Category Archives: Reviews

Review: U.S.Avengers #7

SECRET EMPIRE TIE-IN! The U.S.Avengers have been broken – but now it’s time to fight back!  In exile…believed dead…surrounded by HYDRA forces… Squirrel Girl and Enigma get a much-needed assist…from Guillotine and the Champions of Europe!

I have to admit, I found it difficult to come up with a review that could really get my feelings across about this issue.  That’s not to say that I hated it, because I didn’t.  But I’m not going to say this was the most fantastic issue of a comic I’ve ever read either. I think the best word to describe this issue, to me anyways, is mediocre. Al Ewing doesn’t really give use much in this issue, which feels like nothing more then a filler story. There’s some good action and we see that Hydra’s reach is global (I’m still amazed how fast that happened, Marvel) but really that’s all. There is some questionable dialogue and some long, very dry banter about the mechanics of someone’s powers that just added to a really flat story.

Thankfully, the art by Paco Medina, Juan Vlasco and Jesus Aburtov at least make this flat story nice to look at. As I’m sure I’ve mentioned before in past reviews, I love the depiction of the characters; the action scenes and the bold colors; it all just feels like it’s wasted in this issue with this dull filler story.

Overall, not a great showing story wise for the U.S.Avengers.  I do understand this is a tie in series, and not every issue is going to be explosive, but I am a little disappointed in Ewing’s efforts here. I’ve really been enjoying his work lately, but this stumble really surprised me. I did enjoy seeing the Champions of Europe, as I was wondering what happened to these characters after Contest of Champions, but it was the only bright spot for me. As I said, I didn’t totally hate this issue but I wasn’t overjoyed by it either. Great art to look at it, but the story unfortunately felt a little weak.

Story: Al Ewing Art: Paco Medina Ink: Juan Vlasco Color: Jesus Aburtov
Story: 4.5 Art: 8.5 Overall: 6.5 Recommendation: Read (if you want the tie in) 

Marvel Comics provided Graphic Policy with a FREE issue for review


Review: W.M.D.: Weapons of Mutant Destruction #1

untitledTHE WEAPON X PROGRAM IS BACK! For years, the Weapon X Program has engineered the deadliest mutant killers on planet Earth, until they mysteriously vanished. Now, the Weapon X program is back, and it’s deadlier than ever, and it isn’t to use mutants for their lethal ends. Under the leadership of its mysterious new director, Weapon X has a new mission – ERADICATE ALL MUTANTS! And they’re starting their hunt with the most dangerous group of mutants on planet Earth – Old Man Logan, Sabretooth, Domino, Lady Deathstrike, Warpath and…the Hulk?! But with an army of genetic cyborgs at their disposal, this may just be the beginning.

I didn’t know what to expect when I heard about this crossover. I’m not very familiar with Amadeus Cho’s Hulk, other then what I read of him in The Champions, and wasn’t quite sure how he would meet up and work with this group of mutants. After the events in Weapon X that set up this crossover, and seeing Hulk join them, I’m excited to see this whole thing play out. Weapon X has just been ‘okay’ to me; nothing really exceptional was happening, except for the mystery of the new Weapon X program and how they now seem aimed at destroying mutants. And I have to say that I’m impressed with Greg Pak‘s opening issue into this story. I really like his handling of the characters, some allies and some enemies, working together to end a mutual threat. There is some fun banter back and forth, quips and sarcastic comments made between some of the reluctant allies and some moments that really let you see the person behind these would be heroes. I won’t reveal who it is running Weapon X now (but those reading Weapon X will know) and I love the hypocrisy of this persons methods to see their ultimate goal fulfilled. It’s a fitting character to be leading this new department and I can’t wait to see them come face to face with our band of heroes.

I am also liking the art that is being shown in this story. Mahmud Asrar does a really good job of showing us just how different this band of mutants are, by giving each their own distinct look and personality. And the action scenes, though few in this opening issue, really give each character a moment to shine. Even the opening scenes revealing the villains base of operations really set the tone of the Weapon X facility, thanks to Asrar and colorist Nolan Woodard. There is a dark feel to every panel, when it isn’t necessarily a dark scene, and I think it fits very well into this story and the characters at play here.

Overall, I really enjoyed the start of this crossover. These characters are being shown exactly how I would expect them to after being put into a group situation and the threat is very real for all involved, and mutants worldwide. I know, some may think ‘oh yeah, another worldwide disaster for mutants’ but this one isn’t some green poison cloud or a fiery cosmic bird; this is something more close to home. Weapon X is back in a deadly way but they’re about to meet up with some equally deadly mutants who aren’t very happy with what they’ve been up to. And I will definitely be along for the ride to see how it all comes to an end.

Story: Greg Pak Art: Mahmud Asrar Colors: Nolan Woodard
Story: 8.0 Art: 8.0 Overall: 8.0 Recommendation: Read

Marvel Comics provided Graphic Policy with a FREE issue for review 

Review: Crosswind #1

 I had to fight every urge in my body to not scream, “It’s here. It’s finally here!” when I settled in to check out Crosswind #1, the long awaited collaboration between writer Gail Simone and artist Cat Staggs. I went into this one with a healthy amount of excitement and dread. When you find out two of the people in your top ten are joining forces on what seemed like a super secret comic book creation mission, if you’re anything like me, you’re expecting either one of the best darn comic books you’ve ever read or you find yourself panicked that their forces combined might result in a hot trash fire. A colossal hot mess of epic proportions only seen in Ghostbusters when the streams crossed.

I am hella happy to report that the music anticipated Crosswind #1 is amazing. The story starts off with a perfectly staged snowy backdrop scene, beautifully and ominously crafted by Staggs. Simone provides just enough words on the first characterless page to draw us in proper before introducing us to the story’s major players. The story jumps back and forth seamlessly between Case’s back story and Juniper’s. The flawless transitions are a testament to Simon’s brilliant writing. Stagg’s artwork never misses a beat while she creates a beautiful universe on the pages for our solemn characters to exist in.

Simone writes characters that you form an attachment to. Her writing allows you to feel very real feelings for imaginary people. She creates characters that you can sympathize with even if you can’t identify with them, her portrayal of Juniper’s isolation, perceived unworthiness, objectification, and feelings of uselessness are realistic and ring true and her portrayal of Case’s regret, confusion, and ominous brooding are placed front and center. Simone carefully crafts the mistreatment and entitlement of the men in Juniper’s life, down to the cliched but relevant boys will be boys line just as honestly as she shows Case’s compassion in the face of chaos and destruction as he helps out a homeless man.

Staggs keeps up with Simone’s pace and provides complementary art styles throughout the first issue that are subtly different enough to make it easy to tell who’s story you are in but similar enough in style that one persons story flows swiftly and easily into the others. Her art creates a well-crafted symbiotic universe for these amazing characters to live and exist. There’s a neutral gaze to Staggs’ style that I appreciate. Despite the “sexiness” of Juniper there is no lingering over her figure. We read about her being objectified but the panels never objectify her they do however show the effects of her objectification and harassment. We see every facial contortion, pained glance, broken down spirit laden tear that her mere existence as a woman in male spaces gives her. Staggs makes it easy to commiserate with Juniper and feel her pain because she draws her in a way that makes her seem real.

This is a stellar debut issue and it has me longing for July so I can see what shakes out between the two main characters. Overall this was a great read, quick, but containing moment of questioning and genuine interests. I also think having the dialogue boxes be different colors for different characters was brilliant and added an extra level to the storytelling. The issue doesn’t go on any longer than it needs to, it gets us hooked and then cuts us off at just the right moment to insure that we are invested and ready to take things to the next level. By the time you get to the last page you feel intrigued not, cheated, they even throw in more info about the characters and some nifty art work to hold you over until issue two drops. I also liked that they didn’t try and squeeze too much into the first issue and , left us wanting more. I’m super interested to see how things shake out after this issues tail end big reveal, which you’ll have to pick up your own copy and read for yourself, because, I think that if the initial twist at the end is any kind of preview, I think I’m going to love how they handle the gender aspect of things going forward.

Story: Gail Simone Art: Cat Staggs
Story: 9.6 Art: 9.6 Overall: 9.7 Recommendation: Buy

Image Comincs provided Graphic Policy with a FREE copy for review.

Marvel Weekly Graphic Novel Review: Occupy Avengers Vol. 1 Taking Back Justice

It’s Wednesday which means new comic book day with new releases hitting shelves, both physical and digital, all across the world. This week from Marvel is Occupy Avengers!

Occupy Avengers Vol. 1 Taking Back Justice features issues #1-4 and Avengers (1963) #80-81 by David F. Walker, Carlos Pacheco, Rafael Fonteriz, Sonia Oback, and Wil Quintana.

Find out about the book and whether you should grab yourself a copy. You can find it in comic stores and book stores now!

Get your copy at comic stores June 21 and book stores July 3. To find a comic shop near you, visit or call 1-888-comicbook or digitally and online with the links below.

Occupy Avengers Vol. 1 Taking Back Justice
Amazon or TFAW



Marvel provided Graphic Policy with FREE copies for review
This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site.

DC Weekly Graphic Novel Review: New Super-Man and DC Super Hero Girls

It’s Wednesday which means new comic book day with new releases hitting shelves, both physical and digital, all across the world. We’ve got one trade and one graphic novel from DC Comics.

New Super-Man Vol. 1 Made in China collecting issues #1-6 by Gene Luen Yang, Viktor Bogdanovic, and Richard Friend.

DC Super Hero Girls Vol. 3 Summer Olympus by Shea Fontana, Yancey Labat, Monica Kubina, and Janice Chiang.

Find out what the trades have in store and whether you should grab yourself a copy. You can find both in comic stores June 21 and bookstores June 27.

Get your copy now. To find a comic shop near you, visit or call 1-888-comicbook or digitally and online with the links below.

New Super-Man Vol. 1 Made in China
Amazon/Kindle/comiXology or TFAW

DC Super Hero Girls Vol. 3 Summer Olympus
Amazon/Kindle/comiXology or TFAW


DC Comics provided Graphic Policy with FREE copies for review
This post contains affiliate links, which means that if you click on one of the product links and make a purchase, we’ll receive a percentage of the sale. Graphic Policy does purchase items from this site. Making purchases through these links helps support the site.

Review: Iceman #2

In Iceman #2, Bobby survives an awkward Blackbird ride with his ex-girlfriend Kitty Pryde on a mission to save a power/technology altering powered mutant named Zachary from an angry mob outside a big box store. What he doesn’t survive is the presence of fill-in artists Edgar Salazar, Ibraim Roberson, and Ed Tadeo, who pinch hit for Alessandro Vitti after a single issue. Writer Sina Grace gets the highly awkward, yet very personal relationship between Kitty and Iceman along with his lack of seriousness, but is hamstrung by awful art. His jokes and dialogue land, but the art is stiff and forced. However, Rachelle Rosenberg uses varying tones of white to make it look like the angry mob is actually brushing ice and snow off their clothes.

For the second straight issue, Grace shows that he’s not concerned with continuity heavy epics or overarching plots. He tells simple standalone superhero stories that act as a vessel for him to explore coming out as an adult man. The main conflict of Iceman #2 isn’t rescuing Zachary from the suburban equivalent of peasants with pitchforks, but Kitty getting angry at Iceman for not telling her that he came out as gay. Sure, she’s been in space with the Guardians of the Galaxy for some time, but she had to find out from Goldballs.

When they aren’t bickering on the battlefield, Kitty is quite supportive of Iceman and says that he should talk to someone about what he’s going through instead of hiding his feelings beneath dad jokes and ice puns. Her suggestion is his parents, which opens up a whole can of worms about levels of supportiveness for families and their LGBTQ children. Kitty’s advice is sound, but a little contradictory of the first issue where Iceman considers the X-Men to be his family, and he shows an easy rapport in early scenes where he banters with Colossus and Storm while walking down the halls of the Xavier school for his mission. Even though editorial probably wouldn’t condone, Grace also misses an opportunity to explore Kitty Pryde’s bisexuality that has been hinted at by her creator, Chris Claremont, but has yet to be fully shown on the page. This is partially due to Jim Shooter’s homophobic editorial policies during the 1980s when she was introduced.

Some iffiness aside, Sina Grace definitely understands the character of Iceman and slowly digs into this transitional period in his life while not neglecting Bobby’s sense of humor and fun even at inopportune times. However, this tone isn’t matched in the art by Edgar Salazar, Ibraim Roberson, and Ed Tadeo in what I’m tempted to call a phone-in job. Both Kitty and Iceman have visually interesting powers, and Rachelle Rosenberg even uses stronger colors to show Zachary’s energy tampering abilities. However, with the exception of a cute scene featuring ice golems or where Iceman shoulder checks a town dweller, there is no motion or power to their moves. The Blackbird is taking a dive, but it’s just a suspended object and doesn’t feel like the end of the world. And Iceman and Kitty’s faces remain almost the same with slight ticks for fear and embarrassment. A biggish reveal of Kitty being Iceman’s co-pilots falls flat thanks to the rictus where her face should be. Salazar and Roberson look like they’re going for a 90s vibe with their figure, and there’s nothing wrong with nostalgia, but this doesn’t work with the sleeker uniform designs and Rosenberg’s color schemes. Both the scenes of action and conversation aren’t drawn well so there is no relief from generic faces or stiff poses although Salazar and Roberson are much better gesture artists than facial.

Written by a talented gay writer like Sina Grace, who isn’t afraid to unpack the messiness of Iceman’s coming out and personality while still letting him pose for selfies mid-battle, Iceman should be one of Marvel’s more compelling books. However, with its generic and uninspiring depiction of some of the flashiest (and soapiest) superheroes ever, Iceman pales in comparison to books that have a more distinct visual identity like America, Marvel’s other book with an LGBTQ lead.

Story: Sina Grace Pencils: Edgar Salazar, Ibraim Roberson
Inks: Ed Tadeo, Ibraim Roberson Colors: Rachelle Rosenberg

Story: 8.0 Art: 5.0 Overall: 6.0 Recommendation: Pass

Marvel Comics provided Graphic Policy with a FREE copy for review

Review: Britannia: We Who Are About To Die #3

“Wrath of the gods!

The women of Rome march to rebellion! Magic and mystery continue to intertwine as the clock ticks down to Rubria’s final hours. Will Antonius Axia and his mysterious new partner—the brutal female gladiator known as Achillia—untangle the knots that threaten to hang the Roman Empire…or will Nero finally obtain the dark power he lusted for? As the beaten ghost of Apollo finally rises to cast his dark judgment on all of Rome, history’s first detective must act swiftly before humanity’s final hours slip into madness!”

There are three glaring questions I had upon reading this issue that I really want to talk about first and foremost because ultimately they took me out of the comic too early. Now, I am aware that I may be overly tough on the comic, and that you may not agree, but I feel that these things warrant a mention. There will be minor spoilers for certain events within We Who Are About To Die #3, but I will attempt to avoid plot spoiler where possible.

  • “We’re doomed anyway. You might as well talk…” Because having a conversation during intense physical exercise where you are fighting for your life is a priority – or even an easy thing to do.
  • Ten minutes is a long time when fighting. I don’t have much experience in gladiatorial fighting, but I have fenced and regularly play archery tag. Ten minutes… the fight would have been long over, and the time was used as a brief pause. Had it been ten seconds, I wouldn’t have noticed. But ten minutes?
  • How the hell did a certain character get back on the streets after casually walking into an arena and have Nero call for his death? Did Nero forget that he’s not a prisoner? Did he care? Did nobody else think to stop him?

These three bullet points aren’t the only problems I had with this issue, but they’re the most glaring ones. Unfortunately, despite Juan Jose Ryp‘s hyper detailed art (that’s so great during the action scenes), We Who Are About To Die #3 continues the downward trend set by the second issue (which I didn’t review) as Peter Milligan takes a very interesting concept with a lot of potential and throws the baby out with the bathwater because of a few simple things that I outlined above.

I haven’t mentioned that the story seems to hover between wanting to be a supernatural tale and wanting to be a realistic story. This isn’t helped by Antonius Axia’s stubborn refusal to believe in the supernatural despite all he’s seen so far – at this point it’s probably time he opened his bloody eyes and pulled his head out of his arse. Nor have I mentioned how for a comic that should be detail orientated with Axia acting as the first detective, he seems to have information dropped onto his head more than he does figure it out.

And in what world would a smart man willingly walk into an arena commonly used for fighting to the death to ask somebody a question? Apparently this one (in issue #2)!

Look, it may seem as though I’m being overly harsh on the comic, but with the promise shown both during the first miniseries and in the synopsis of this series… I just feel like there’s a better story beneath the flaws of this issue. I don’t know whether we’ll get it at this point. Ultimately, this is still worth reading if you’ve read this far into the series, but just be aware that it’s not as solid as previous issues in the series.

Story: Peter Milligan Art: Juan Jose Ryp Colourist: Frankie D’Armata
Story: 6 Art: 8.25 Overall: 6.75
Recommendation: Read if you’re invested. Pass if you’re not

Valiant provided Graphic Policy with a FREE copy for review. 

Review: Batman #25

Don’t miss this extra-sized anniversary issue! In his own words, Bruce Wayne narrates a harrowing, never-before-told story of the Dark Knight’s greatest failure…and the horrors it unleashed!

Teased for some time now, “The War of Jokes and Riddles” begins in Batman #25 written by Tom King and art by Mikel Janin. It’s one hell of a beginning with an interesting start that doesn’t have much Batman at all.

Instead, King gives us a story about motivations of two of Batman’s greatest foes, the Riddler and the Joker. King gives us something new it feels like as much like he has for 24 issues, the focus is motivations of the characters. He also presents it as a riddle in some ways, rather appropriate considering the characters, in that the quandry is presented in that if either of the villains succeed in beating Batman, the other loses as well. That expands things in so many ways to force the reader to think a bit more about not just these two villains, but all of Batman’s rogues. How does one’s success impact the rest?

The story is an interesting one setting up the conflict and the stakes and doing it in a way that the I’m reminded a lot of Snyders’ “Year Zero” storyline. The set up is solid, and has me excited to see what comes next. King has done a good transition of exploring Batman’s psyche and here he looks to do the same of some of his best enemies.

The art by Mikel Janin is really good with a style that’s gritty and dirty and in some ways reminds me of Greg Capullo’s “Year Zero” as well. His Riddler is a little buffer than expected but the Joker is scary and menacing hiding in the shadows. There’s a scariness about it all as the story plays out with each panel using the shadows to hide the menaces within.

I knew we were getting a clash of Batman’s greats, but I didn’t expect King to set it up in a way that the narrative feels like a perfect transition from how he has explored the world of Batman for the past 24 issues. While it doesn’t quite feel like an “epic” 25th issue, it is a solid start that has me excited to see what comes next.

Story: Tom King Art: Mikel Janin
Story: 8.05 Art: 8.15 Overall: 8.10 Recommendation: Buy

DC Comics provided Graphic Policy with a FREE copy for review

Review: God Country #6

GodCountry_06-1Emmet Quinlan, an old widower rattled by dementia, isn’t just a problem for his children—his violent outbursts are more than the local cops can handle. When a tornado levels his home—as well as the surrounding West Texas town—a restored Quinlan rises from the wreckage. The enchanted sword at the eye of the storm gives him more than a sound mind and body, however. He’s now the only man who can face the otherworldly creatures the sword has drawn down to the Lone Star State…

The first paragraph above is the sales pitch for the first issue, but still works very well as a series overview because it gives very little away.


God Country has one of the more interestingly unique concepts in comics; that of an Alzheimer’s patient who is cured when his hand touches a twelve foot sword, only to be drawn into the soap  opera like world of space gods that have more than a passing resemblance to the Greco-Roman pantheons. Written by Donny Cates, who also co-wrote The Paybacks with Eliot Rahal; that series looked at the other side of superheroing with a starkly funny focus on a group of knock off characters serving as superpowered repomen (and women) struggling to emerge from the crippling debt their equipment put them in. On the surface, God Country may have little in common with The Paybacks other than half of the writing team (and Geoff Shaw‘s art), that’s certainly true on a superficial thematic level, but at their core both series focus on something quite relatable: people and their struggles against every day adversity.

Emmet Quinlan’s family have been struggling with the horror of watching a loved one slip away whilst suffering from Alzheimer’s, and their struggles are all too relatable to far to many of us. Cates doesn’t make light of that struggle, nor does he glamourize it, and instead has chosen to portray it as the familial devastation that it so frequently is. Of course, with this being a comic book called God Country, that’s not what the comic is about. At least not in it’s entirety. While Emmet’s disease does form the backbone of his desire to keep his hand on the sword that returned his mind, it’s the conflict with the space gods who want the sword back that provides the more immediate physical threat.

Ultimately though, this story is so much more than it seems on the surface.

God Country is that rare beast that uses a well thought out high concept science fiction or fantasy premise to tell the most human of stories. It is truly a work of art that had my eyes sweaty with respect – and that doesn’t happen very often when I read comics.

If you haven’t read this series, then you’re missing out on one of the best stories in fiction this year.

Story: Donny Cates Art: Geoff Shaw Colours: Jason Wordie with Dee Cunniffe
Story: 10 Art: 9 Overall:  9.5 Recommendation:  Buy

Image provided Graphic Policy with a FREE copy for review.

Review: Peter Parker Spectacular Spider-Man #1

Spidey definitely has the jokes in the new series Peter Parker Spectacular Spider-Man #1 from one of comics’ greatest comedy writers Chip Zdarsky, stellar and steady artist Adam Kubert, and colorist extraordinaire Jordie Bellaire. (It rhymes on purpose.) Instead of trying to tell some epic, interweaving crossover story or as a vehicle for his Batman fan fiction, Zdarsky and Kubert focus on the humorous and relational sides of Spider-Man. In this issue, he stops a mugger, basically goes on a date with Johnny Storm, sets up a date with a new character which he will probably miss, and there’s a soap opera ending. Sure, there might be one or two too many guest stars, but a little bit of comedy covers a multitude of gratuitous superhero cameos.

In its page layout, Spectacular Spider-Man #1 evokes the art of late 80s/early 90s “hot” artists Erik Larsen and Todd McFarlane, who tried to make every double page spread a poster you wanted to throw up on your bedroom wall unless you were one of those Goth kids that liked Sandman and Sandman alone. Except Adam Kubert is a hell of a storyteller, who kicks off the issue Manhattan style with an aerial shot of Spider-Man and his (boy)friend Human Torch eating shawarma on a New York rooftop after a frenetic opening page that both retells his origin and pokes fun at the incessant retellings of his origin in both comics and films. In his art style, Kubert strikes a balance between the cartoonish goofiness of, say, Erica Henderson and the strong superhero work of Andy Kubert. There’s punching, web swinging, and size changing when Ant-Man pops up, but Kubert leaves the page open for Zdarsky’s banter with bright pops of color from Bellaire, who is operating in happy superhero mode.

Chip Zdarsky and Adam Kubert spend most of the time with Spider-Man in costume because his weak Breaking Bad puns as Peter Parker either fall flat or work as excellent “your parents just spent a weekend binging Better Call Saul and didn’t answer any of your calls” jokes. Plus it sets up excellent sight gags like Spidey trying and failing to do a good cop/bad cop routine when he investigates a hacked phone in Chicago. (His costume is too damn bright.) Kubert brings the iconic splash pages while Zdarsky brings Spidey back to Earth with awkward phone conversations with Aunt May about the copyright friendly version of Tinder or freaking out about his powers when it was really just Ant-Man lending a helping hand.  Spider-Man is still about power and responsibility, but Zdarsky and Kubert show him struggling with his web fluid (This leads to so much dirty subtext if your mind’s in the gutter.) and freaking out whether to call or text back a standup comedian named Rebecca that he rescued earlier. Spidey is back to protecting ordinary people, being awkward and funny, and occasionally geeking out about science until Zdarsky pulls the proverbial rug out with a couple reveals in the last few pages.

And like a post-credits sting that stands alone as a complete narrative and adds a certain level of intrigue to the main plot, Chip Zdarsky, Goran Parlov, and Nathan Fairbarn cook up a one one one battle between Spider-Man and his fellow arachnid themed superhero, Black Widow. Zdarsky gives Spider-Man all the goofy, pleading dialogue he can handle while keeping Natasha silent and stoic until the final couple pages. She’s there to kick Spider-Man’s ass, and Parlov’s return into interior art is a true tour de force of action choreography. Spidey isn’t as good of a martial artist as Black Widow so he focuses on his speed, agility, and Spider sense as he dodges kicks that would incapacitate any ordinary person. However, his powerful figures aren’t lost under the speed lines, and you can see every move as the fight progresses. The backup makes you wish that Marvel would let Parlov draw an action-driven comic featuring any Marvel hero. Hell, he could even make Stilt-Man look badass.

If you want a Spider-Man comic that reminds you of flipping through comics with big, open layouts by John Romita Sr, Todd McFarlane, or Mark Bagley and still has a quirky, clever, and occasionally adult sense of humor, then Peter Parker Spectacular Spider-Man #1 is the book for you. Chip Zdarsky is truly the king of comedy featuring iconic pop culture characters with his playful, sometimes encyclopedic, and joke-a-minute approach to the webslinger just like he did with Jughead for Archie.

Story: Chip Zdarsky Art: Adam Kubert Colors: Jordie Bellaire
Backup Art: Goran Parlov Backup Color: Nathan Fairbarn
Story: 9.0 Art: 8.5 Overall: 8.8 Recommendation: Buy

Marvel Comics provided Graphic Policy with a FREE copy for review

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