The Magnificent Ms. Marvel #9
The best thing about The Magnificent Ms. Marvel #9 (Ahmed, Jung, Vlasco, Herring) is that it left me incredibly excited for the next issue. Big things are happening and I just didn’t want this issue to end when it did. What more could you ask for, really?
DetailsMiles Morales: Spider-Man #12
Miles Morales Spider-Man #12 (Ahmed, Garron, Curiel, Petit) plays out in a rather predictable fashion, but it still entertains with plenty of action and brilliant artwork!
DetailsLois Lane #5 (Rucka, Perkins): as the pieces of the puzzle slowly come together, Lois closes in on whoever killed a fellow journalist – and then her!
DetailsRunaways #26
Runaways #26 (Rowell, Genolet) is a good, solid effort, but not exactly necessary.
DetailsSuperman #17
Superman #17 (Bendis, Macguire, Mounts, Sharpe) begins a new story arc with the potential to have massive consequences for the Man of Steel if the execution can hold up.
DetailsMorbius #1
In Morbius #1 (Ayala, Ferreira), the creative team delivers on all fronts and busts this first outing wide open!
Details
Join us for an exclusive interview from Rhode Island Comic Con 2019 with Neal Adams!
DetailsPunisher: Soviet Part 1 – Murder Ballads
Who’s killing their way through the Russian mob? It isn’t Frank Castle – and only Ennis, Burrows, and Woodard know for sure in Punisher: Soviet #1!
DetailsThe Batman’s Grave #2
The Batman’s Grave #2 (Ellis, Hitch, Sinclair, Starkings) carefully navigates the balance between image and text as a complex conspiracy seems to be slowly forming.
DetailsLivewire #12
It’s the bittersweet end of the road in Livewire #12 (Ayala, Ford, Fitzpatrick), and I’d be lying if I said I wasn’t gonna miss this series, and that means a ton in and of itself…
DetailsX-Men #2
X-Men #2 (Hickman, Yu, Alanguilan) is compelling, playing with high stakes and complex ideas, all of which will influence the entire Dawn launch, however it’s let down by less than stellar characterizations and mid-range art.
Details
Rachel Pollack brought the New Gods firmly into the 90s, and the run is more often decried than read. What could elicit such fear and disdain? What madness lies with gods who are flexible ideals.
Details
