Category Archives: Reviews

Review: Join the Future #3

Clementine Libbey continues her mission of revenge and seeks the training of the Trader. Will she compromise her ideals and use technology to go up against her hi-tech opponents?

Story: Zack Kaplan
Art: Piotr Kowalski
Color: Brad Simpson
Letterer: Hassan Otsmane-Elhaou

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Zeus Comics

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Review: Transformers: Galaxies #7

Transformers Galaxies #7

Cycles ago, a Reversionist ship left Cybertron in the wake of a great calamity. Gauge, the youngest Cybertronian in the universe, knows she was forged on the planet, but only remembers her life on the ship. Her life’s about to be shaken as her whole concept of the truth is thrown into question by the mysterious figures in the brig. It’s been some time since I’ve read the new volume of IDW Publishing‘s Transformers comics. Transformers: Galaxies #7 kicks off a new story-arc with “Gauging the Truth” and felt like a nice opportunity to dive back in and see what I’ve missed.

Transformers has always been an interesting series when it comes to the comics. While many see the toy tie-in or just robots fighting each other, the comics have been so much more. Like good science fiction, they’ve explored society, philosophy, culture, and religion, with a transforming exterior. “Gauging the Truth” kicks off a new story arc focused on the Reversionist sect of Cybertronians.

Reversionists are a religious sect who believe that Cybertron was once their creator Primus and thus every Cybertronian is a bit of Primus. They’re generally disliked for their piousness and also feel like a group that hasn’t been the spotlight as much as others.

We get to see some of their focus and beliefs in this comic as they come off as very regimented and not to be questioned. Through Gauge, we get to explore faith in the world of Transformers and what happens when that faith is shaken. It’s an interesting start of the story-arc and ends in a spot that’s unexpected. Where it’s going from here? I have absolutely no idea. But, it adds a bit to the Transformers menagerie of groups and factions.

Written by Sam Maggs Transformers: Galaxies #7 is presented as a mystery. But it’s one where you don’t know if the main character is going insane, being sent a message, or if they’re having a religious awakening of some sort. I actually expected that last one myself but was rather happy I was wrong (sort of). What we look to still be getting is an exploration of religion but one that’s more of an examination of cult-like following and infallible leadership.

The art by Beth McGuire-Smith is solid. Along with colors by Josh Burcham and lettering by Jake M. Wood, the look of the comic is great. The Transformers all look solid and consistent with IDW’s style. The coloring adds a dreamlike aspect that has us questioning what Gauge is experiencing. Much of the comic is told through Gauge’s thoughts so the panels are heavy in narrative boxes instead of dialogue bubbles. The design is interesting with some subtle choices that make it feel a bit more than meets the rectangle eye.

It’s been a while since I’ve read IDW’s Transformers line of comics but Transformers: Galaxies #7 feels like returning to a familiar friend. It has exactly what I want to see in a Transformers comic, an exploration of society, culture, and politics… with cool robots who can turn into things. It may sound cheesy but the property continues to be “more than meets the eyes.”

Story: Sam Maggs Art: Beth McGuire-Smith
Color: Josh Burcham Letterer/Design: Jake M. Wood
Story: 8.15 Art: 8.15 Overall: 8.15 Recommendation: Buy

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Review: All We Ever Wanted: Stories of a Better World

All We Ever Wanted

When it comes to how the future will look, most creators these days only show us how worse the world can get. This direction may be attributed to the decline of the environment and the primal predilection of man. Things don’t exactly look all that great for us. The stories usually involves zombies like The Walking Dead or the widening of the gap between the poor and rich like The Hunger Games. Rarely do they involve utopias as dystopias create the more interesting conflicts that drives our entertainment.

The thing is there was a time and place where we looked to the stars and though of the possibilities. This is why Back to The Future II was one of the most indelible movies of 1980s and probably most talked about out of that franchise. It gave us hope of what the world could be. Utopias for some reason seem out of reach to the modern imagination. In the latest anthology form A Wave Blue World, All We Ever Wanted, we get several different visions of life in the future where life can be better.

In “The Pilot,” a pilot controls a ship her VR glasses only to encounter an alien queen and her earthbound ally. In “The Weight of Time,” one scientist uses time travel to try and wipe out anti LGBTQ backlash but instead realizes the problem is actually ahead. In “Una,” an alien wins the hearts and minds of the citizens she protects, eventually becoming a citizen because of it. In “Seventeen Souls,” one hero risks it all to save one girl from certain death. In “It Looked like Our Dreams,” two siblings wonder about a future where humanity does save itself. In “Gaea,” mother nature and technology defeat an alien invader in which one protagonist uses to her advantage.  In “Bombs Away,” a world is imagined where violence no longer leads to advantages or problem solving but unity as it was always intended.  In “And The Rest Was Magic,” one woman finds out how it is when one doesn’t buy into the propaganda of a dire future. In “Everything I Own,” one self-admitted pariah slowly builds a community around herself while at the same time, evolving. In “The Inventor’s Daughter,” one woman reunites with her mother after death and returns her to the essence. In “Blackstar,” one man helps people see their future for a cost. In “Life’s A Devil’s Bargain,” one woman shows how hate is more of a choice than one realizes. In “Chat Room,” one awkward girl finds solace with a friend that met online. In “Can you See it Now,” one couple finds out an evil corporation is behind a friend’s death. In “Just Like Heaven,” one young man’s defiance leads to him finding out the secret to the utopia he is living in. In “Alternica,” a man wakes up from being frozen to a world where money doesn’t exist. In “Owning Up To The Past,” one man admits to his daughter, the unjust violence he committed. In “Good Time,” one man’s wish is to see his daughter years after he is released from jail. In “Day At The Park,” a young girl teaches a robot how to fly a kite. In “Choice,” one man designed a robot to have the power of free will, to only regret his decision immediately. In “Seeds,” the grim reaper reminds a retired superhero that there is more to life than regrets.  In “Two Left Feet,” two thieves steal for the love of dance.

Overall, the anthology is an excellent collection of stories that shows that the future can be bright and we all should wear shades. The stories are as diverse and extraordinary as each contributor showing off a wide range of voices and visions. The art by each creator is magnetic, alluring, and vivid. Altogether, the world needs more visions of utopias and this book more than proves it.

Story: Matt Miner, Eric Palicki, Tyler Chin- Tanner, Lucia Fasano, Tess Fowler, Eliot Rahal, Jason Copland, Jennie Wood, Vasilis Pozios, Chris Visions, Lela Gwenn, Alex Paknadel, Chris Peterson, Alisa Kwitney, Mauricet, Josh Gorfain, Matt Lejuene, Howard Mackie, Dean Trippe, Justin Zimmerman, Wendy Chin-Tanner, Toby Cypress, Paul Allor, Jarrett Melendez, Taylor Hoffman, Jonathan Brandon Sawyer, Rich Douek, James Maddox, Gavin Smith, Nadia Shammas, Erik Burnham, Kay Honda, Maria Frohlich
Art: Dean Trippe, Danica Brine, Chris Peterson, Robbi Rodriguez, Michael Wiggam, Maria Frohlich, David Stoll, Ryan Lee, Juan Romera, Tony Gregori, Tess Fowler, Chris Visions, Ethan Claunch, Jude Vigants,  K.R.Whalen, Matt Horak, Jeff McComsey,  Gavin Smith, Ryan Cody, Liana Kangas, Anthony Marques, Jason Copland, Eryk Donovan, Micah Meyers, Josh Jensen, Nick Wentland, Taylor Esposito, Matt Krotzer, Zakk Saam
Story: 10 Art: 9.5 Overall: 9.6 Recommendation: Buy

A Wave Blue World provided Graphic Policy with a FREE copy for review

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Review: Ginseng Roots #5

Ginseng Roots continues to explore creator Craig Thompson‘s life. This issue pivots a bit adding in the history of the region and more about the history of ginseng. It’s educational and eye-opening.

Story: Craig Thompson
Art: Craig Thompson

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.

Uncivilized Books
Zeus Comics

Uncivilized Books provided Graphic Policy with a FREE copy 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: Strange Academy #2

Strange Academy #2

It’s been quite some time since the debut of this series. Strange Academy #2 feels like no time has passed at all. It’s the first day of classes at Strange Academy. The issue hops around in a frenetic pace giving us the big picture of the school, students, and courses. We’re taken to numerous classes, introduced to the professors, and get to know the personalities of the students a bit more. We also get the first hints as to what the “big bad” will be.

Writer Skottie Young has a lot of fun with this second issue which can be picked up and enjoyed without needing to read the first. Young along with artist Humberto Ramos, deliver story pacing and a vibe that’s full of fun and energy. It’s a chaotic issue and you’ll either enjoy it or dislike it just for that. There doesn’t feel like enough time is spent in any one situation or on any one focus. But, you still feel like you get a lot of the issue as it gives us the quick tour of everything.

There are absolutely some aspects that get a bit more time on the page. Some of that is just to set up punchlines but it also helps move the characters along as well as they must deal with the situations at hand. There’s clearly some fun thought into each course and how they’re presented. That’s obvious by small jabs they make and so much is left for the reader’s imagination.

Ramos’ art is full of energy and that’s helped by the colors of Edgar Delgado and lettering of Clayton Cowles. The colors pop on the page with a bright aspect to them. Everything just looks exciting and fresh and full of energy in part due to the artistic choices. It’d be so easy to do a dour take on the same issue but as presented there’s a youthful energy about it all. There pages are full of mystical details that often tell the entire story of that particular segment. The issue relies heavily on the visual. Cowles’ lettering too is key as it often helps bring out the personality of the various characters as the lettering shifts between them.

Strange Academy #2 is a crazy paced issue where entire scenes and situations are left for a single page or a single panel gag. It’s a whirlwind tour of the school and what the kids will be dealing with. It also drops hints as to where things will be going. And it needed to be this way. An issue focusing more on any of the elements would have felt like it dragged on and given other aspects the short end of things. Instead, everyone gets their moments with a lot of humor thrown in. For as crazy as it is, it’s a great read and a welcome return of the series.

Story: Skottie Young Art: Humberto Ramos
Color: Edgar Delgado Letterer: Clayton Cowles
Story: 8.5 Art: 8.5 Overall: 8.5 Recommendation: Buy

Purchase: comiXologyKindleZeus Comics

Review: Bowie: Stardust, Rayguns, & Moonage Daydreams

Bowie: Stardust, Rayguns, Moonage Daydreams

Michael Allred, Steve Horton, and Laura Allred’s graphic biography Bowie: Stardust, Rayguns, & Moonage Daydreams is a love letter to musical legend and bisexual chameleon, David Bowie. The book mainly focuses on his Ziggy Stardust period with the Allreds beautifully illustrating a montage of live shows as Bowie’s creation and the Spiders from Mars come to vivid life in Europe, North America, and Asia. Horton and Allred use the Spiders’ final gig at London’s Hammersmith Odeon as a framing narrative. Because Bowie had a six-decade recording career, this narrative strategy is effective and also turns the comic into a history of a certain period of pop music when peace beads and flower headdresses were replaced with elaborate makeup, big guitars, and all things glam.

Although the ever-shifting image of David Bowie himself is always at the center of Bowie, Horton and Allred tell their story in what is basically a series of montages. There will be a beautiful dream sequence with a trippy color palette from Laura Allred that visually shows the inspiration of hit songs like “Space Oddity”, “Life on Mars”, or “Rock n Roll Suicide” to name a few, and then we’ll get a list of various celebrities at a Ziggy Stardust show or a check-in on what’s happening with his contemporaries like T. Rex’s Marc Bolan or Lou Reed.

Bowie: Stardust, Rayguns, & Moonage Daydreams

For the most part, Horton uses minimal captions and lets Mike Allred’s art and Laura Allred’s tell the story. But when the comic calls for it, he can inject moments of humor like Bowie’s reaction to his son Zowie (Now director Duncan Jones) destroying his record collection or poignancy when Bowie reflects on his family’s history of mental illness or begins to articulate the idea of Ziggy Stardust and the Spiders from Mars to his band. Horton and Allred draw parallels between both Ziggy and Bowie’s hubris as he turns a blind eye when his corrupt lawyer is paying long term band members three times less than relatively new keyboard player, Mike Garson. Although they’re iconic images, there is an air of ego to Bowie’s famous Aladdin Sane photo shoot with Allred’s use of negative space crowding the Spiders from Mars out of the frame even though guitarist Mick Ronson was a vital part of his music and helped keep him focus when he was too busy flirting with his lover-turned-wife, Angie.

However, what will stay with me most from Bowie are the Allreds’ ability to capture the energy of live music while still doing spot-on likenesses of historical figures performing. When Mick Ronson and Bowie harmonize on “Starman” or (controversially) embrace on a Top of the Pops performance, there is a camaraderie and almost sexual chemistry between the two men that makes the later “breakup” scene emotionally resonant. Although Allred mainly puts Bowie at the center of the frame, he makes sure to cut to the audience and their hands as they are inspired and reaffirmed that it’s okay to be a little strange or non-heterosexual by this benevolent, iconic alien before them. The Allreds add some flourishes like Kirby Krackle every time Bowie does something that is especially extraterrestrial like floating in space in an early film that was a companion to “Space Oddity”.

Underneath the heavily researched and striking fashions and celebrity cameos, Bowie is about creating an identity out of the things one is passionate about. For example, Bowie and his band mates saw A Clockwork Orange when it was first release, and it immediately impacted the costuming, visual design, and even the intro of the Ziggy Stardust live show. Basically, he was a huge nerd for pop and folk music, high fashion, literature, and film, and it shown out in both his art and the way he approached the world. Bowie is filled with moments where Horton and Allred (And by extension, David Bowie) respects their fellow artists like a full page splash homage to Bob Dylan and Elvis, bringing up Lou Reed on stage, running around Detroit with Iggy Pop, and inspiring the young Morrissey and Bruce Springsteen during his concerts. It shows that art can lead to friendship, lifelong influences, and sometimes tragedy like the aforementioned tension between Ziggy Stardust and the Spiders from Mars.

Bowie: Stardust, Rayguns, and Moonage Daydreams is a highly stylized, yet infinitely human look at an important period in David Bowie’s career from Mike Allred, Steve Horton, and Laura Allred. The graphic biography captures the feeling of the music of Ziggy Stardust and Aladdin Sane through dreamlike visuals as well as adding historical context to these songs and albums and personal anecdotes that add both vulnerable and mystique to Bowie’s story. Its epilogue also kind of made me want a sequel featuring the Thin White Duke and some of Bowie’s later personas. This book truly feels like a passion project and transported me to a bittersweet day six years when a closeted, sad teenager listened to the CD of The Rise and Fall of Ziggy Stars and the Spiders from Mars and felt “not alone”. It’s a must read for any Bowie fan, especially those who love his early-1970s work the best.

Story: Steve Horton and Michael Allred
Art: Michael Allred Colors: Laura Allred
Story: 7.5 Art: 9.5 Overall: 8.5 Recommendation: Buy

Insight Comics provided Graphic Policy with a FREE copy for review

Purchase: Amazon (Regular Edition)Zeus Comics

Review: Empyre: Fantastic Four

Empyre: Fantastic Four

Marvel’s anticipated, and delayed event, Empyre draws nearer. Empyre: Fantastic Four is the prelude comic introducing the Fantastic Four into what’s to come. Much like its Avengers counterpart, the comic feels like a nice walk through the history of the key players and teases the upcoming event and its impact.

Stranded in space, the Fantastic Four are given a lift to a gambling planet where they learn of a gladiatorial combat that relives the Kree/Skrull War but the wording indicates the war is officially over. The galactic credit system has collapsed as well leading to a bartering system. It’s all tied together but the Fantastic Four must put the pieces of the puzzle together as well as figure out a way to pay for their ship repair to get home.

Written by Dan Slott, Empyre: Fantastic Four is a decent transition for the team into the event. You get a good sense of the history of the Kree/Skrull War as well as the Fantastic Four’s involvement with both. We’re also introduced to new concepts in Marvel’s cosmic landscape that fit right in and feel at home.

Slott mixes in some comedic elements and action within the pages keeping a nice pace throughout the issue. While it’s not quite as good as the Avengers lead in issue, it does a decent job overall of catching readers up and leaves them on a “what the hell is that?” cliffhanger, though without the dread like the Avengers issue.

Where things get a bit weird is the revelation of who’ battling in the arena. SPOILER: It’s two children who the Fantastic Four liberate from their oppressor. While this is overall a good thing, this, along with the Future Foundation, is making the team feel like they’re collecting wards quicker than Batman. They’re also as questionable when it comes to the kids’ safety. Still that detail provides some humorous and cute moments of interactions between the kids, the Human Torch, and the Thing.

The art by R.B. Silva and Sean Izaakse is solid work. Along with color by Marte Gracia and Marcio Menyz and lettering by Joe Caramagna, the art is really interesting with a lot of small details to tell the story. The art really plays well into the gambling world as we get a sense of the wonder and alien nature of it all but it also feels familiar. There’s a sense of excess without it being over the top and exploitation without it feeling too grimy. It feels like Vegas. Despite some of the weightier aspects of the story, the art helps keep it light too befitting the tone of the Fantastic Four.

While Empyre: Fantastic Four doesn’t quite have the excitement of Empyre: The Avengers, it does add in some more details about the current state of the cosmic Marvel Universe and how things are shifted. It’s a transition to get the team into the action without using up an issue of their main series. But, as is, this is a prelude issue that’s more interesting to read than a must get.

Story: Dan Slott Art: R.B. Silva, Sean Izaakse
Color: Marte Gracia, Marcio Menyz Letterer: Joe Caramagna
Story: 7.0 Art: 7.5 Overall: 7.0 Recommendation: Read

Purchase: comixologyKindleZeus Comics

Review: Quantum and Woody #4


Home Alone, the boys are left to defend their lair against would-be bandits! What is Woody’s dark secret? The truth is finally revealed in Quantum and Woody #4!

The finale to the four-part miniseries finds writer Christopher Hastings, artist Ryan Browne, and color artist Ruth Redmond coming together one more time (though hopefully not for the final time) for a comic I have waited nearly three months to read. Was it worth the wait? Was I able to just pick it up and enjoy it without refreshing myself by reading the first three again?

Two kill two birds with one stone, the answer is yes.

While not everybody will want to just pick the book up and dive in after three months, the way the Hastings has been crafting the story over three almost standalone issues means that while there are some elements that cross the four issues, the specific events don’t need to have been memorized to enjoy Quantum and Woody #4 (though if you do want a refresher, there’s no reason not to go back and read the other three).

Hastings has once again packed a full story, start middle and end, into a single comic, though with the finale he also wraps up the threads he had left over the course of the previous three issues. It is in many ways a bitter sweet comic, because as far as we currently know, there aren’t any plans to bring Hastings back to Quantum and Woody, but he ends his story on a high note without leaving any real loose ends dangling – but you’ll be wanting more from him and the creative team by them time you turn the final page.

Browne’s art has been perfectly suited to the chaos that has been this series, and both he and Redmond shine in the final issue. There’s often a lot occurring on every page, but the comic never loses its ability to tell a coherent visual story. The art is bright, bold, absolutely insane, and I love it. There’s a lot going on in almost every page, but you’re never lost; this is a book that you’re going to want to take your time reading, or read it a second time so that you can really appreciate the talent on display here.

I’ve never really been the biggest Quantum and Woody fan, but Hastings, Brown, Redmond, and letterer Hassan Otsmane-Elhaou have delivered one of my favourite series this year. This is a nigh-on perfect comic book in its own right, but when you take it as the final part of a four-part miniseries, then it becomes an absolute must-read book.

If every comic that I read after Diamond started delivering again was half as good as this, I’d be happy.

Story: Christopher Hastings Art: Ryan Browne
Colors: Ruth Redmond Letters: Hassan Otsmane-Elhaou

Story: 9.6 Art: 9.6 Overall: 9.6 Recommendation: Buy

Valiant provided Graphic Policy with a FREE copy for review

Purchase: comiXologyKindleZeus Comics

Review: DCeased: Dead Planet #1

DCeased: Dead Planet #1

When it comes to the DCeased storyline, DC Comics has been nailing the concept. They’ve done well to add to the story as opposed to giving us follow-ups that feel like they’re just an attempt to cash in on the idea. We’ve gotten the excellent DCeased: Hope at World’s End digital series and the latest, DCeased: Dead Planet #1, which kicks off the latest volume.

Five years have passed since the events of DCeased. The survivors of Earth have found a new home on a new planet, Earth-2 and have begun to build a new society. A Justice League has formed to protect what remains not just from the threat they escaped but others they face. Cyborg, decapitated but alive, sends out a distress call which the remaining heroes hear and decide to investigate.

Lets get the bad of DCeased: Dead Planet #1 out of the way. The comic is predictable and foreshadows things WAY too much. In that way it plays with tropes, cliches, and genres but doesn’t offer anything really new there. While some of it might be surprising as to when it happens, none of it is surprising at all.

What’s good is, Tom Taylor delivers a solid comic that while it’s familiar in plot, does it really well. While the original DCeased felt like Taylor’s play on the zombie genre, DCeased: Dead Planet #1 feels more like it riffs of science fiction. The issue seems to take its inspiration from films like Alien and Aliens more so than Romero. It’s an interesting direction for the first issue that’s unexpected and quite welcome in many ways. We see that we’re going to get something different instead of “another zombie story.” That alone raises the entertainment of the issue which otherwise wears a bit too much on its sleeve.

The art by Trevor Hairsine delivers. With ink by Gigi Baldassini and Stefano Gaudiano, color by Rain Beredo, and lettering by Saida Temofonte, the look of the comic captures that shift from horror/zombie to sci-fi/tense. What the team captures really well is the time that has passed. Characters look older and more worn down. The two worlds feel like they’re struggling in multiple ways. It’s small choices that are solid and some really interesting scenes that deliver some emotional punch over the cliches.

And that’s the issue with the comic. It’s really entertaining and an excellent follow up to everything that has come before. The problem is too much of what happens is choreographed. The latter parts of the comic are predictable and aren’t surprising at all as they’re all foreshadowed at some point. But, it’s still a fun read and is a shift from the expected take on the zombie genre. If only it kept a bit more of its secrets and delivered real surprises.

Story: Tom Taylor Art: Trevor Hairsine
Ink: Gigi Baldassini, Stefano Gaudiano Color: Rain Beredo Letterer: Saida Temofonte
Story: 7.75 Art: 8.15 Overall: 7.8 Recommendation: Read

Purchase: comiXologyKindleZeus Comics

Review: Batman #94

Batman #94

With the previous arc over, Batman #94 acts as a bridge to the highly anticipated “Joker War” storyline. It’s an interesting issue that’s a bit cliche. The story really emphasizes how much the previous arc was really a setup of what’s to come. Written by James Tynion IV, Batman #94 feels like Tynion’s attempt to give us his own iconic moment. We don’t get Batman realizing he must strike terror in the heart of villains. Instead, we get a take that falls a bit flat.

Tynion takes us to the past as Bruce Wayne seeks out a teacher to help him become a greater detective. It’s an interesting beginning as it ties in a bit with the concept of the Designer whose arc just ended. Baker is another mentor for the character, one who’s “the world’s greatest detective.” With the name Baker, it’s not hard to figure out the inspiration for the character. It’s an interesting concept. The concept plays nicely into the previous arc and whose purpose is about the present and future.

Tynion is laying the seeds for his vision of Batman. In this case his statement is the character has been too cerebral and in doing so has missed things like the Joker’s latest move. It’s a line in the sand that is emphasized at the end that what we’ll see going forward is an evolution of Batman. This is a character who has relied on others like Alfred and Lucious Fox. With all of that failing, we’re going to get something that’s different in the months to come. This is a character who is both alone and also surrounded by friends and allies. Exactly what that is should be interesting but this issue lays out the vulnerabilities and faults of Batman as is.

It’s also that cliche of the hero confronting the villain over the phone. It’s a parlay of words that points us to the clash ahead and unfortunately feels like a waste of concept in this bridge to “Joker War.”

The art by Guillem March and Rafael Albuquerque is pretty good. There’s a clear difference in the styles that’s noticeable and does stand out. It’s not quite enough to derail the visuals but it’s a small bump in what has been a visually intriguing run. The color by David Baron and lettering by Clayton Cowles helps tie things together. The big letdown in the visuals is we never quite get the full picture of just how beaten and bruised Batman is. The man is clearly hurting and we’re told so multiple times but visually the character never really feels more than “bruised” while we’re to believe he could collapse or worse any minute. The physical toll is never sold visually.

The issue is an ok one and a step back in what has been a good run so far. The issue feels like it’s full of cliches and tropes that never quite standout. Add in plotlines it feels like we’ve seen before. There’s also groan-worthy moments that just feel like shallow attempts to recreate previous magic. Add in a lack of exciting visuals, the comic is a forgettable bridge to “Joke War.” Batman #94 isn’t a bad read at all but it also lacks the excitement or interesting ideas that Tynion has entertained us with so far.

Story: James Tynion IV Art: Guillem March, Rafael Albuquerque
Color: David Baron Letterer: Clayton Cowles
Story: 7.0 Art: 7.5 Overall: 7.0 Recommendation: Read

Purchase: comiXologyKindleZeus Comics

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