Books like Batman #5 are why I love superhero comics. Matt Fraction, Jorge Jimenez, and Tomeu Morey create an entire issue that is centered around Bruce Wayne, not Batman, being chased by ninjas while on a kind of, sort of date with Dr. Annika Zeller, an Arkham employee who has invented something called the Crown of Storms to regulate electrical signals. So, of course, she’s on the run from rival ninja gangs, including Ojo aka Lady Death Man. There’s flirting, tension, cool gadgets, and a killer final page when an action from one of Wayne’s allies
Although, Jimenez has a much different art style from David Aja, Batman #5 reminded me a lot of another Fraction comic, Hawkeye #3 aka the freeway car chase issue where Clint Barton and Kate Bishop try out all the trick arrows. (It was adapted pretty well in the 2021 Disney Plus series too.) Batman #4 set up all kinds of labyrinthine plotting while this issue is all about a man getting a woman to safety and also dealing with his feelings about her. Of course, Dr. Zeller is a gorgeous woman, but Bruce is more attracted to lack of fear in solving mental health crises and speaking truth to power in a way that’s earned the ire of two and definitely more criminal syndicates. Even though the costume and cowl are miles away, some of his real personality comes out in this issue as he listens to her talk about innovative ways to make Gotham a better place, which is something he can assist through Bruce Wayne’s money and not just Batman’s fists. Finally, it’s so wholesome how protective Bruce is of Annika like when he immediately throws her into the safety of the dumpster when Ojo confronts him in an alley.
However, most of this issue is Jorge Jimenez and Morey turning in one of the coolest car chases (in comics) period. Seriously, there’s a double page spread that plays with time in an utterly insane way when Bruce catches a lock of Annika’s hair that was cut off by a biker gang member between her uttering “Oh God”. In this series of panels, you know what it’s like to have the reflexes of Gotham’s boy billionaire, who is also the Dark Knight. Specificity in sound effects from letterer Clayton Cowles and Jimenez are key in this and other segments of the chase sequences, and you hear the sword and the enemy’s body hit the side of the car before cutting to a small panel in silhouette that’s pure dark slapstick. In his colors, Tomeu Morey finds a happy medium between complex digital work and old school flat colors. When in doubt, pink and black look fantastic, and this scheme shows up in the issue’s movie poster-worthy title page along with the hand to hand fight between Bruce and Ojo.
Batman #5 also uses the high adrenaline action to fuel a kind of identity crisis for Bruce Wayne. He has to do Batman things to get through the issue, but has no access to his costume or gadgets beyond a sick suit of light body armor that’s also moisture wicking. Matt Fraction and Jorge Jimenez effectively use tics in Bruce’s vocabulary and shifts in body language to show when he’s blending or crossing over different parts of his dual identity. Of course, Ojo calls him out on this behavior, and this leads to Jimenez drawing his best, mean mugging action pose. Bruce Wayne is definitely more comfortable drifting cars and shifting gears than being a man in a business suit.
I love romantic comedies. I love action movies. So, I loved loved Batman #5. This comic is a showcase for Jorge Jimenez’s virtuosic art, Tomeu Morey’s ability to set the mood through colors, and also Fraction’s skill at quickly creating romantic chemistry and letting his artist cook. But, in a very cranked-to-eleven way, it demonstrates the best way to really know what someone is like is in a stressful situation, and I think Bruce passed with flying colors. (Until the final page.)
2025 was a hellscape of a year so in my comics reading habits, I fell hard into the “escapism” genre, including a lot of DC Comics. I don’t know if it was residual goodwill from James Gunn’s Superman, or the fact that they hired some of my favorite writers and artists, but I enjoyed so many books from the company formerly known as National Comics this past year. I also fully embraced the one-shot format this year, and honestly, the majority of this favorite comics list could have been made up of one-shots. I’ve always been a pop single girlie (And even purchased CD singles once upon a time) so it’s natural that I would enjoy this kind of thing in comics whether it’s Archie meeting my favorite stoners from the View Askewniverse, a glorious intercompany crossover between Thor and Shazam, or the singular book that topped this list.
There’s something rewarding about struggling with a comic early on, but eventually embracing and having it become one of your favorites. That describes my relationship with Kieron Gillen and Caspar Wijingaard‘s The Power Fantasy to a tee. I always enjoyed Wijingaard’s approach to fashion, layout, and color palette, but the book’s narrative started to draw me in during year two as he and Gillen toppled dominoes and showed just how frightening a world with godlike heroes could be. This concept has been explored in more juvenile ways in the past (I won’t name any names). However, Kieron Gillen and Caspar Wijingaard take more of a premium cable anti-hero approach in The Power Fantasy that is quite riveting and prioritize ethics and relationships over punching although this book had its fair share of pyrotechnics in 2025.
Writer Aaron Reese sadly passed away in January 2025, but they left us with a lasting legacy of Bytchcraft, a magical and fiercely queer series about a coven of witches in New York battling the apocalypse. Reese and artist Lema Carril crafted a world with a fascinating cosmology and magic system that definitely had Buffy the Vampire Slayer, Charmed, or Supernatural vibes, but its cast didn’t resemble the contents of a Duke’s Mayo bottle. Also, Carril’s eye for fashion made the characters some of the best-dressed in comics to go with a flashy color palette from Bex Glendining. Above all, Bytchcraft is a call to be queer and do magick, and I will clutch to it in the coming years.
A tense smash and grab job under the nose of a kaiju attack is one of the coolest concepts I’ve heard in a while, and Van Jensen and Kelsey Ramsay pull it off in their Godzilla : Heist miniseries with style, grace, and social commentary. Genre blends are tough to do, but Ramsay’s line art and Heather Breckel’s colors know when to go for gritty urban crime mode or pull it back for the big monster reveal. Plotwise, there’s plenty of cool gadgets, double crosses, and general mayhem, but it’s all grounded by protagonist Jai, who wants to get back at the British government for being imperialist losers and screwing over his mother. And the King of Monsters ends up being the perfect partner for this vengeance quest.
In its second and unfortunately final year, Deniz Camp, Juan Frigeri, and Phil Noto’s The Ultimatescontinues to be revolutionary pop art. Camp and Frigeri turn corporate mascots into avatars of resistance infusing them with leftist, anti-capitalist, and anti-imperialist ideologies while simultaneously making us care about them larger-than-life human beings. The Ultimates also gives each single issues its own unique identity whether that’s a commentary on the school-to-prison pipeline courtesy of Luke Cage, an epic poem set in Asgard, a kung-fu epic, or the wonderful Noto-drawnissues with Doom aka Earth-6160 Reed Richards trying to recreate the Fantastic Four that can be read in five different ways. It’s one of the best Marvel runs in recent memory, and I bittersweetly look forward to seeing how it all wraps and then going back and following the threads Deniz Camp seeded in early issues.
The combination of Hayden Sherman being a layout deity, Jordie Bellaire unleashing a color palette that is part Gothic nightmare and part ancient Greek pottery-inspired, and Kelly Thompson giving Diana a proper heroic-in-the-face-of-darkness character arc made Absolute Wonder Woman one of my favorite reads of 2025. Even the fill-in arcs drawn by Mattia De Iulis and Matias Bergara reveal important information about the cost of Wonder Woman using her abilities and her literally hellish past. But the real highlight is we got an honest to Hera Minotaur/labyrinth plotline featuring the return of some favorites from Greg Rucka’s Wonder Woman run as well as Sherman nailing the claustrophobic feel with their visuals. Also, Absolute Zatanna and the end-of-year crossover with Absolute Batman cemented this book as a proper blockbuster title.
Ryan North, Mike Norton, and Ian Herring’sKrypto : The Last Dog of Kryptonwas the one comic in 2025 that made ugly cry. Structured by seasons, Krypto explored tough topics like death and pet abuse in an honest, yet empathetic way and was also filled with a multitude of wholesome moments establishing its protagonist as the ultimate good boy. (Who can sometimes be naughty.) North and Norton drop the Silver Age concept of Krypto being able to talk and instead rely on body language and gestures to move the story forward. He also provides a listening ear and insight into characters like Lex Luthor and Superboy as well as the ordinary folks who cross his paths. Krypto : The Last Dog of Krypton isn’t just *the* definitive Krypto comic, but an evergreen for DC in general.
Al Ewing, Steve Lieber, and Lee Loughridge’s beyond sadly cut short six issue Metamorpho, The Element Manseries (Right before its lead’s triumphant big screen debut.) was the funniest and most clever comic of 2025. On the surface, Metamorpho is a send-up of Silver Age comics with Ewing channeling the late Stan Lee in his omniscient, mock-Beat, fourth wall leaning narration. However, as the series progressed and revealed its Big Bad, Metamorpho revealed itself as a love letter to the weird and wacky side of superhero comics, which is something I feel like DC has over Marvel. (See the Brotherhood of Dada and Brother Power the Geek, for example.) To name a few things, we had a Mod-themed antagonist, a supervillainous skewering of generative AI, and an emotional arc for Simon Stagg’s Neanderthal servant, Java. Finally, this book wouldn’t have succeeded without Lieber’s period-perfect visuals and impeccable comedic timing, especially during the more espionage-tinged issues where he pulls off Jim Steranko-esque layouts without being a weird racist.
3. Flip (First Second)
Cartoonist Ngozi Ukazu puts an original spin on the body swap genre in her graphic novel, Flip. In the book, a Black working class nerdy girl named Chi-Chi swamps bodies with a wealthy white jock named Flip Henderson, who she has a crush on and accidentally asks to the school dance via Power Point in an engaging, embarrassing opening scene. Flip showcases Ukazu’s skills with character acting, and it’s rewarding to slow down and see how Flip and Chi-Chi move differently in each other’s bodies. The story also has poignant commentary on race, class, and mental health, but also fun K-Pop dances and fandom. Seriously, every time Chi-Chi, her friends, and eventually Flip chat about their favorite K-Pop group and their biases, the comic takes on a sparkling energy. In a world of full of division, Flip makes the bold call to empathize with folks, who have different experiences, in an entertaining way.
After a strong launch in 2024, Scott Snyder, Nick Dragotta,Marcos Martin, Clay Mann, and Jock’sAbsolute Batman reached masterpiece status this year finishing especially strong with the conclusion of the horrific “Abomination” arc and even more horrifying stand-alone story that introduced Absolute Joker. Toxic, working class, and incredibly jacked Batman just works in our day and age, and Snyder and company aren’t afraid to take big swings and put truly original spins on iconic heroes, villains, and all the folks in-between. Reading this comic is like taking both a physical and psychological beating, and there is real power in the punches and moves Dragotta draws and in Martin’s flat colors. And the lobster to this juicy steak of a comic is the Absolute Batman Annual where skilled cartoonists like Daniel Warren Johnson, James Harren, and Meredith McClaren put their own stamp on this grimdark universe and also draw Batman breaking Nazis’ limbs and doing cool wrestling moves.
My favorite comic was Adventure Time : The Bubbline College Special aka the cutest sapphic romance ever between a STEM princess and a humanities vampire queen. This one-shot from one of the most hilarious cartoonists in the game, Caroline Cash, is a love letter to slow burn romances, fan fiction, unexpected LGBTQ+ representation in pop culture, and finding someone you connect with even if you start out on the wrong foot. Cash’s color palette revels in the trippy weirdness of the Adventure Time universe while still making room for tender glances and shoulder brushes. It hits the right balance between indie and mainstream, which is about perfect for my own personal comics-enjoying aesthetic.
Honorable mentions: Giant-Size Criminal (Image), Street Sharks (Oni Press), Exquisite Corpses (Image), DC x Sonic the Hedgehog (DC/IDW), Thor/Shazam (Marvel/DC)
Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
Ultimates #19 (Marvel) – Deniz Camp and Juan Frigeri‘s Ultimates #19 is the character-driven companion to the fireworks of Ultimate Endgame #1. This issue zeroes on The Wasp, her relationship with Hank Pym, and decision to join HAND as a traitor. It’s a bittersweet read and really shows how much Janet cares more Hank despite having to defer their dreams and make moral compromises. Camp is definitely inspired by Hank and Janet’s history in the mainstream Marvel Universe, but adds psychological depth. Finally, Ultimates #19 isn’t just talking heads and longing looks, but Frigeri also shows how much of a badass is in an exciting sequence where she zips through the HAND’s soldiers. Overall: 9.0 Verdict: Buy
Ultimate Endgame #1 (Marvel) – Ultimate Endgame #1 is a decent start to the Earth-6160 concluding event. It really doesn’t get any better than the opening sequence where Deniz Camp and Jonas Scharf has The Maker kill all the Eternals in 1963 with Scharf’s art a twisted mirror of Jack Kirby’s work. All the rest is just setup and getting the main cast of characters under the Dome wrapping up with a half-hearted twist. This might seem like I strongly disliked this issue, but kudos to Camp for making Spider-Man the heart of the comic. I enjoyed his banter with Iron Lad, his last touching moment with his family, and of course, his one-liners/dad jokes as we get really Jonathan Hickman with it. Also, the artist choice was a stroke of genius with Terry and Rachel Dodson handling the more traditional superhero moments, and Scharf drawing the more sci-fi stuff influenced by Kirby as well as 2000 AD/Marvel UK. Overall: 7.6 Verdict: Buy
Even though I didn’t quite live up to my personal goal of writing a full length film review every week, 2025 was a really fun year for me at the cinema. If I had to sum up my viewing in one word, it would be “auteurs”. Seriously, let talented filmmakers like Ryan Coogler, Guillermo Del Toro, and Paul Thomas Anderson cook and have massive budgets, and they will make art that won’t just be discussed on opening weekend, but by posterity. (I’m definitely including/referencing Sinners in my popular music library instruction.)
Here are my 10 favorite movies of 2025. I didn’t watch everything that came out this year, but I loved most of what I saw. (Sorry, Captain America: Brave New World.)
10. The Naked Gun (Akiva Schaffer)
Conservatives claim that comedy is dead, but they just haven’t watched The Naked Gun yet. Liam Neeson is oblivious, deadpan perfection as Lt. Frank Drebin Jr., and he and Beth Davenport (Pamela Anderson) have silly chemistry that addsa dollop of romance to the spoof flick. To sweeten the deal, The Naked Gun is under 90 minutes and the most joke-dense film I’ve seen in the cinema in some time. It also roasts the hell out of tech bros and has the most hilarious end credits.
9. Lurker (Alex Russell)
Lurkeris a frighteningly intimate look at the relationship between artist and fan as retail clerk Matthew (Theodore Pellerin) grows closer to British R&B star Oliver (Archie Madekwe). Alex Russell does an excellent job progressively showing Matthew cannibalizing Oliver’s clout while simultaneously ending up becoming the inspiration he needs. A lo-fi score from Kenny Beats and grainy, intrusive cinematography from Pat Scola makes Lurker even more voyeuristic and uncomfortable.
8. Pavements (Alex Ross Perry)
Alex Ross Perry’s Pavements is a five layer movie burrito of documentary, biopic, musical theater, performance art, and tribute all centered around seminal, fiercely anti-commercial 90s rock band Pavement, who has recently reunited and gone on tour. (I was able to see them in 2024 at Riot Fest.) The film hits the right balance between irony and earnestness, and my favorite bits were seeing footage of the Pavement jukebox musical as well as Joe Keery’s quirky performance as the band’s frontman Stephen Malkmus during the biopic segments. As a band, Pavement didn’t care about appealing to the masses and/or Lollapalooza/Alternative Nation, and neither does this film, which makes it great in an era of estate-massaging ego trips disguised as art.
7. Marty Supreme (Josh Safdie)
Marty Supreme is another stressful, entertaining movie from a singular Safdie Brother about a table tennis protege named Marty Mauser (Timothee Chalamet), who must gather enough money to go to the World Championships in Japan with the help of an evil businessman (A perfectly cast Kevin O’Leary), a silver screen star in decline (Gwyneth Paltrow still has her fastball.), and his pregnant childhood friend/situationship (A breakout performance from Odessa D’Azion). The film is set in the 1950s, but is chock-full with 1980s New Wave needle drops that give it that sports movie sheen although Mauser is the epitome of narcissism. However, Chalamet gives his all in the role, and you can’t help but root for him in the end and then shudder about the college boys watching this movie on winter break and seeing him as an aspirational figure. (I want one of those orange ping pong balls though.)
6. The Secret Agent (Kleber Mendonça Filho)
The Secret Agentis a tense sociopolitical thriller set at carnival in Recife, Brazil during the height of the country’s military dictatorship. However, it’s also a film about constructing identities, misinformation, and maybe even the research process. Director Kleber Mendonça Filho and cinematographer Evgenia Alexandrova tap into 1970s sleaze in creating the film’s visual palette with plenty of yellow evoking the classic Brazilian football kit. This, of course, turns to red when shit hits the fan. The main takeaway from the film is the magnetic, yet earnest Wagner Moura as ex-professor/wanted man Armando, who really deserves a Best Actor nomination.
5. Superman (James Gunn)
Like both the epic poems and comic books of yore, James Gunn’s Supermanskips the origin story and plunges into the Man of Steel’s career in media res as he tries to mediate a conflict between Jarhanpur and Boravia, uncover a conspiracy connected to tech billionaire Lex Luthor (Nicholas Hoult), dog sit, and maybe even get the girl. In the best way, Superman feels like picking up a random trade paperback with Gunn crafting an entertaining supporting cast that doesn’t take the spotlight away from its titular protagonist’s arc. Above all, Superman is a sincere film, and that starts with David Corenswet’s performance as the Big Blue Boy Scout, who can say “Kindness is the real punk rock” and mean every word. It’s a near-perfect tone setter for James Gunn and company’s vision of the DC Universe.
4. Queens of the Dead (Tina Romero)
Tina Romero queers the horror comedy in the hilarious instant cult classic Queens of the Dead. This film has an elevator pitch to die for, namely, Brooklyn drag queens, queer folks, and one homophobic plumber fight zombies and try to find safety. However, Queens of the Dead isn’t just jokes, gore, and fabulous fits, and Romero and co-writer Erin Judge and actor Jacquel Spivey give anxiety-ridden drag queen Sam a beautiful heroic journey as they try to express themselves artistically in a late capitalist hellscape. And speaking of hellscape, Tina Romero brings plenty of pointed satire to the film that would make her father smile. We should really be on our phones less.
3. Sinners (Ryan Coogler)
Sinnersis an exciting vampire thriller meets blues musical that explores the concept of race and whiteness in the United States. The main juke joint sequence is worth the price of admission alone as director Ryan Coogler and star Miles Caton demonstrate that the history of popular music in the United States is the history of Black music. Caton’s triple threat performance is bolstered by Michael B. Jordan playing a dual role as Stack and Smoke. He has charming chemistry with Hailee Steinfeld, his bi-racial ex-girlfriend. Sinners has real heat to it, and you can smell the sweat and sex of the juke joint as carnal, supernatural, and spiritual unite, and Remmick’s (Jack O’Connell) Irish vampires try to break off a piece of it just like real life artists like Elvis Presley would in the near future. Finally, Sinners might have the best post-credits sequence of all time. (I feel like Buddy Guy playing himself slightly edges out Samuel L. Jackson’s debut as Nick Fury in Iron Man.)
2. One Battle After Another (Paul Thomas Anderson)
Bob Ferguson (Leonardo DiCaprio) juggles fatherhood and rekindling the ashes of revolutionary spirit in Paul Thomas Anderson’s epic film One Battle After Another. Just like the works of the author that inspired it (Thomas Pynchon), OBAA is more encyclopedia than film with the most exciting car chase scene, the most tender father/daughter moments, and the funniest supporting performance as Benicio Del Toro has the time of his life as the beer-guzzling “Sensei” Sergei. One Battle After Another doesn’t have any clear answers about being a good parent or fighting a cause while still trying to have a life and family, but that makes it all the more compelling and a lovely use of Warner Brothers’ $130 million.
1. Frankenstein (Guillermo Del Toro)
My favorite film of 2025 was Guillermo Del Toro’s none more Goth adaptation of Mary Shelley’s Frankensteinthat I was thankfully able to see in theatrically courtesy of my local independent theater, The Belcourt. Frankenstein is truly the loveliest film of 2025 with Del Toro and cinematographer Dan Lautsen conjuring frames that look like English Romantic oil paintings, Gustave Dore woodcuts, and Berni Wrightson’s pencil and ink illustrations depending on the mood. This attention to visual detail extends to the exquisite costuming and set design, especially anything Mia Goth’s Lady Elizabeth/Baroness Frankenstein wears. (Yes, this film is quite Freudian.) Frankenstein isn’t a plot beat by plot beat adaptation of the novel, but Del Toro captures the overarching themes about the destructive nature of technology (*cough* Generative AI) and the hubris of humanity. To top it all off, Jacob Elordi gives a truly tragic performance as The Creature, especially in one poignant scene where the Blind Man (David Bradley) teaches him to read and engage with art. (John Milton’s Paradise Lost, of course.)
Honorable Mentions: The Ballad of Wallis Island (James Griffiths), The Bad Guys 2 (Pierre Perifel), Hamnet (Chloe Zhao)
Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
Absolute Wonder Woman #15 (DC Comics) – The first Absolute Universe crossover is an intricately drawn, smartly plotted, Gothic masterpiece from Kelly Thompson, Hayden Sherman, and Jordie Bellaire. Thompson’s dialogue shows the contrast between Diana’s desire for community despite her dark origins and Batman’s taciturnity, and Sherman and Bellaire’s visuals marry dark magic with dark detective work. Despite having “Wonder Woman” on the cover, this feels like a Batman comic with a story centered around detective work while mysterious forces gather in the background. The bond between Bruce and Diana also feels organic, and I love how the Absolute book are slowly building connectivity between the books instead of just lumping them into one Crisis-level slugfest. I look forward to Scott Snyder and Nick Dragotta’s take on this dark, dynamic duo as well as the upcoming year of more gorgeous art from Hayden Sherman, heavy metal color palettes from Jordie Bellaire, and supernaturally-tinged character arcs from Kelly Thompson. Overall: 8.7 Verdict: Buy
Brett
Event Horizon: Dark Descent #4 (IDW Publishing) – Writer Christian Ward, artist Tristan Jones, colorist Pip Martin, and Letterer Alex Ray deliver more terror in this fourth issue. The series reveals what happened to the Event Horizon and we finally find out what led to the infamous message left in the film, “Libera Te Tutemet Ex Inferis.” The series has explored the torture and hell of the various crew, and this fourth issue focuses on John Kilpack, the captain of the ship. The King of Hell has tortured all of the other crew and here John is not just forced to watch his failure to protect his crew in the present but also the torture he experienced in the past. We see an abusive father and the ridicule and bullying of John because he’s gay. It’s an interesting issue that shifts things a bit in that John is an innocent compared to other members of the crew who have done terrible things, instead he was teased and abused growing up, which the King of Hell uses. The visuals continue the aesthetic of the series provided gore and terror as John has to decide what he needs to do to escape what he sees before him. It’s an interesting issue and key for fans of the film revealing the answer to a mystery of the series. Overall Rating: 7.95 Verdict: Buy
American Caper #2 (Dark Horse Comics) – Dan Houser, Lazlow, David Lapham, Chris Anderson, Lee Loughridge, and Nate Piekos continue to present a comic that skewers everything and there’s few to cheer on. The series has so far hit hot topic issues and exaggerated today’s politics and both left and right are in the crosshairs. American Caper #2 gives us more of bad people doing bad things as we learn a little more about motivations behind actions. It’s satire. It’s lampooning the world. Nothing is sacred. Everything is on the table. This is a comic where it’s ok to hate everyone and just sit back and enjoy the disaster unfolding for readers. Overall Rating: 7.5 Verdict: Read
Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
The Power Fantasy #14 (Image) – Kieron Gillen and Caspar Wijingaard deal with the fallout of Etienne’s death in The Power Fantasy #14. The fragile detente of the Superpowers is barely holding on by a string, and each character has limited knowledge of the full situation, especially Eliza Hellbound, who though she speaks, but was actually Etienne. Wijingaard switches up his art style for her empty visions with swatches of red and black that are like a ticking time bomb. Another wild card is Masumi, who at least has her to fall back on, and Caspar Wijingaard does beautiful work on her frightening, abstract painting while using a more traditional style and grid format for her interactions with the real world. Bad shit has gone down in this series, and it seems like it’s only going to get worse as the characters choose between ethics and survival. Overall: 8.1 Verdict: Buy
Wrestle Heist #1 (Image) – Kyle Starks brings his comedic timing and over-the-top art style to the world of pro wrestling in Wrestle Heist #1, which is actually a story about the working class vs “the man”. I’m not a big wrestling person, but it’s easy to find parallels between the events of Wrestle Heist and what actually happened to WWF/WWE wrestlers in the 1980s and 1990s. I love the camaraderie between former heel Sterling Steele who got beyond Montreal screwjobbed when he decides to leave for a new promotion and old head Grave Digger. They’re really easy to root for. This first issue is all set up and backstory, but Kyle Starks peppers in some interesting details about our lead characters and their potential nemeses that are sure to pay off down the road. Overall: 9.1 Verdict: Buy
Starship Godzilla #3 (IDW Publishing) – Ayan goes rogue in the newest issue of Starship Godzilla from Chris Gooch and Oliver Ono. She takes up with some activists who are trying to liberate a kaiju from a life of slavery and death under a mining city. This is a good storytelling strategy because we get to see Ayan in a non-ship setting and also learn more about her moral focus. (Plus some sapphic flirting!) However, this comic isn’t all fighting the power with Gooch and Ono ramping up the crew of the Starship Godzilla to battle an even more massive threat. Starship Godzilla #3 sometimes gets lost in the noise, but there are always some sweet, memorable moments to get drawn back in like when Ayan gets her grandma’s favorite candy. Overall: 7.6 Verdict: Buy
High school/college/new job orientation is all very awkward, but very important to setting up your new personal status quo. (Also, you could also meet someone cool!) In the same vein, Die Loaded #2 is all about orienting Sophie and Molly to this strange, new game world. Kieron Gillen’s narration for Sophie serves a triple purpose of her trying to figure out the lay of the land, acting like a surrogate mother to Molly, and also digging into her relationship to the absent Dominic/Ash. She’s a great POV character for new readers, but brings depth and connective tissue to the events of Die. On the art side, Stephanie Hans continues to shine from the panel wobbling, whip cracking action of newly minted Rage Knight, Molly, to singular fantasy illustrations that dangle a tantalizing fantasy world inside, but don’t deliver. However, one iconic image can create a lifetime of imagination. (Honestly, me when I was eight with this Lord of the Rings poster.)
The dynamic of the characters in Die Loaded #2 is uneasy to say the least, and Gillen and Hans draw the conflict from their interactions with the ever-deepening horror fantasy world being just icing on the cake. Sophie is freaking out about Ash and their son Stuart on the other side while Molly feeds her anger with uncertainty and loads of angst from her Manchester art school where they are struggling to fit in as a working class person. Stephanie Hans’ intense art drives these feelings home with specters of art students grasping at Molly in a tornado of pink, blue, and watercolor. Molly is in their Foundations year so Hans strips down visual depiction to its basics before returning to her usual vivid, expressive fantasy style. Along the way, Sophie starts to grow into her heroic mama bear role adapting to a world that is foreign to her unlike the RPG aficionados of the previous volume. As someone who hasn’t played a lot of tabletop roleplaying games, I actually find Sophie’s narration refreshing and relatable.
One thing I’ve neglected to mention in this review is the mysterious (and face it, nefarious) presence of Isabelle from the previous series as someone giving helpful hints to Sophie and Molly like some kind of Navi from Legend of Zelda meets Mufasa figure. Clayton Cowles’ lettering for her is like light icing on a cake, but make it ethereal. She’s pure exposition, but gives you just enough to make it to the next checkpoint instead of exploring the real context of the situation that you’re in. There’s almost a verbal war in the way that Kieron Gillen writes Isabelle and Sophie as beauty brawls with a no-bullshit, we need to get the hell out of here attitude with a side of empathy. She’s the right kind of push the narrative needs in the early going while hinting at darkness to come.
Two issues in, and Gillen and Stephanie Hans have crafted two messy, yet endearing protagonists for this ominous journey in the world of RPGs. They also use the beautiful, yet dangerous world of art to explore how visual art can make life worth living, but also lead to sadness and despair, especially if you’re a young, struggling art student. Die Loaded #2 taps into the primal emotions of rage and motherly love to keep the story grounded while expanding this world that seems easy to escape, but we know from experience that’s not going to be the case.
Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
Ultimate Wolverine #12 (Marvel) – Ultimate Wolverine #12 is pure revenge. Chris Condon, Alessandro Cappuccio, and Bryan Valenza make it burn like a slug of whiskey to the back of your throat. With the whole supporting cast of the book killed off, Wolverine stands alone against Directorate X, its scientists, goons, and mutants and makes his presence known slash and swearing through this book’s runtime. After all the trauma and false hope he’s undergone, Ultimate Wolverine #12 hits with a powerful wave of catharsis with the Phoenix specimen playing a key role in the comic. (And probably in the future of the Ultimate Universe because talk about a big gun.) It feels good to watch Wolverine decapitate Sentinels and stab Colossus in the face while Moscow burns around him, and this comics ends up being one of the best in the series because of its focus on simple, effective brutality. Overall: 8.2 Verdict: Buy
Ultimate Spider-Man #23 (Marvel) – All the plot threads that Jonathan Hickman has been building in two years of this title collide in Ultimate Spider-Man #23, but Spidey’s tenacious heart still beats beneath the noise. Facial expressions have been Marco Chechetto and David Messina‘s calling card throughout the comic, and they do a lot of the heavy lifting as Peter Parker goes into action to save his son from the Kingpin’s tower while he’s trying to take down the Kingpin per Otto Octavius’ instructions. I live for the side eye that Peter’s daughter May gives Doc Ock. There are about 4-5 plotlines going in this series, but Hickman uses the classic throughline of the hero’s choice contrasting Harry Osborn and Peter Parker. This mirroring of Spider and Goblin is a great callback to the Brian Michael Bendis and Mark Bagley Ultimate Spider-Man as well as the Sam Raimi Spider-Man films, but Ultimate Spider-Man #23 makes an original recipe out of some tasty ingredients. Overall: 9.2 Verdict: Buy
Street Sharks #3 (IDW Publishing) – Stephanie Williams, Ariel Medel, and Valenatina Pinto show that the Street Sharks are more brain than brawn (But they have good hearts!) in the third episode of this series. Fitting for this time of the year, the plot is college football related as the Street Sharks blending in with the shark costume-sporting fans of Fission University. It’s so wholesome to watch the Sharks interact and be complimented by their fellow students, and Jab even gets to help a young girl be reunited with her mother in a sequence that establishes him a truly selfless hero. Of course, there’s the over the top fight scenes, and Williams escalates the series’ overarching plot big time. Street Sharks continues to be an updated Saturday morning cartoon delight. Overall: 8.4 Verdict: Buy
Circus Maximus #2 (Mad Cave) – Mark Sable, Giorgio Pontrelli, and Emilio Lecce‘s Circus Maximus #2 has a really cool concept, but far too many fragmented sub plots to be a hit as an ancient Roman crime thriller. The main premise of a class warfare-driven heist right under the nose of Emperor Nero and his Praetorian Guard because everyone is watching a chariot race (Featuring the getaway driver as a participant.) at Hippodrome is very compelling, especially as Sable connects the caper to the Great Fire of Rome in 64 CE. However, there are a lot of moving parts, and some storytelling issues in transitions between scenes like when the aforementioned getaway driver becomes a gladiator. Also, a lot of the time, it feels like Mark Sable and Pontrelli glommed on a few concepts from Roman every day life and zeroed in on those at the expense of the big picture. Hopefully, the story improves, but the foundation of the thriller is definitely wobbly. Overall: 6.0 Verdict: Pass
Absolute Batman #15 (DC) – Scott Snyder, Jock, and Frank Martin do the nigh-impossible and put a fresh, frightening spin on the Clown Prince of Crime in Absolute Batman #15. The story is framed by Alfred telling a fish story about a family called the Grimms, but each version gets darker and more nefarious until the big double page reveal of a baddie that could easily be the Absolute Batman’s arch-nemesis. I love how Snyder and Jock root the Absolute Joker in history, capitalism, and even the history of the entertainment industry as a primal, immortal source of pure evil. Also, in the deepest knife twist of all, he’s very similar to the main DC Universe’s Bruce Wayne. Because billionaires are the real supervillains. Overall: 10 Verdict: Buy
Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
Ultimate Universe: Two Years In (Marvel) – Ultimate Universe: Two Years In is a complex story about the Ultimate Guardians of the Galaxy trying to fix the universe using the power of timey wimey things. Deniz Camp and Alex Paknadel turn in a script oozing with ideas about the nature of humanity, hope, and if a better world can happen complete with talking dogs, nihilistic robots, cosmic surgery, and a truly unique take on Daredevil. This book is worth reading for the Ultimate Daredevil sequence alone which is fourth wall shattering comics storytelling at its finest from Camp, Paknadel, and Javier Pulido. Pulido’s vivid, flat colors are the cherry on top. It wavers under the weight of its own complexity sometimes, but Deniz Camp and Alex Paknadel find the emotions at the core of this space and time-spanning story with Patrick Boutin and Phil Noto‘s facial expressions especially keeping me immersed in the story. Earth-6160 is full of ideas and interesting characters, and it’s sad it will conclude soon. Overall: 8.2 Verdict: Buy
Ultimate X-Men #22 (Marvel) – This issue of Ultimate X-Men has massive Buffy season finale energy filtered through the unique stylings of Peach Momoko as the X-Men face off against the Shadow King aka Kageyama. I love Momoko’s re-characterization of the classic villain as a spurned teenage boy who wants to control the lead character, Hisako, and for her to be just as empty as him. She shows this through visuals with all kinds of logic-defying and fear-inducing shapes as Hisako’s armor and Kageyama’s shadows face off. But he is a lone terror, and she has the fierce backing of the X-Men to help her in this death-defying battle. The emotional core of this issue is totally mainly through the rise and fall of Peach Momoko’s art, and there’s a real sense of payoff in this book. I was down on this book’s plotting early on, but have really come to love it and am also craving fried chicken. Overall: 8.7 Verdict: Buy
Hulk Smash Everything #1 (Marvel) – Hulk Smash Everything is another all killer, no filler action-packed comic book from Ryan North, Vincent Carratu, and Federico Blee. Calming and/or redirecting the Green Goliath’s anger is the driving force behind this comic, which is pure mayhem beginning with the initial assault on Dr. Strange. Carratu’s visuals capture the battle between finesse and brute strength using surrealist layouts for the scenes with Strange working his mojo and big ass splash pages for Hulk’s rampages. Pair it with a truly epic cliffhanger, and this is series that looks like it’ll be entertaining me into 2026! Overall: 8.6 Verdict: Buy
Giant Size Criminal #1 (Image) – Sticking up a talented poker player in a hotel room seems like an easy enough crime, but this is Ed Brubaker, Sean Phillips, and Jacob Phillips‘ Criminal so things are not so easy. They spin a yarn of a stick-up gone wrong complete with drugs (Phillips’ palette comes in handy here.), sex workers, cartoons, and of course, daddy issues. Even if you haven’t read a single Criminal story (Guilty as charged, I think), this is a great entry to the world and filled with humor and violence too. In addition to the 36 page lead story, Giant-Size Criminals features some background information about the creation of Criminal, some funny strips about Brubaker and Phillips’ experiences with the upcoming TV adaptation, and the holy grail of all, a Criminal TTRPG created by Kieron Gillen himself that’s worth the price of the comic. Overall: 9.5 Verdict: Buy
Batman #4 (DC) – A villain who runs an “algorithm of crime” is the perfect Big Bad for 2025/2026, and Matt Fraction, Jorge Jimenez, and Tomeu Morey use Batman #4 to give us a tantalizing introduction to the Minotaur. The grid layouts paired with a precise monologue raise the stakes even higher in the first and final frames of the book while the bits in between show the utter chaos and hopelessness of Gotham. However, Fraction’s trademark witty humor shines in a sequence where Bruce Wayne flirts his way into some information. (His target wearing Krocs is an adorable detail.) Batman #4 is more a building block than a full meal or even a course on a tasting menu, but Jimenez’s slick visuals and a frightening, yet relatable villain make it worth a read. Overall: 7.7 Verdict: Buy
After a sci-fi interlude as the consort of Emperor Hulkling, Billy Kaplan aka Wiccan aka the Demiurge is back in supernatural fantasy mode for his first solo series Wiccan: Witches’ Road #1. Wyatt Kennedy, Andy Pereira, and Bryan Valenza put one of the Marvel Universe’s alpha couples through some strange, difficult situations to restore balance to the Marvel Universe. This is definitely the “in sickness and in health” part of the traditional marriage vows, but with an extra helping of monsters from Slavic folklore, and it’s nice to see Hulkling and Wiccan work through their problems in a mature way instead of having relationship drama for the sake of drama.
Especially in its introduction and conclusion, Wiccan: Witches’ Road #1 has major fairy tales starting with the fonts and caption style that Ariana Maher uses for a one page recap of Billy Kaplan’s life and lore up to this point. Even though there’s plenty of light couple’s trip banter and adorable peasant girls that have crushes on the 100% unavailable protagonist, Kennedy and Pereira are taking a big swing at making Kaplan a supernatural player in the Marvel Universe up there with Dr. Strange, Dr. Doom (RIP, I think. I only read the Runaways tie-ins of One World Under Doom.), and of course, his mother, Scarlet Witch.
The issue’s kind of/sort of antagonist and the elevated language of some of the captions sets up Wiccan as a kind of epic hero, and the aforementioned little girl echoes that by asking him if he’s a knight. (Of course, he’s not, he’s a good witch!) Andy Pereira and Valenza match this energy in some of the visuals like a panel drawn from the POV of a creepy house with gabled windows.
Speaking of the art, Pereira has solid storytelling instincts from screenshot-worthy reaction shots of Hulkling and Wiccan reacting to their unfamiliar surroundings to fast and furious, knife-life panel layouts showing Wiccan in action against his first monster. There is a little bit of manga in Andy Pereira’s line work with big sound effects and rapid speed lines showing the frantic surprise of the combat as well as Wiccan’s development from just a kid who mouths spells to a skilled melee fighter. Bryan Valenza’s bright, flat colors are the finishing touch on these fight scenes, and he goes moodier and more atmospheric for the slower scenes like when Wiccan and Hulkling explore a suspicious house. Sometimes Wiccan is Goth, sometimes it’s a superhero, and this shift in tones keeps it from getting boring.
Wiccan: Witches’ Road #1 is a fun, surprisingly flirty launch issue that goes deep into the fantasy rabbit hole that is all just a big metaphor for Billy Kaplan and Teddy Altman picking up the pieces of their life together after a cosmic crisis. This kind of a setting is a no-brainer for Wiccan, and I respect Wyatt Kennedy and Andy Pereira’s use of figures from Slavic folklore and mythology instead of supervillains to create conflict and mystery. This book has some of the same DNA as Kieron Gillen’s Journey into Mystery and Steve Orlando’s Scarlet Witch while putting its own unique spin on the fantasy-meets-superhero genre thanks to having a cute, loving couple at the heart of it. I hope the subsequent issues in this series have the same real talk and flashy magic.
