Terminal #4 (Image Comics, 10/28/26): Writers Robert Kirkman and Joe Casey & artist Andy Kubert find the Maculox team fractured when Crusher’s sister’s body is found missing, and the thief has grand plans for the genetic material. Kirkman and Casey’s disjointed chapter does a lot of moving around, even if nobody knows why. Verdict: A pretty book with a frustrating plot.
Credits:
- Writer: Robert Kirkman, Joe Casey
- Artist: Andy Kubert
- Colorist: Dave McCaig
- Letterer: Rus Wooton
- Cover Artist: Andy Kubert (cover A)
- Publisher: Image Comics
- Release Date: October 28, 2026
- Comic Rating: Teen
- Cover Price: $3.99
- Page Count: 36
- Format: Single issue
Covers:
Analysis of Terminal #4:
First Impressions:
I’m giving it until issue #6. If Kirkman and Casey can’t figure out how to explain what’s happening, why anyone is doing what they’re doing, or where the story is headed by them, this title will only have shown that it’s okay with wasting the reader’s time.
Recap:
Terminal #3 opens with a brief prologue revealing how Obelisk, a giant sentient heart, was born after a spelunker in Brazil was exposed to a mysterious light that caused his heart to expand and rip from his chest. The story picks up in the middle of a brutal battle between the mutant teams, where Goblin gruesomely kills Racer before Obelisk orders his team to retreat, leaving Maculox’s defeated team to grieve their loss. Meanwhile, Theed communes with Maculox, Crusher receives an encrypted message about Syrians using chemical weapons, and Mr. Wright meets with a mysterious trio while preparing to recover Crusher’s deceased sister’s body, as Tyler assembles a flash drive intended to persuade Crusher to do something that remains unexplained.
Plot Analysis (SPOILERS):
The issue opens with Obelisk addressing its confused team. They feel that they were denied victory by Obelisk’s retreat order. Obelisk silences their dissent and forces them into an “upgrade” of some kind that’s not clear. Elsewhere, Allie leaves the island to follow up on the cryptic text message. The groundskeeper of the cemetery where her sister is buried shows her that the body was stolen.
Meanwhile, Anita Krowne has received word that the body’s death has been discovered. Undeterred, she asks her technicians for a report on their research of the body’s makeup. They learn that the body contains alien traces, which is the key to Krowne’s plans… whatever they may be. Shifting again, Maculox instructs the remaining team to find the next recruit: a lowlife named Sid who trains his hound for brutal and lethal dogfights. Sid eagerly accepts the offer after his dog was shot by a competitor named Osterman.
When Sid reaches the island, everyone agrees to treat his dog while Sid undergoes the transformation. Unfortunately for Sid, the transformation is gross and painful. Elsewhere, Crusher receives a new text message and infiltrates a secret building in Atlantic City. The message is a trap set by Krowne’s people, meant to capture Crusher.
The issue ends with Obelisk addressing a new recruit who doesn’t mind shooting dogs.
How is the story in Terminal #4?
You’ve read the description above, so you can already guess where this critique is going. Robert Kirkman and Joe Casey are giving readers plenty of energy and tension, but the plot is a disjointed mess. None of the fundamentals of a story that can be followed and is designed to engage the reader are present, hidden by fractured moments and stupendous art (more on that below)
Who is the focal character? It’s not clear. What are the goals, stakes, and motivations of anyone on either side of the conflict, including Obelisk and Maculox? Forget about clarity; none of those elements are hinted at. It’s as if the writers are assuming the readers will just go with it because the comic is tense and pretty. Sorry, but that’s not good enough.
It’s truly baffling how poorly constructed this story turned out.
How is the art in Terminal #4?
In a stunning display of contrasts, Andy Kubert’s artwork is the polar opposite of the script in terms of quality and entertainment value. Kubert is one of the few legends in the Comics Industry whose execution is just as good today as it was decades ago. The pencils/inks are gorgeous, Kubert’s hatching work is unmatched, and the physicality of every character just looks so darn complete and solid.
Characters
Who’s the main character, the lead character, or the character who takes the lead in the issue? Who knows? The script is so disjointed and all over the place that it’s a mystery trying to figure out where you should be paying attention. With one or two exceptions, you can’t say for sure who the villains are and who the heroes are.
Originality & Concept Execution
Sure, the issue is original in the sense that nothing appears to be patterned after a known story, trope, are storytelling theme. If you’re curious about the execution, it’s lacking.
Pros and Cons
Art Samples:
The Scorecard:
Writing Quality (Clarity & Pacing): 0.5/4
Art Quality (Execution & Synergy): 4/4
Value (Originality & Entertainment): 1/2
Final Thoughts:
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Terminal #4 is supposed to be Image’s answer to the X-Men. Despite a promising start, the plot has quickly devolved into a chaotic mess. Kirkman and Casey know how to elicit dramatic moments and energy, but nothing makes sense, nobody’s motivations are clear, and the conflict persists without rhyme or reason. Only Andy Kubert’s stunning art makes this issue readable.
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