mainly due to it being the first appearance of Dr. Doom as Iron Man WITH a Tony Stark A.I. to boot. When fans think of Tony Stark, they think of RDJ, and now, Dr. Doom. The connections naturally formed and haven’t been discredited yet. We tracked it at a high sale of $211 for a CGC 9.8 copy and a current NM raw of $51.

The post Top 10 Comic Books Rising in Value in the Last Week Include Wolverine, Avengers, and Crossed appeared first on ComicBook.com.

Image Comics’ fan-favorite series I Hate Fairyland is about to have a major full circle moment. Earlier this week, Image Comics revealed a new cover for the forthcoming I Hate Fairyland #17, which will be released wherever comics are sold in November. Skottie Young’s cover intentionally mirrors his illustration for 2009’s The Wonderful Wizard of Oz #1, the first issue in his and Eric Shanower’s adaptation of L. Frank Baum’s iconic novel of the same name. 

Given the narrative similarities between The Wizard of Oz and I Hate Fairyland — albeit, with the latter series taking a darker and more violent twist — this cover is particularly clever. It has also been teased that the “Happy Ending” arc that I Hate Fairyland #17 is a part of will directly include characters from The Wizard of Oz, so it will be interesting to see how that story arc develops.

What Is I Hate Fairyland About?

I Hate Fairyland follows Gert, a six year old girl who has been stuck in the magical world of Fairyland for thirty years and will hack and slash her way through anything to find her way back home.

“It’s amazing,” Young told ComicBook in an exclusive interview at this year’s San Diego Comic-Con. “Just the fact that I’m publishing a book at Image comics, being an Image kid myself, buying Spawn #1 on the shelf, buying WildC.A.T.S. #1 on the shelf, Savage Dragon #1 on the shelf. So the fact that I have Image Comics #1’s that people buy is amazing,” Young said. “The idea that it’s lasted 10 years blows my mind. I feel like I’m living out my childhood dream… We are cooking some fun things up. We have some pretty big things that we were just talking about before stepping in here. I think everyone will have lots of fun, us most of all.”

What Is I Hate Fairyland #17 About?

“HAPPY END GAME,” Part Two of Five
Happy leads the army of dead Gerts from Hell, through the Inferno and into Fairyland. Gert needs allies, so the King summons a legend from Kansas who’s pretty familiar with fighting off WICKED forces! Who could it be? Maybe someone who’s into glittery footwear? Yellow Bricks? Any guesses?

I Hate Fairyland #17 will be available wherever comics are sold on November 6th.

The post I Hate Fairyland: Skottie Young Homages Marvel’s Oz With New Cover appeared first on ComicBook.com.

Almost thirty years after the first-ever Medieval Spawn action figure’s release in 1995, Todd McFarlane Productions has launched a new Kickstarter to allow hardcore collectibles fans to get an ultra-detailed version of the character, packaged with a comic book just like the original run of Spawn figures used to be. The new campaign has broken McFarlane’s prior records, reaching $1 million in pledges in only five hours. That’s a fast turnaround compared to the previous Spawn Kickstarter campaign, which took 23 hours to hit the same milestone. Key to the success is a promised lightning-fast turnaround; McFarlane has already started production on the figures, which McFarlane hopes will set a record for Kickstarter in the action figure category. The hope is to get a lot of the figures shipping by the holiday season, and many will ship directly from Hong Kong, just a few months after the campaign ends.

The campaign (you can see more details and buy the figures here) met its initial $100,000 funding goal in just two minutes, and doubled its goal within four minutes, surpassing the previous campaign’s record of three minutes. The figure — offered in three colors — sold through all 700 Premium 3-Packs within 45 minutes. 

As of this writing, the campaign has already attracted over 6,500 backers, to raise over $1.3 million, with 28 days to go in the campaign. Due to the speed with which the campaign is blowing through its stretch goals, four (of a possible 14) free bonus accessories have already been unlocked, and McFarlane plans to give away even more throughout the campaign as additional goals are reached.

The 2024 Medieval Spawn figure will be the most detailed yet, available in three color variations: classic blue and red, bold black, and an all-gray artist’s proof rendition. Backers can choose between autographed and non-autographed versions of the figures. With production of the figures already underway, McFarlane hopes to begin shipping to many backers during the holiday season, with some backers receiving their figures before Christmas.

Here’s a rundown of the key features of the toy, via the Medieval Spawn campaign on Kickstarter:

• The figure stands 7 inches tall with 32 points of articulation.
• Each figure includes a comic with original art on the cover by the award-winning Todd McFarlane.
• THREE Color Variations:
• Classic Blue and Red
• Black Variant
• All-Gray Artist’s Proof
• Each color variation is available in autographed and non-autographed versions, with autographs done personally by Todd McFarlane on decorative nameplates.
• Magnetic accessories for easy customization:
• Standard Accessories: Long Sword, Round Shield, Classic Helmet, Right and Left Ornate Forearm Pads, Classic Chest Plate, and Skull Chain.
• Exclusive Accessories for Each Color Variant:
• Classic Blue Medieval Spawn: Valkyrie Helmet and Roman Helmet
• Black Medieval Spawn: Roman Helmet and Hamburger Head with Closed Mouth
• All-Gray Artist Proof Medieval Spawn: Valkyrie Helmet and Hamburger Head with Closed Mouth
• Each figure will be packaged in resealable blister packaging; faithfully recreating the 1995 design; packaged within a collector box with an added slipcover for protection.
• Figures will be shipped worldwide, with all backers responsible for their estimated shipping costs.
• Additional charges, such as regional taxes or customs fees, are NOT included and will vary based on your location.

The post Todd McFarlane’s Medieval Spawn Kickstarter Crosses $1 Million In 5 Hours appeared first on ComicBook.com.

What if you had the power to freeze time and “restart it” whenever you wanted? This is a question not only asked and answered by Saved By The Bell’s Zach Morris but the newest Image Comics miniseries Standstill. Unfortunately, the power to call a time out on the time stream isn’t given to readers themselves with this new comic, but rather, a charming rogue who doesn’t put his powers to use for the betterment of mankind. Does this new Image series manage to highlight the more interesting aspects of its premise or does it freeze under pressure?

To fill you further in on the premise of Standstill, the series follows Ryker Ruel, a man who is putting his new time-freezing device to good use. However, it takes more than one man to make a village as the world is beginning to become aware that all isn’t right in “Denmark.” Governments are realizing that the deaths of oligarchs, mysterious bank heists, and general tomfoolery all might have something in common as one scientist has become wise to the matter. Brainiac Colin Shaw finds himself sacrificing major parts of his life to reveal the mystery and hopefully stop it. Standstill lays out all these elements and more in its first issue.

To start, Ryker establishes the more flashy side of the premise, using the device to create some hilarious, and often grisly, displays to either net him cash and/or get some petty revenge on those around him. These scenes are serviceable though they don’t go as “hard in the paint” as they could. The opening salvo is a bit of humorous revenge as Ryker demonstrates his “power” on an unsuspecting hangout for bikers, displaying his confidence throughout the heated exchange. Ironically enough, Ryker and his use of the time-freezing device feels like it’s playing second fiddle to a far more interesting aspect of the series in scientist Colin Shaw.

Painted as something of a Reed Richards and Sue Storm dichotomy, Colin and his now ex-wife find themselves at an impasse, taking a direction that Marvel might never allow for the comic publisher’s “First Family”. Shaw is drowning in his work in attempting to figure out and losing his relationship in the process. Writer Lee Loughridge, on top of weaving the events and conversations within the script, also acts as the colorist of this opening issue which is a good segway into the strongest part of the premiere issue.

Artists Andrew Robinson and Lee Loughridge (on colors) deliver borderline experimental here on Standstill. Specifically, the series touts its opening salvo as having sixty “double-page spreads” which work well in terms of telling an interesting story and presenting an artistic style rarely seen in any comic book these days. Loughridge’s colors are as vibrant and/or moody as they need to be, complimenting Ryker and Shaw’s stories as the two are quite different concerning their locales. Loughridge and Robinson’s art is big and bold while eliciting a “secret agent” style that would fit right into the world of 007. 

If you’ve read my reviews in the past, you know that I’m a sucker for using the comics medium and trying something different with the layout of panels across the board. Standstill takes a unique approach in creating some scenes that leap off the page and grab the readers’ attention. The art is the star of the show here, taking a solid story and pushing it to new heights with gorgeous facial features and lush surroundings. 

Standstill introduces its world in a compelling enough fashion, establishing the premise and enticing readers to follow this espionage adventure. There are some big chinks in the armor here, mostly when it comes to the time freezes themselves, but Loughridge and Robinson have something special on their hands here and I’m anxious to see the direction that the miniseries takes with its remaining seven issues.

Published by Image Comics

On August 21, 2024

Written by Lee Loughridge

Art by Andrew Robinson

Colors by Lee Loughridge

Letters by Rob Tweedie

Cover by Andrew Robinson and Lee Loughridge

The post Standstill #1 Review: A Moment in Time appeared first on ComicBook.com.

Ghost Machine, the creator-owned imprint from Image Comics, announced over the weekend that they have tapped Danielle Ward as the company’s first Manager of Sales and Retailer Relations. An experienced sales and operations manager, Ward will serve as first point of contact and advocate for retailers (particularly those in the direct market), keeping the company and its creators updated on current retail trends and feedback from comic shops around the country. Ward comes to Ghost Machine after stints at Alien Books and Valiant Entertainment, where she spent several years as their Sales and Operations Manager.

Before she started working for publishers, Ward was the manager of JHU Comics (formerly known as Jim Hanley’s Universe) in her hometown of Staten Island, NY. Ward isn’t the only one with comics retail experience; Ghost Machine co-founder Geoff Johns has been part-owner of California’s Earth-2 Comics for years.

“What excites me most about joining Ghost Machine is its commitment to two vital principles: great characters and true artistic ownership for creators,” Ward said in a statement. “My goal is to forge a stronger bond between Ghost Machine and the comic book retail community, ensuring that every retailer feels not just supported, but empowered to succeed with our titles.”

“We’re thrilled to have Danielle join our growing team,” said the Ghost Machine team in a joint statement. “Her years of retailer experience, perspective and enthusiasm for working with retailers has already begun to help the company better understand what we can all do to support the retailers working every day to help grow Ghost Machine’s audience of readers and fans.”

Ghost Machine’s creator collective was launched at New York Comic Con in October 2023 and features a global lineup of all-star artists and writers including Brad Anderson, Jason Fabok, Gary Frank, Bryan Hitch, Geoff Johns, Rob Leigh, Lamont Magee, Francis Manapul, Brad Meltzer, Ivan Reis, Peter Snejbjerg, Peter J. Tomasi, and Maytal Zchut. 

All of Ghost Machine’s creators jointly own and run the company, sharing in all of Ghost Machine’s publishing, media, merchandising and licensing. Each creator is exclusive to the company for their comic book work, after completing projects
already committed to. 

Ghost Machine recently boosted its creator roster with renowned inkers Andrew Currie and Danny Miki, who joined on an exclusive basis alongside designer Steve Blackwell, in charge of the company’s publishing design. Earlier this year, Brian Cunningham was named Ghost Machine’s first editor-in-chief.

Ghost Machine kicked off its monthly publishing schedule this year in April with a batch of best-selling titles written by Geoff Johns. Each of the Ghost Machine launch titles — Geiger (with Gary Frank, colors by Brad Anderson, and letters by Rob Leigh); Redcoat (with Bryan Hitch, Anderson, inks by Andrew Currie, and Leigh); and Rook: Exodus (with Jason Fabok, Anderson, and Leigh) — sold through multiple printings. The fifth issues of each title are available this month.

In October, Ghost Machine will unleash its horror universe beginning with Hyde Street, which reunites Johns with Aquaman and Blackest Night collaborator Ivan Reis. The series will be colored by Anderson, inked by Danny Miki, and lettered by Leigh. Maytal Zchut, one of Ghost Machine’s co-founders, will make her comic book writing debut with the  one-shot It Happened on Hyde Street: Devour, illustrated by French-born artist Leila Leiz and colored by Alex Sinclair. The Rocketfellers and Hornsby & Halo will kick start Ghost Machine’s Family Odysseys in late 2024. All of Ghost Machine’s titles are published through Image Comics. The company also recently established the Ghost Machine Scholarship with the famous Joe Kubert School.

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We’re in the Endgame now. By that, we mean the end of the major conventions of the year, where juggernauts of the industry like Disney (Marvel) debut some of their coolest stuff to come. Fresh off SDCC, we have another event in D23. So far, the information filtering out is just starting to shake the market, with the full effects playing out this week. Next week’s list will show the full impact of Disney and Marvel’s big day, but until then, check out what’s shaking the market on this week’s Top Ten!

Want to know what comic books are trending each week and why? COVRPRICE.COM uses live sales analytics to identify and compile the most robust market price guide, highlighting the weekly top trending comics. No opinions. Just data. Each week, they present a newly updated list of the TOP 10 COMICS trending in the aftermarket. These trends are due to rumors, fan-favorite covers, story-driven content, and content-related news.

Top 10 Comic Books Rising in Value for the Week of 08/12/24

1: UNCANNY X-MEN #1 – JIM LEE – HIDDEN GEM (1:50) | MARVEL | AUGUST 2024 : New X-Men run, new X-Men! That’s right; we have a new team of sorts in the Outliers, consisting of teenage mutants Deathdream, Ransom, Jitter, and Calico. Led by Rogue, this variant cover from Jim Lee is quite fitting! The fandom loves Lee’s work, especially thanks to the nostalgia factor from his fantastic work on the 90’s X-Men run. When he delivers a rendition of Rogue like this, fans line up in a hurry to secure a copy! We tracked it at a high sale of $133 for an NM copy and a current NM raw of $83.

2: THE UNCANNY X-MEN VOL.1 #251 | MARVEL | NOVEMBER 1989 : *POTENTIAL SPOILERS* : If you know, you know. Of course, this classic Mark Silvestri cover was brought back to the forefront thanks to that scene in Deadpool and Wolverine. Despite the push that brought on, this book was heating up for weeks before it was released. Part of that was the rumors swirling regarding its association with the film, but the flip side was the sheer mass of people discovering it for the first time. It has a “got to have it” effect on fans, as it’s just that good! We tracked it at a high sale of $314 for a CGC 9.8 copy and a current FN raw of $35.

3: THE POWER FANTASY #1 – CASPAR WIJNGAARD – CHASE | IMAGE | AUGUST 2024 : It wasn’t long before word got out about this highly anticipated new series receiving a Chase variant. Chase variants typically urge collectors to “chase” after a rarer version of the original release. Think of it as a ratio variant without the ratio. Most are familiar with Funko, who creates a line of Spider-Man Funko pops that all look similar. However, they quietly release a variant or chase version that may have a different coloring, an extra accessory, pose, or something to differentiate it from the original or normal version. Naturally, being a “rarer” version causes those on the hunt for it to either pay up to secure it or keep on hunting even harder. In comics, it’s not a regular occurrence, so when word began to spread, fans took notice and kept their eyes peeled. Some who succeeded at finding a copy were quick to list it online, causing an aftermarket surge and letting those who missed out get a shot. We tracked it at a high sale of $30 for an NM copy and a current NM raw of $16. 

4: HULK #1 – ED MCGUINNESS – REGULAR | MARVEL | MARCH 2008 : We got our first hint of Red Hulk a few weeks ago when the first trailer for Captain America: Brave New World finally dropped. Well, those who attended D23 got another sneak peek at Red Hulk in action. The videos quickly leaked online, and for those who saw them before, they were scrubbed from the internet and online was awash with conversation. If the market is any indication, it’s good conversation, as the first appearance of Red Hulk has been changing hands in droves. We tracked it at a high sale of $305 for a CGC 9.8 copy and a current NM raw of $90. 

5: THE AVENGERS VOL.1 #25 | MARVEL | FEBRUARY 1966 : We don’t know what capacity Robert Downey Jr. will be in the Doom role he was recently announced to be playing. There are just too many variables that make it difficult to predict. But, some information has helped fans formulate strong opinions. One is that the Russo brothers will be returning to direct future Avengers films. Considering they directed the highest-grossing and most beloved Avengers films to date, it makes some believe we have an Avengers VS Doom battle in store. That may come to pass, or it may not, but that hasn’t stopped fans from securing the first battle between the two entities in comics. And for a 12-cent early Avengers book, pricing isn’t half bad! We tracked it at a high sale of $796 for a CGC 8.5 copy and a current VG raw of $85.

6: DEADPOOL #31 | MARVEL | JULY 2014 : Ellie Camacho isn’t a household name, but she’s getting there. As the daughter of Deadpool, she has big shoes to fill. She will be getting her chance in October when she is set to become the new Deadpool in issue #7. As the product of a one-night stand, which was later abandoned by the goofball Wade Wilson, there are bound to be some major moments coming up for the character. With her new role on the horizon, fans were quick to secure her first appearance. We tracked it at a high sale of $160 for a CGC 9.8 copy and a current NM raw of $23.

7: MARVEL SUPER-HEROES SECRET WARS VOL.1 #10 – DIRECT | MARVEL | FEBRUARY 1985 : Doom. Doom. Doom. We can hardly escape the iconic villain, but that’s the point. Doom plays heavily into future Disney/Marvel plans, considering the fact the actor they attached to the character is Robert Downey Jr. His iconic covers have been on a tear, and this book is no different. One of Dr. Doom’s most iconic covers hails from Mike Zeck and has been a fan favorite for years. However, some who attended D23 believe that the plan Marvel is enacting may involve Doom, Battleworld, and the Future Foundation. Things will be clarified over time as more information is released. But, the current unsubstantiated “evidence” is starting to narrow the path for collectors in a big way. We tracked it at a high sale of $275 for a CGC 9.8 copy and a current VF raw of $26. 

8: IRON MAN VOL. 2 #11 | Marvel | September 1997 : A classic cover from Whilce Portacio put this book on the map recently. Thanks to the events at Hall H, Dr. Doom/Iron Man covers have been on fire. Outside of that, this book has a ton going on within! It’s a ton of timey wimey wibbly wobbly stuff, but it has Iron Man and Dr. Doom working together before finding all new respect for each other. Still, it’s a cheap 90’s book that’s plentiful and scratching the itch for collectors until more information is known. We tracked it at a high sale of $25 for an NM copy and a current NM raw of $3.

9: THE POWER FANTASY #1 – CASPAR WIJNGAARD – THANK YOU | IMAGE | AUGUST 2024 : Thank You variants have seen an uptick in frequency in the past few years, typically enjoying a healthy aftermarket when they do drop. The hype for the series was already building before it was released. Some fans were after the “chase” variant, while others were in search of this one. It quickly separated itself from the rest of the pack as the variant to secure! We tracked it at a high sale of $118 for an NM copy and a current NM raw of $86.

10: TRANSFORMERS #11 – JAMES HARREN – THANK YOU | IMAGE | AUGUST 2024 : This book hasn’t even dropped yet but is already experiencing some heat! It’s a major Transformers issue that already has tons of fans interested. Then, Image delivered a “Thank You” variant from the incredible James Harren cover, swiping (or homaging) his amazing work on Ultramega #1. On top of that, Ultramega is returning later this year, which fans have been dying for. This book scratches all the itches but will be difficult to find with a substantial price tag. Good luck, collectors! We tracked it at a high sale of $130 for an NM copy and a current NM raw of $93.

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Image Comics has released their top ten sales numbers for July 2024, with Skybound’s Energon Universe taking up its fair share of the periodicals chart and topping the trade paperbacks with the first volume of Cobra Commander. Meanwhile, perhaps surprising some, Witchblade‘s much-anticipated reboot took the top spot on the periodical side, edging out competition from Transformers. The books chart is a lot more diverse than the singles, with Spawn titles and Energon titles taking up most of the top ten on the comics side. In books, there’s quite a diversity of titles, with only two big “brands” represented.

The bookstore market may make the difference there, where Eisner-nominated titles like Kill Your Darlings and premium format books like the Fatale compendium are likely to fare a bit better than they might at the comic shop. Besides Witchblade, the G.I. Joe and Transformers books, and Spawn, the periodical list also included Saga #67 and Universal Monsters’ Creature From the Black Lagoon Lives! #4.

Witchblade is the first new #1 for the character since 2017, when they tried to roll out a new lead character for the title. This time around, Sara Pezzini is back, and fans are clearly responding to her return.

Maybe the most notable single issue on the list is Spawn Kills Every Spawn #1, which not only made the list but, at #5, actually beat out the monthly Spawn book. That’s not bad for the kind of title that could easily have been written off as a gimmick book. Since the issue is just the first of five, it’ll be interesting to see whether it retains that kind of reader/retailer support past the first installment.

Besides Cobra Commander at #1, the other big “brand” represented in the book sales was Invincible vol. 4, which came in at #2. Other titles include Friday vol. 3 at #2 and Skottie Young’s I Hate Fairyland compendium at #4.

Here’s how the charts break down: 

TOP 10 COMICS (Direct Market)

1. WITCHBLADE #1
2. TRANSFORMERS #10
3. SCARLETT #2
4. DESTRO #2
5. SPAWN KILLS EVERY SPAWN #1
6. SAGA #67
7. VOID RIVALS #11
8. GI JOE: A REAL AMERICAN HERO #308
9. UNIVERSAL MONSTERS’ CREATURE FROM THE BLACK LAGOON LIVES! #4
10. SPAWN #355

TOP 10 BOOKS (Direct & Book Market)

1. COBRA COMMANDER, VOL. 1 TP
2. FRIDAY, VOL. 3 TP
3. INVINCIBLE, VOL. 4 NEW EDITION TP
4. I HATE FAIRYLAND COMPENDIUM, VOL. 1 TP
5. FATALE COMPENDIUM TP
6. TALES OF THE UNNAMED: THE BLIZZARD TP
7. SPACE MULLET TP
8. ACROSS THE MASSIVE-VERSE, VOL. 1 TP
9. BONE ORCHARD MYTHOS: TENEMENT HC
10. KILL YOUR DARLINGS TP ** EISNER NOMINATED **

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It has been more than four years since the adventures of Lottie Person were put on hold after Snotgirl #15, but it seems like she might be making a comeback. On social media on Tuesday, creators Bryan Lee O’Malley and Leslie Hung celebrated “Snottie’s” birthday with a pair of posts but that wasn’t all. They teased a return for the beloved Image Comics series. O’Malley posted an image bearing “No. 16” teasing a sixteenth issue of the series, writing “happy bday snottie snotgirl! Today we submitted paperwork for the next issue!”

Thus far, there are no details about a possible Snotgirl return, including a date. It’s unclear exactly how far into the process of a new issue the series is or even what a timeline would look like. This also isn’t the first time fans have gotten updates about a Snotgirl return that haven’t quite come to fruition. Back in October 2022, Hung took to social media with an update at that time indicating that the beloved series would be returning in October 2023, though that date came and went with no new issues. The last issue of Snotgirl was released in March 2020, though readers had waited several months for that issue as well.

What Is Snotgirl About?

Launched in 2016, Snotgirl is the story of Lottie Person — aka Snotgirl — a social media star and influencer with some unfortunate severe allergies who, while she does a solid job of seeming like she has it all together online, her personal life is a hot mess who isn’t over her ex, dislikes her friends, most of the people in her life are all very self-absorbed, and there’s those pesky allergies that are really, really bad (hence the “Snotgirl” of it all.) One day she meets the beautiful Caroline in a coffee shop, an influencer who has it all together and just seems very chill though trouble seems to follow Caroline wherever she goes.

“Snotgirl is about a fashion blogger named Lottie, who has the perfect life online, but in reality, she’s a huge mess. Lottie’s trying to find something real in her image obsessed world, and what she encounters instead is a larger than life (maybe) murder mystery,” Hung told The Beat back in 2016. “Snotgirl is a story about how our inner worlds can be in conflict with our real lives, and how technology can further complicate the chaos of everyday life. Lottie’s story is one that’s always been interesting to me, and something that both Bryan and I can relate to in our everyday lives, and why we wanted to tell her story in the first place.”

Keep checking with ComicBook for updates on the return of Snotgirl!

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