Conrad (the Wonder Woman series) and Ringo winner Chisholm (Miles Davis) riff on haunted house tropes in this twisty supernatural thriller about the pervasiveness of violence. Ghost hunter and social media personality Del heads a haunted-house exorcism team comprising Jacob, a devout young minister, and Holland, a snarky, nonbinary professional debunker. Del believes that sites of violence need to be spiritually cleansed: “These places are wounded,” he warns. “They lash out.” But after the trio encounters real ghosts, a bloody pattern emerges—someone connected to each site they cleanse ends up murdered. Del becomes obsessed with cleansing California’s Salton Sea, which he believes to be particularly cursed. As the exorcists’ lives and mental states unravel, buried secrets are unearthed. Chisholm’s figures and faces are often stiff, but he excels at drawing scenes of horror, from a squirm-inducing masked serial killer to glowing ghosts and a hallucinatory image of a house coming to life. The boldly contrasting color schemes add to the sense of disorientation. This chiller offers more than enough shocks to make horror fans feel at home. (Jan.)

Reviewed on 02/06/2026 | Details & Permalink

Beneath its pastel-pretty surface, this print debut from writers Chi pa rang and Mitchu with art by R.PPOBI offers a feverish take on gothic pulp fiction. Servaine Noxirel, the scion of a wealthy family in a fantasy world reminiscent of 19th-century Europe, is bedridden with physical and mental ailments inherited through her troubled bloodline. Her father, who’s desperate to entertain her, gives Servaine an alluring captured merman named Mel—and her infatuation swiftly turns obsessive and controlling. “He is mine and only mine,” she sneers, and only after near-disaster does she begin to understand the cruelty of her behavior. Flash forward years into the future, when a relative also named Servaine Noxirel sets out to claim her inheritance, only to find a man who looks like Mel standing in her way. Is the merman back? And if so, does he seek romance or revenge? The delicate, decorative art is reminiscent of a Victorian valentine, all pastels, flowers, silks, washes of light and art nouveau compositions framing attractive leads in elegant poses. But the plot is rife with murder, melodrama, and other gothic tropes, up to and including madwomen not quite in attics. The momentum sometimes pauses too long for tormented inner monologues, and the time jumps between the two Servaines can be confusing. Even so, devotees of all things gothic will want to dive in. (Feb.)

Reviewed on 02/06/2026 | Details & Permalink

Eisner winners Ennis (the Boys series) and Cloonan (Somna) join forces to sketch a gripping vision of the end of the world. For writer David, his pregnant wife Nikki, and their intellectual New York City circle, war is an abstract concept to debate over drinks—until nuclear bombs fall on London and obliterate the city. As WWIII breaks out, seemingly instigated by Russia, they follow updates on social media, and Nikki becomes enraged when David’s first instinct is to pitch a book about the crisis. War still seems far away until, suddenly, it isn’t. Watching in despair as nations fail and fall, their friend Maggie comments bleakly, “All these millennia of human development, and that’s the best we can do.” Soon the survivors are dealing with radiation sickness, attacks from raiders, and nuclear winter. As usual, Cloonan’s art hooks readers with a glance. The characters, rendered in bold strokes, look and feel painfully human as they face devastation on a massive scale. The script tips into excess at the close, but conveys the urgency of 1980s nuclear-warning specials like The Day After and Threads, or John Bergin’s 1993 graphic novel From Inside. Terrifyingly relevant, it’s a much-needed jolt to the system. (Feb.)

Reviewed on 02/06/2026 | Details & Permalink

This lush erotic horror from Mullane (Painted) and Eisner winner Lotay (Somna) conjures dark delights out of the rock ’n’ roll world of the late 1960s and early ’70s. During the tarnished later days of the Summer of Love, a tight-knit, glamorous circle of six groupies—Amina, Lisa Storm, Vera Vicious, Morgaine La Fey, Gaia, and Myuuzu—prowl the Sunset Strip. “The rock stars we make love to, soon learn that they are blessed to get with us,” Gaia opines, over rumpled post-coital images of a threesome that includes her sometimes-lover Morgaine; in the next scene, she and Morgaine pull tarot cards and pop pills. When the gang goes on tour with the Moon Show, the hottest new band on the West Coast, they’re thrilled to be at the center of the action, and Lisa falls for sexy, sinister lead singer Si. But the party morphs into a bad scene: groupies start to disappear, and the band turns out to be involved in Satanic shenanigans. Each chapter is told from the viewpoint of a different groupie as she peers through a miasma of sex, drugs, and blood sacrifice. Lotay’s smeared neon colors evoke the psychedelic haze and smoggy Los Angeles sunsets of the era, the painterly art rendering steamy eroticism within warped Satanic Panic tropes. Despite the story’s abrupt ending, horror fans will enjoy this murky nightmare. (Feb.)

Reviewed on 02/06/2026 | Details & Permalink

Set in a future wasteland of deserts, warlords, and manga-styled robot throwdowns, this inventive series launch from Lullabi (the Transformers series) and Lucas (the Destro series) finds an entrepreneurial spirit starting a food truck. Between lanes of Fury-Road chaos, chef Loloi peddles noodles spiced with an impossibly hot pepper only she can make palatable. Lullabi’s storytelling bridges the everyday business of food service—sourcing peppers; getting hauled into town for repairs; competing with a rival purveyor of provisions—and an epic backstory of a godlike hero turned ruler punching a world-threatening monster into the moon. Mysterious warrior Ash returns from parts unknown to contest that legend, stirring alarm from the powers that be. In a classic samurai story turn, Ash just wants to slurp a bowl of Loloi’s soup but instead must stomp enemy after enemy in a succession of strikingly composed battles. The art is influenced equally by anime and bande desinée, and an episodic stolen-valor plot involving Ash’s old warrior cohort ends up feeling generic. It’s the food-truck thread that steals the show, and serves to humanize Ash. Fans of cozy postapocalyptic fare will want to sample this first course. (Feb.)

Reviewed on 01/30/2026 | Details & Permalink

Boecher’s tenderhearted graphic novel debut follows a stand-up comedian to his aunt’s funeral at Chicken Heart Love, the commune she founded. Jackie Locklear hasn’t spoken to his trans aunt Sheila in over a decade, ever since their family “disowned her after this one Thanksgiving,” but he unexpectedly gets an invitation from her found family, “the Chicken Hearters,” to speak at her memorial (she died by suicide). Jackie has also been considering a gender transition, and jokes about it in his stand-up set, quipping that he doesn’t want to “fight raccoons” while dumpster-diving “for a whole new wardrobe.” Secretly, however, Jackie admits that he’s a trans man: “I wince in pain every time someone calls me a ‘she.’ ” At Chicken Heart, “a place for misfits,” Jackie faces the commune’s complicated grief, his regrets around his estrangement from Sheila, and his “crushing loneliness”—particularly after he hooks up with the commune’s bard, Will (“Oh, stupid heart,” Jackie says to himself). Blending bubbly dialogue and moments of introspection, Boecher depicts how an interdependent community must carry on in the wake of its founder’s suicide. The thick, simple linework and three-color palette ground the proceedings, with a few whimsical flourishes, and emotions hold the spotlight. By turns sad and joyous, this is a moving treatise on the many meanings of love and loss. (Feb.)

Reviewed on 01/30/2026 | Details & Permalink

Nothing comes easy for the denizens of Hamilton, Ontario, in these wry, bruising, and mordantly funny stories from Ollmann (Fictional Father). In “Nestled All Snug,” a toppled pile of boxes traps a bookstore employee in a dingy staff bathroom. In “Meat,” a security guard at a meat-packing facility falls in with a band of animal rights activists. Elsewhere, a hapless landlord’s short-term rental catches the attention of a murder podcast in “The Late Checkout,” and a husband gets caught in an anxious interior monologue while washing dishes as his partner’s faculty party drags on past midnight in “The Thought That Counts.” The title story finds a city maintenance worker paralyzed by PTSD after a close brush with a woodchipper. In these close-call episodes, catastrophe is averted but exposes the precariousness of everyday life. Captured in blunt, agitated lines that nod to Lynda Barry, Ollmann’s mostly blue-collar figures wear their strain openly—all sweaty brows, exhausted eyes, and frayed nerves. Ollmann doesn’t trade in schadenfreude, however. His characters narrate their ordeals with self-deprecating frankness, steering out of occasional skids into misanthropy to marvel at the absurdity of predicaments that should, by rights, flatten them. These unsentimental stories withhold tidy resolution, leaving their protagonists upright if not unscathed as the world carries on unfazed. Fans of Peter Bagge or Ed Brubaker’s A Complete Lowlife will get it—as will anyone who’s ever felt the floor drop out from under them. (Feb.)

Reviewed on 01/30/2026 | Details & Permalink

The blind lawyer turned vigilante superhero fights his final battle in this potent Daredevil tale from returning series writer Soule (One Billion Genies) and artist McNiven (Old Man Logan). In a bleak future beyond the current Marvel universe, an elderly Matt Murdock has lost his extrasensory crime-fighting powers (“just an average Joe,” he calls himself), and the rest of the superheroes are dead, gone, or depowered. Then Murdock’s otherworldly radar skills are accidentally reactivated by a dirty bomb. Tasked by a dying Captain America with rescuing Tyra, a mysterious new mutant whose name and brilliant powers hint she might be the daughter of Daredevil allies Cloak and Dagger, Daredevil races against the clock to stop his old enemy Bullseye as his powers begin to fade again. Soule’s narrative is peppered with guest appearances by former Marvel heroes including Elektra and Punisher, and the stark, swift story suits Murdock’s acutely painful and personal crusade. McNiven’s art recalls Frank Miller’s notable run on the series, blending the energetic stunts of Miller’s 1980s comics with his scratchy inks in The Dark Knight Strikes Again. Marvel has produced several speculative “last story” tales for its heroes; this proves one of the best yet. (Feb.)

Reviewed on 01/30/2026 | Details & Permalink

McCreesh follows her sweeping Eisner-nominated travelogue Degrees of Separation with an intimate and gently amusing collection of one-page vignettes about child-rearing. The cartoons document seven years of McCreesh and her husband “living with small people,” specifically son Riel and daughters Sam and Dominique (who is born midway through the book), plus two dogs. The family is tight-knit, the kids fascinated by their own existence and one another’s—in bed at night, Riel comments with puzzlement that he didn’t see Sam’s conception, and concludes, “Maybe I was at daycare, so that’s why I missed it.” Their observations are a kid-typical mix of cute (“You can hear feelings in songs”) and disturbing (“Is there anyone you know who didn’t become dead?”). Many scenes receive wry titles like “The case of the terrible 9 year old roommate” or “The case of the 3-year-old who was very much 3 years old.” McCreesh’s vibrant, squiggly line lends knowing charm to familiar parental tragicomedies: toilet training, spontaneous undressing, tantrums, and weird questions galore. It’s a light and sweet palate cleanser, full of moments families will recognize. (May)

Reviewed on 01/23/2026 | Details & Permalink

This dense and incantatory fable from musician and poet Williams ((US) a.) and multimedia artist Sorne melds political critique, spirituality, and Afro-mythology with cyberpunk imagery. In the East African country of Burundi, the land and people are ravaged. Matalusa’s brother is killed by a soldier while mining a resource called coltan. He flees and meets Elohel, a one-armed man who understands coltan’s properties. They build a home in a graveyard of technology that the ore once powered, and encounter a girl named Memory who’s guided by a bird only she can communicate with. Slowly more refugees with unique backstories find their way to the camp. When a cosmic being called Neptune joins, the technology comes to life, and the art transitions from black-and-white to neon. Ultimately, the heroes find that #martyrloserking trends worldwide as a global tech breach is reported. As the rest of the world reacts to the hack in various ways, the people of Martyrloserkingdom philosophize about art, music, poetry, and how to use the power they now hold. While lyrical ambition overwhelms narrative clarity at times, the spirit of this work is infectious. It’s a graphic poem of resistance wonderfully told through Afrofuturistic flare. Agent: (for Williams) Charlotte Gusay, Charlotte Gusay Agency. (Apr.)

Reviewed on 01/23/2026 | Details & Permalink