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Amazing Spider-Man #1000 is a celebration of all the writers, artists, and memorable moments that made Spider-Man a pop culture icon

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Cover of 'The Amazing Spider-Man' #100 featuring Spider-Man with a collage of faces on his mask.

Amazing Spider-Man is the first Marvel comic to actually hit four digit issues, and issue 1000 is a celebration of all the writers, artists, and memorable moments that made Spider-Man a pop culture icon. It hits most of the major relationships and milestones in Spider-Man/Peter Parker’s life and explores the tragedy that created him as well as the more fun kicking supervillain butt and flirting with Mary Jane type moments. However, the 100+ page comic gets off to a bit of a rough start.

Amazing Spider-Man #1000 begins with the requisite full length, present day story for folks who are actually following the ongoing series and not just checking in for the anniversary like yours truly. Joe Kelly, Pepe Larraz, and Federico Blee craft a story centered around Aunt May having a stroke and fighting for her life with her nephew Peter Parker/Spider-Man by her side as well as her long lost son, Cormac Crane. In the most predictable “twist” ever, Crane is the villainous Ravage (No relation that we know of to the 2099 or Hulk baddie.) and wants to take all of May and Peter’s memories so he can have the “life” he wish he’d had growing up. (I also too want to be filled with guilt when I experienced my uncle being murdered, and I had a chance to stop it.) This memory “exhuming” is a handy plot device to go down memory lane and revisit the important moments in Spider-Man’s heroic journey and especially in his relationship with Aunt May. The ordinary moments between Peter and May warmed my heart like when she brings him an “apologystrami” sandwich.

Kelly and Larraz’s reverence for the classic Stan Lee/Steve Ditko/John Romita comics comes through in their approach to the flashbacks in their Amazing Spider-Man #1000, especially Pepe Larraz’s cinematic compositions with layouts that look like Spider-Man’s mask or a smooth sequence where Spidey saves a train on a bridge a la Spider-Man 2. It’s why we love this character, but it’s paired with some ugly, soap opera (Derogatorily, not in a Chris Claremont way) plotting that definitely didn’t make me want to pick up issue 1001 although Larraz is a perfect fit for the character. There is no depth to Crane beyond him being a pure evil guilt trip with an omniscient knowledge of Spider-Man’s life. Even his visuals look like a Fortnite skin. I look forward to a six issue arc and then never hearing about him again. (Remember Teresa Parker?)

After an insightful Q&A with Tom Holland (I really resonated with his love for Ultimate Spider-Man.) and Destin Daniel Cretton (He’s a fellow Boomerang stan!), the second story in Amazing Spider-Man #1000 marks the Marvel Comics debut of Fargo/Legion/Alien Earth creator Noah Hawley with art from Patrick Gleason, Marco Menyz, and Erick Arciniega. Predominantly set in the memory care unit of a retirement home in Queens, New York, “Still Standing” is a poetic final Peter Parker adventure as he finds closure and eventually gets to see the legacy of Spider-Man realized through his grandson. The story starts unobtrusively enough until Peter’s first, long lost love Gwen Stacy waltzes back in his life, and feelings and regrets well up. Of course, there’s more to this reunion than meets the eye, and the whole memory loss aspect really makes it a tearjerker. (My grandma is going through a similar situation right now.)

“Still Standing” centers around conversations and past memories so Gleason’s character acting and Menyz and Arciniega’s wistful color palette with touches of red and blue help unpack these elements. Peter, his son Miles, and his grandson Spider-Man are at different stages in their lives and have distinct gaits and bearings. It’s very jarring to see Peter go from sitting in his easy chair to hanging from the ceiling, but having the proportionate strength and speed of a spider doesn’t go away even if his mind unfortunately isn’t doing too well. The interactions between Peter and Gwen are very charged as she brings light and love to his twilight years. I won’t spoil how Hawley and Patrick Gleason get from Point A to Point B, but I felt a touch of sadness and an even stronger sense of closure after reading this story. If this was the final issue of Amazing Spider-Man, this is the kind of story perfect for wrapping up the decades-long saga.

Amazing Spider-Man #1000’s intergenerational throughline continues in its third story “Requiem for a Goblin” by J.M. DeMatteis, Humberto Ramos, Victor Olazaba, and Edgar Delgado. This story is about the funeral of Harry Osborn, who became the New Goblin, but then made a heroic sacrifice back in 1993’s Spectacular Spider-Man #200. DeMatteis and Ramos dig into the friendship between Peter Parker and Osborn as well as their superheroic or villainous alter egos. Most of it takes place in Peter’s head while he tries to come to grips with the loss of his friend, and whether villainy was something he chose or something thrust on him by his abusive and evil father and grandfather. True to form, J.M. DeMatteis’ writing is dark and psychological while Humberto Ramos and Olazaba’s line work is more upbeat and takes you back to the more laidback days of the late 1990s/early 2000s. Their character designs coupled with Delgado’s palette have so much personality and energy, and it makes me miss the days when superheroes had robust civilian supporting cast. “Requiem for a Goblin” is the perfect, reflective story for fans of media like Sam Raimi’s Spider-Man trilogy and Ultimate Spider-Man where the Peter Parker/Norman Osborn/Harry Osborn father/son dynamic is important.

In “Tears of the Spider-Queen”, two comics auteurs Frank Miller and Peach Momoko join forces to spin a yarn (Pun very much intended.) of an early career Spider-Man coming to blows with Miller creation, the Hand. Body horror, superheroes, and ninjas collide as Spidey tracks down a young girl named Allison, who has been given the title of Spider-Queen by The Hand and transformed into something monstrous. Momoko’s manga-tinged visuals and powerful color palette goes hand in hand with the ratatat of Frank Miller’s Spillane-esque captions. Even now, you feel like he could turn in another run on Daredevil or a killer collaboration like Elektra Assassin or Martha Washington. His words accentuate the primal nature of Peach Momoko’s art, especially when Allison transforms from girl to spider. She’s a counterbalance to Spider-Man, but also someone for him to mentor and rescue. I hope we get to see more of her, but I’ll take this spine chilling story by two of my all-time favorite comics artists for now.

After this, Amazing Spider-Man #1000 goes a little lighter with a wrestling/Uncle Ben-centric story from *naturally* Triple H, Rob Fee, Ed McGuinness, Mark Farmer, and Matthew Wilson. Most of this sweet, sentimental story is a young Peter Parker geeking out about going to a wrestling match with his uncle. His enthusiasm is infectious and a good match for the big limbs and high energy of McGuinness and Farmer’s art that culminates in a double page spread featuring Crusher Hogan and D-Man duking it out. However, the best part of this story is reading Uncle Ben’s body language and understanding that the wrestling match was a financial sacrifice for him, but he’d do anything to make his nephew happy. It’s interesting that Spidey gets back to his working class hero roots in a story by probably the most corporate co-writer in this comic.

After the wrassling and splash pages, we get some snappy patter and well-paced action sequences in “The Gesture” courtesy of Brian Michael Bendis, Stuart Immonen (Inking himself!), and Marte Gracia. Spider-Man gets an Avengers alert on almost never used, often lost Priority Identicard, but first, he has take out some Z-list supervillains in Times Square. The insecurity, the well-timed comedy, and of course, the explosive action is all here and a reminder of why Bendis and Immonen (And Bagley before him, and Pichelli after him) were so great on Ultimate Spider-Man. Spidey’s roast of White Rabbit, Firebrand, and Basilisk is the perfect combination of his annual run-ins with the Shocker and when he verbally decimated the Kingpin. Brian Bendis’ love of deep Spider-Man lore comes out in this issue, and it has a heartwarming finale showing just how important he is to his friends and family with the help of Captain America. The heart and humor in this story definitely made me want to dust off my Ultimate Spidey omnibi!

The penultimate story in Amazing Spider-Man #1000 features a script from living legend Larry Lieber with art from Giuseppe Camuncoli, Klaus Janson, and Rachelle Rosenberg. It’s a straight up Spider-Man goes back to the Old West with a prominent appearance from Lieber co-creation The Rawhide Kid. This comic feels like going back in time over 60 years ago when John Wayne ruled the box office instead of, well, our friendly neighborhood Spider-Man. Camuncoli and Janson give the visuals an old school vibe that is aided by Rosenberg’s use of primarily flat colors. This feels like finding a long lost Western/superhero mash up comic and is just plain fun although both Spidey and the Rawhide Kid find common ground in shared tragedy.

Amazing Spider-Man #1000 saves the best for last in a retelling of Amazing Fantasy #15 from the POV of the policemen chasing the Burglar, who Spider-Man lets get away and then kills Uncle Ben. Dan Slott, Marcos Martin, and Muntsa Vicente drop us straight into a pulse pounding cops and robbers chase and shootout with speed lines, quick nimble paneling, and rapid fire dialogue. It’s a movie we’ve seen dozens of times, but edited and shot differently. Except for the tiniest of silhouettes, Spider-Man and Peter Parker are always off panel: they’re incidental characters in Arthur’s all-consuming quest to catch the Five Boroughs Burglar. This rule only applies to the flashback sequence, and as Slott and Martin progress into the present day, the Spider-Man iconography takes over the page. This represents closure and finality as Amazing Spider-Man #1000 closes a loop that began 60+ years ago in Amazing Fantasy #15. It’s a nigh-perfect way to conclude the comic.

A dud of an opening story aside, Amazing Spider-Man #1000 is an emotional and visually stunning journey through the triumph and tragedy of an American icon. Although each story has vastly different art and writing styles, creators as disparate as Noah Hawley and Triple H, Larry Lieber and Peach Momoko find common ground in shared themes of family, finding closure, and finding heroism after experiencing the darkest moment in one’s life. I don’t know if the current Amazing Spider-Man stories will be any good, but there’s an epic back catalog to dive back (Let’s say I probably have about 500 issues of ASM to catch up on.) that’s accessible thanks to Marvel Unlimited. Plus you could always re-read this book, especially the Hawley/Patrick Gleason story if you need a good cry.

Story: Joe Kelly, Noah Hawley, J.M. DeMatteis, Frank Miller, Triple H, Rob Fee,
Brian Michael Bendis, Larry Lieber, Dan Slott
Art: Pepe Larraz, Patrick Gleason, Humberto Ramos & Victor Olazaba, Peach Momoko,
Ed McGuinness & Mark Farmer, Stuart Immonen, Giuseppe Camuncoli & Klaus Janson, Marcos Martin
Colors: Klaus Janson, Marcos Martin
Letters: Joe Caramagna
Story: 8.1 Art: 8.9 Overall: 8.5 Recommendation: Buy

Marvel provided Graphic Policy with a FREE copy for review

Purchase: Zeus Comics – Kindle

Exclusive Preview: Fantastic Four #6

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Fantastic Four #6

(W) Ryan North (A) Humberto Ramos
(I) Victor Olazaba (C) Edgar Delgado (L) Joe Caramagna
(CA) Humberto Ramos, Edgar Delgado (VCA) Alessandro Cappuccio and Neerag Menon, Ivan Bigarella, J. Scott Campbell and Tanya Lehoux, Joe Jusko, Joshua Swaby, Leiris, NetEase Games, John Byrne and Dan Brown

THE INVINCIBLE WOMAN, PART 1! Extremophile aliens have invaded Earth! Their plan: stop the planet’s rotation so the same side always faces the sun, and then colonize that boiling, deadly side for themselves. Only the Fantastic Four can save the Earth from destruction! But none of their powers involve altering the Earth’s rotation… or do they? And when the Wizard takes advantage of the chaos to attack the Baxter Building, there may be more going on here than meets the eye — including a discovery that’ll change the fate of the Fantastic Four forever! Science, family and punching collide in this issue. PLUS: The beginnings of the all-new Future Foundation?

Fantastic Four #6

Exclusive Preview: Fantastic Four #5

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Fantastic Four #5

(W) Ryan North (A) Humberto Ramos
(I) Victor Olazaba (C) Edgar Delgado (L) Joe Caramangna
(CA) Humberto Ramos, Edgar Delgado (VCA) Inhyuk Lee, Jenny Frison, Marco Palazzi, Michael Cho, Skottie Young

GUEST-STARRING THE BLACK CAT! When Reed, Ben and Johnny leave on a fishing trip to the Negative Zone, Sue Storm and Alicia Masters are left to their own devices. And no sooner have the guys left, than Susan’s number-one, absolute least-favorite person in NYC starts banging on the door of the Baxter Building. She’s wanted for murder, she’s being chased by the police and she’s covered in blood: That’s right — it’s Felicia Hardy, the Black Cat! Despite all the evidence pointing to her, Felicia claims she’s innocent — and she needs the Invisible Woman to prove it! Against her better judgment, Sue agrees to help and soon finds herself embroiled in both a murder mystery and a science mystery that may be impossible to solve… while Felicia Hardy’s life hangs in the balance.

Fantastic Four #5

X-Men: Age of Revelation #0 teases the upcoming event and lays out the future history

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Every so often, a pivotal moment occurs that radically transforms the Marvel Universe, diverting its destiny towards strange timelines and dark futures. This October, in honor of the 30th anniversary of one of the greatest of those aforementioned sagas, Age of Apocalypse, behold the AGE OF REVELATION, a startling new X-Men event that sees the world reborn in the image of the heir to Apocalypse: Doug Ramsey, A.K.A. Revelation. And this special prelude one-shot reveals how this Age came to be! X YEARS FROM TODAY the Revelation Territories stretch from the Atlantic to the Mississippi – a mutant utopia ruled by the heir of Apocalypse. But beneath the surface, rebellion brews. As a ragtag X-Men team strikes from the shadows, Revelation faces threats from within.

Story: Jed MacKay
Art: Humberto Ramos
Ink: Victor Olazaba
Color: Edgar Delgado

Get your copy now! To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Kindle

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Fantastic Four #1 Kicks Off a New Volume that Doesn’t Feel Like One

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Fantastic Four #1

When the Fantastic Four take on Doom, things go well until they suddenly go catastrophically wrong – and they’re sent to four different eras in Earth’s history! Alone and isolated in wildly different time periods, Reed, Johnny, Ben and Sue all have to fight to survive. Their only hope is to reach the Forever Stone: a mass of dense granite that happens to be one of the longest-lasting rocks on the planet, which – through a combination of obscurity and raw geological luck – has stayed both intact and accessible for most of Earth’s history! Also featured in this extra-big, extra-special issue: Ben Grimm fights a dinosaur! No other comic DARES to feature the Thing battling several Mapusauruses, but that’s just where WE get started! Fantastic Four #1 is a new jumping on point that doesn’t feel quite like one.

When we last left the Fantastic Four, they were trying to get Ben Grimm back as the Thing after being changed back to human by Doctor Doom. As part of “One World Under Doom,” the team has been a focus, trying to take a stand against the new Sorcerer Supreme Doctor Doom. Fantastic Four #1 kind of throws readers into the deep end with that as the team attempts to take on Doom one more time to stop his rule over the world. And that’s where the issue is a rather odd one.

Written by Ryan North, Fantastic Four #1 is an oddity of a new volume. It generally is one that new readers can dive into, but it’s just an odd continuation of the previous volume. The last one ended on a rather happy note with the team having helped Ben and generally reflected on things. This volume has them right away standing up against Doom and being sent throughout time.

The team scattered, and how they handle it is a rather interesting one. It’s a situation that feels like we’ve seen before but North focuses on details of what each member of the team faces on their own. Each is a unique situation and the solution presented generally makes sense. But, it feels like a miniseries or story arc that ties into “One World Under Doom,” even though the event is mentioned in the cover dressing. For a first issue of a new volume, it doesn’t quite hit that fresh start that’s easy for new readers to dive in to. But, with a new film coming, it’s an attempt to do just that.

Humberto Ramos‘ art is always entertaining to check out and things look pretty solid here. It’s not Ramos’ best work but still very good and there’s just something fun about it. With color by Victor Olazaba and lettering by Travis Lanham, the art has a pop sense about it and has fun with the various moments like The Thing fighting dinosaurs. It also delivers some drama with the segments featuring Mr. Fantastic and Invisible Woman.

Fantastic Four #1 is a fun comic but as a first issue it doesn’t really deliver an experience that makes it truly exciting or something that’ll hook new readers. It has a good mix of action, humor, and drama. It generally should be easy for new readers to be able to pick up and enjoy. Overall, it feels more like a continuation of the previous volume instead of a clean break and relies on “One World Under Doom” to really deliver the challenge the team will face. It’s more good event miniseries than the start of a whole new volume.

Story: Ryan North Art: Humberto Ramos
Color: Victor Olazaba Letterer: Travis Lanham
Story: 8.0 Art: 8.0 Overall: 8.0 Recommendation: Buy

Marvel provided Graphic Policy with a FREE copy for review

Purchase: Zeus Comics – Kindle

Immoral X-Men #1 emphasizes that even the best plans can get out of hand

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Immoral X-Men #1

“Sins of Sinister” continues in Immoral X-Men #1 one of a small number of comics that make up the event. Mr. Sinister has used Moira McTaggert’s time reset powers to slowly infect Krakoa and the X-Men, infusing them with a dash of Sinister. The Earth has been taken over, with mutants reigning and controlling. But, threats still exist in a galaxy that won’t stand to the side and let them do the the same in the stars. There’s also the missing Sinister lab with his ability to reset time.

Written by Kireon Gillen, Immoral X-Men #1 picks up on the story’s emphasis that things have gotten out of hand for Mr. Sinister. His plan has worked a bit too well and while mutants have a bit of Sinister in them, he doesn’t control them. Yes, there’s some failsafe aspects he mentions but overall, things have gotten out of hand. Sinister should be happy, he’s won… but he also hasn’t.

And, if the comic focused just on that, it’d be a solid dive into a new idea for an alternate timeline story. Instead, it splits it time as the Quiet Council goes on a hunt for Sinister who they have figured out isn’t quite on board. So, the comic splits between Sinister’s woe is me and a race/hunt. Focusing on either aspect is worth an entire comic, an entire miniseries, but the split doesn’t quite do justice for either. At times Sinister’s lamenting feels like a recap of the story and the X-Men never quite make the case as to why they should rule, their plan, and they come off as a bit unorganized.

The art by Paco Medina is pretty solid and the comic has a sinister feel about it while also a slight comedic aspect as well. Joined on ink by Walden Wong and Victor Olazaba and color by Jay David Ramos and Chris Sotomayor, the visuals are fun and interesting and keep the comic flowing and entertaining. Clayotn Cowle‘s lettering impressively keeps Sinister’s long rants readable and never clutters the visuals. Overall, the comic does an excellent job of delivering a world that has a dark cloud hanging over it but never feeling gloomy. It keeps the “fun” of Sinister as part of its DNA to deliver a slightly different feel for this type of storyline.

While I generally enjoyed Immoral X-Men #1, there’s a choppiness to the narrative that took me out of it. There was almost too much jumping around between Sinister and the Quiet Council and a focus on one or the other would have been stronger. Still, it highlights that this is an alternate timeline tale that’s a bit different than what has come before.

Story: Kieron Gillen Art: Paco Medina
Ink: Walden Wong, Victor Olazaba Color: Jay David Ramos, Chris Sotomayor
Letterer: Clayton Cowles Design: Jay Bowen
Story: 7.95 Art: 7.95 Overall: 7.95 Recommendation: Read

Marvel provided Graphic Policy with a FREE copy for review

Purchase: Zeus Comics – comiXology/Kindle

Preview: Iron Fist #3 (of 5)

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Iron Fist #3 (of 5)

(W) Alyssa Wong (A) Yg, Michael (CA) Leinil Fr

(W) Alyssa Wong (A) Michael Yg, Sean Chen
(I) Michael Yg, Victor Olazaba, Keith Champagne, Don Ho (C) Jay David Ramos (L) Travis Lanham
(CA) Leinil Francis Yu, Sunny Gho (VCA) Jim Cheung
RATED T+
In Shops: May 18, 2022
SRP: $3.99

DANNY RAND’S SEARCH CONTINUES!
But he’s about to realize that he isn’t the only one hunting for the mysterious new Iron Fist!
As demons stalk K’UN-LUN and ugly histories are dragged into the light, the new Iron Fist will have to make a choice between his duty…and his conscience.

Iron Fist #3 (of 5)

Review: What If… Miles Morales #1

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What If… Miles Morales #1

In a worlds where most of grew up with superheroes not looking like us, this is most definitely an exciting time. As movies are looking more like the real world. As authenticity demands identification, and the movie business has started to look like that, and so has the rest of the entertainment industry. It’s appalling to think that it took almost to the 21st century before we even saw a Black superhero onscreen, the first one of course, being Blade.

Then of course, this all changed when the MCU came into existence. As we eventually got see Falcon, Black Panther, War Machine, Valkyrie and Miles Morales. As these characters brought depth and dimension to the MCU and were even upgraded from their comic versions.  In the return of the classic What If series, we get What If… Miles Morales #1 where the title character shows that he would be a superhero no matter what version of him you get.

We are taken to an alternate universe, where they have restarted the Super Soldier program,  and it just so happens to be on the same military base where Miles’s dad and uncle were stationed. One mishap where his uncle Aaron brought the serum home, leads to Miles unintentionally inhaling the serum,  and becoming a super soldier. As he would train with his uncle , proving his mettle enough to where he goes on his first solo mission, as Captain America, where he would suffer his first loss , his uncle. He used the loss to shape him ,with the help of Falcon and SHIELD as he encounters a deadly foe in the Prowler, and  a new villain called Grey Skull,   who have teamed up to  steal a device which emits immense power. By issue’s end, Miles thwarts Prowler’s and Grey Skull’s plans, but soon finds out someone close ot him has betrayed him.

Overall, What If… Miles Morales #1 is a fun story which that reminds us why What If was such an epic series. The story by Ziglar is astounding. The art by the creative team is awe inspiring. Altogether, a story which shows why Miles Morales is such a powerful protagonist.

Story: Cody Ziglar Art: Paco Medina
Ink: Walden Wong, Victor Olazaba, Sean Parsons Color: Chris Sotomayor Letterer: Cory Petit
Story: 9.0 Art: 9.0 Overall: 9.0 Recommendation: Buy

Marvel provided Graphic Policy with a FREE copy for review

Review: Iron Fist #2

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Iron Fist #2

Getting adjusted to a new situation is always difficult. You are often having to deal with new and sometimes obscure variables. Because it is you who deals with it, no one understands your struggle except you. It is whether or not you can adjust and overcome, that makes that new situation bearable.

It is how you find out just what you are made of. As your ability to go with the sea change versus go against it., says a lot about you. That is the essence of life , that change is constant. In Iron Fist #2, Lin Lie struggles to find out how to use his powers.

We are taken to Shanghai, where Lin Lie, who was once Sword Master, but now is Iron Fist and Min Mie as they battle a hoard of demons. As the battle draws to an end,  Lin Lie realizes he has a lot a great deal of what makes him the Iron Fist , the shards left of the Sword of Fu Xi. as he also tries to hone the Chi of Shou-Lao. Meanwhile in Kun Lun, Yang Yi  openly challenges Lin Lie, in a battle of skill, one that Sparrow Yu-Ti  quickly diffuses. By issue’s end, Lin gets trained by Sparrow Yu-Ti and an expected  adversary pops, igniting the Fu Xi.

Overall, Iron Fist #2 is a story that takes an interesting turn. The story by Wong is exhilarating. The art by creative team is gorgeous. Altogether, a story that astounds.

Story: Alyssa Wong Art: Michael Yg, Sean Chen
Ink: Michael Yg, Victor Olazaba Color: Jay David Ramos Letterer: Travis Lanham
Story: 9.0 Art: 9.0 Overall: 9.0 Recommendation: Buy

Marvel provided Graphic Policy with a FREE copy for review

Purchase: comiXology/Kindle – Zeus Comics

Deathstroke’s “Shadow War” Continues in April!

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Fan-favorite writer Joshua Williamson ramps up the action, intrigue and surprises this April as “Shadow War” continues in the pages of Deathstroke Inc., Batman, and Robin!

Part Two of “Shadow War” continues April 5, 2022, in Batman #122, with Howard Porter providing the art and main cover.

Ra’s al Ghul is dead, and Talia is out for revenge! Batman is on the case, in a race against time to find Deathstroke before Talia’s elite assassins do! But as the World’s Greatest Detective starts piecing together clues, he realizes that not all is what it seems when it comes to the death of “The Demon’s Head,” and the questions lead back to Talia herself! What added strain will this place on the relationship of these two former lovers? In the backup story, artist Trevor Hairsine joins Williamson revealing for the first time the secret first fight between Batman and Deathstroke!

Batman #122 also features a main variant cover by Gabriele Dell’Otto, a linking 1:25 ratio variant cover by Roger Cruz and Victor Olazaba, and a 1:50 ratio variant cover by JOCK.

Artist Paolo Pantalena joins Williamson as artist for Part Three of this exciting event on April 26 in issue eight of Deathstroke Inc! Following the death of Ra’s al Ghul, Deathstroke Inc. has been destroyed, his villain associates have been killed by the Demon’s Shadow, and Slade and Respawn are on the run! If they can survive this deadly gauntlet of skilled and bloodthirsty assassins, maybe Deathstroke will be able to explain to Batman why he killed Ra’s!

Deathstroke Inc.#8 features a main cover by Jonboy Meyers, a variant cover by Chris Burnham, plus the second of three linking 1:25 ratio variant covers by Roger Cruz and Victor Olazaba.

Williamson, and artists Roger Cruz and Norm Rapmund, close out the April action in Part Four of “Shadow War”, also on sale April 26. Robin and Ravager finally catch up with Deathstroke and Respawn, but will they convince Slade to turn himself in, or does this become a fight to the death? And what startling revelation does Robin learns that is sure to rock Shadow War to its very foundation? Plus, Batman goes deeper into the conspiracy behind Ra’s al Ghul’s death and discovers that it’s bigger than he thought. He’s calling in backup, just not the backup that readers will expect!

Roger Cruz provides the main cover, with Crystal Kung providing the variant cover for this issue, with Cruz and Victor Olazaba also providing art for the 1:25 ratio variant that completes the three linked images.

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