Welcome to this week in comic book reviews! The staff have come together to read and review nearly everything that released today. It isn’t totally comprehensive, but it includes just about everything from DC and Marvel with the important books from the likes of Image, Boom, IDW, Valiant, and more.

The review blurbs you’ll find contained herein are typically supplemented in part by longform individual reviews for significant issues. This week that includes Wonder Woman: Dead Earth #4, Maestro #1, Shadow Service #1, and Rai #6.

Also, in case you were curious, our ratings are simple: we give a whole number out of five; that’s it! If you’d like to check out our previous reviews, they are all available here.

And with that, on to the reviews — which are listed in alphabetical order, but first by DC, Marvel, and the rest of the publishers.

DC #1

AQUAMAN #62

Aquaman has been hitting on all cylinders lately, and though this issue takes a bit of a detour from the main narrative, it’s still well worth your time. Writer Jordan Clark takes a breather to focus on Jackson and his rather surreal family, which at the moment consists of Black Manta and his grandfather Jesse, though the latter is the conscious of his grandfather in a giant Manta mech. That’s actually where the book shines, as writer Jordan Clark somehow turns that off the wall premise into a moving story of attempting to understand your family that anyone can relate to. The moments between Jackson and his Grandfather are delightful, even when they clash. Artists Robson Rocha and Marco Santucci, as well as colorist Romulo Fajardo Jr., give each of these sequences the emotional weight it needs, even when a giant Manta Mech is filling half the page. Granted, the book lacks much in the way of action (aside from one brief sequence) and this isn’t an essential tie-in to the main storyline, but even those nitpicks aren’t enough to take away from what the book does so well, and if you’ve got room in your pull list this week, Aquaman is definitely worth a look. — Matthew Aguilar

Rating: 4 out of 5

BATMAN #97

There’s a lot of ongoing hype about “Joker War” and while there are elements of the arc that are certainly interesting, Batman #97 (and indeed much of Tynion’s Batman run in general) feels bogged down and more than a little bit directionless. In this issue specifcially too much time and effort is placed on Tynion’s new character creations in what is supposed to be a Batman/Joker tale and, more than that, just keeps repeating ground previously tread. Batman hallucinating because of his enemies and taking pretty disturbing trips into trauma territory has been done to death and it’s done to death yet again in this issue. It’s just a further example of how stagnant and superficial this story—and much of this run—has been. Everything seems like it’s just designed to hit checkboxes and is being pushed along less by the potential of the story (and to be clear, there are moments that do feel like this story and this book in partcular could be more) but by the marketing buzz for it. The result is a bland book that even the lovely art can’t save. Batman #97 finally reaches the tipping point where the grand art can no longer cover the holes in the story. By now we should know what Joker’s grand plan is or at least be stepping into a showdown. We’re not. And it almost feels like we never will be. — Nicole Drum

Rating: 2 out of 5

CATWOMAN #24

This issue concludes Selina’s two-part adventure in Isla Nevada, and it culminates in an experience that’s enjoyable, but rather inconsequential. The issue provides a bit more context for the giant panther that’s attacking Isla Nevada, before culminating the conflict with Snowflame. The issue has some occasional bright spots – mainly when it comes to Selina and Snowflame—but there’s nothing in the issue that really narratively or aesthetically packs a punch. — Jenna Anderson


Rating: 3 out of 5

HARLEY QUINN #75

Harley Quinn #75 brings to an end both Humphries’ run and the title itself and while it’s far from a perfect book, the issue does an incredible job of bringing together elements from pretty much everything in the series before it, tie into Joker War, and even celebrate Harley for all the wacky, weird, and truly insightful gloriousness that she is. Not everything works here—the “roast” concept comes off as pretty weird in places—but at its heart, the issue deals so realistically and beautifully with Harley’s ongoing grief and trauma and reminds the reader by reminding Harley herself that people are all imperfect, but that’s just fine. It’s a lovely send off for the title, a book that fully humanized one of comics more colorful and sometimes underestimated characters. — Nicole Drum

Rating: 4 out of 5

JUSTICE LEAGUE #51

Justice League continues to tread water, with another standalone story, this time by Jeff Loveness and Robson Rocha. The issue is narrated by a giant Black Mercy plant that has infected an entire planet and has somehow lured the Justice League into its trap. This isn’t necessarily a bad Justice League story—it seems to be teasing an end of sorts for this iteration of the team—but it feels incredibly disconnected from the rest of the Justice League. Justice League just feels very out of place right now, and that makes it a hard sell. — Christian Hoffer

Rating: 3 out of 5

DC #2

METAL MEN #9

As Metal Men marches towards its conclusion, it continues to lay groundwork in a slightly-overwhelming, but interesting way. The team’s fight against Chemo continues to some visually interesting ways, while the mystery of Nth Metal Men begins to be uncovered. One of the biggest praises of Metal Men is its overall consistency—the plot might fluctuate between great and underwhelming, but there’s still a sense that the creative team is having fun putting this book together. This might not be a standout Metal Men issue, but it’s still solid. — Jenna Anderson


Rating: 3 out of 5

NIGHTWING #73

Inconsequential. Inessential. Totally forgettable. Nightwing #73 is a footnote to an event in which the most memorable element is the eye-rolling reaction induced by the “big introduction” of knockoff Harley Quinn. This middle chapter barely bothers to stitch the two halves of its story together, but it’s hard to find much momentum in a story that is required to save the story for Batman proper. Instead, readers can read both Dick and Barbara’s long-winded explanations of their current circumstances and why these homely action sequences should be exciting. It’s not difficult to overwrite an issue that barely pushes a story, but Nightwing #73 goes the extra mile in filling up empty space with similarly vacuous prose. Nightwing has been on a road to nowhere ever since Dick Grayson’s identity was erased, but this issue is a low point for a title that disappeared in Batman‘s shadow a long time ago. — Chase Magnett

Rating: 1 out of 5

TEEN TITANS #44

Some superhero comics read like they are ready to be entered into impacted Wikipedia pages before being promptly forgotten—Teen Titans #44 is one of those comics. It’s centered on plot points and exposition between serviceable action sequences. Nothing ever feels exciting because the stakes are largely undefined and even C-list villains read as being protected while the title touts Robin’s terrible new desire to slay them. Characters respond to this conflict with bland platitudes about heroes and killing, but they never manage to say anything that functions beyond the surface level. There’s no life in this motley crew of superpowered soon-to-be-forgotten teenagers, and it’s a missed opportunity. Rather than investing any energy in its core cast, Teen Titans thrives on the assumed impact of more recognizable guest stars like Deathstroke and Batman. Events occur on these pages and a story moves forward ever so slowly, but it’s unlikely that any of it will be remembered beyond digital summaries on neatly organized white pages in a year. — Chase Magnett

Rating: 2 out of 5

WONDER WOMAN ANNUAL #4

By far, the biggest problem for this Wonder Woman Annual is that it arrives two issues into Mariko Tamaki’s stellar Wonder Woman run, because that leaves this issue reading as largely a bloated, but inconsequential, mess. The story pits Diana deep into Themysciran politics, as Diana gets pulled into a conflict involving other tribes of Amazons, as well as the villainous Dark Fates. There are moments of this story that are legitimately well done—especially those that address Wonder Woman’s altruism and its impact on the larger world—but they’re buried in pages upon pages of clunky dialogue and halfhearted references to the events of previous issues. This does succeed at being an epilogue of sorts to both Steve Orlando and G. Willow Wilson’s Wonder Woman canon, but it’s far from the best issue of Wonder Woman you can pick up right now. — Jenna Anderson


Rating: 2 out of 5

WONDER WOMAN: DEAD EARTH #4

[READ THE FULL REVIEW HERE]

Wonder Woman: Dead Earth started with an interesting premise: what happens when you drop humanity’s greatest protector into a post-apocalyptic world in which humanity barely clings to existence after a horrific nuclear apocalypse? By the time the fourth and final issue arrived the question had become not what happens, but how does Diana move forward and with Wonder Woman: Dead Earth #4, writer and artist Daniel Warren Johnson yet again delivers a masterpiece that both reinvents and captures the core of Wonder Woman. While the series brings us to humanity’s last stand in this final issue and has unpacked the reality that it’s Wonder Woman that has brought the world to such devastation in the first place, at it’s core is a concept that Diana will still do what is right. Balancing that, however, is the idea that Diana’s redemption is not solely in her own hands. In fact, there is no redemption for Diana. There is no easy forgiveness. She must make a choice and what the book does so well is reminds that in the end it’s not the hero who decides what saving the day means. It’s the people impacted. Overall, it’s a powerful and beautiful book with a solid ending and while the open-ended final “conclusion” feels like it could have been tightened up just a bit, Wonder Woman: Dead Earth #4 is an absolutely amazing finale for this series that is easily one of contemporary comics’ best. — Nicole Drum

Rating: 4 out of 5

Marvel #1

AVENGERS #35

“The Age of Khonshu” continues in Avengers #35, and while it’s gorgeous throughout, it doesn’t really hit its stride until about halfway through. Writer Jason Aaron’s banter game is strong here, with delightful quips from She-Hulk, Iron Man, and Blade throughout the issue and Iron Man’s mini freakout with the Starboard baby is absolutely priceless and is by far one of the Iron Avenger’s most relatable moments. It takes a bit too long to get there though, as over half the issue is gone before that sequence, and the inner monologues from Moon Knight and Khonshu aren’t nearly as riveting. That said, artist Javier Garron and colorist Jason Keith make each of those pages sing, filling each panel with big colors and even bigger action. She-Hulk has never looked more imposing, and who knew there could be that many crazy versions of Mephisto? The issue may drag a bit at the beginning, but by issue’s end it’s all worth it, and hopefully, the next issue can keep the momentum going right from the start. — Matthew Aguilar

Rating: 3 out of 5

CABLE #3

The creative team of Duggan and Noto has really struck gold with this new addition to the world of the X-Men during the Hickman era. Adding some meat to the bones of “Teen Cable,” the series takes the approach of ramping things up to the extreme with wild elements you wouldn’t see anywhere else. Whether you’re a fan of the Nataniel Summers or not, Cable is definitely worth your hard-earned dollar. — Evan Valentine

Rating: 4 out of 5

CAPTAIN AMERICA #22

The latest issue of Captain America falls prey to the same cons of previous installments in that it has a strong story with art work that is both under par and not necessarily fit for the kind of story that Coates is trying to tell for Steve Rogers and company. As the latest arc of “All Die Young” ramps up its finale, I wish that combined creative forces of the team synced better. –Evan Valentine

Rating: 3 out of 5

CAPTAIN MARVEL #20

There was quite a bit of buzz when Captain Marvel was announced as the new Supreme Accuser, but who knew that a Kree Skull alliance would bring out the best in not only the character but the series overall. Writer Kelly Thompson delivers the charm, humor, and fearlessness of Cap and her supporting cast all throughout the issue, though the book shines even brighter when Lauri-Ell is involved. Hazmat, Spider-Woman, Rhodey, and Carol all play off of Lauri-Ell’s fish out of water persona extremely well, and the scenes between her and Chewie are will get a chuckle from just about anyone. The dynamic between Hulkling and Carol also shines, engendering even more empathy for Hulkling in taking on this at times seemingly impossible task. When things call for a throw down artist Cory Smith and colorist Tamra Bonvillain are up to the task, delivering eye popping battles with plenty of hammers in the mix, and man those suits look amazing. This issue has everything a Cap fan could want, so if you miss out, it’s your loss. — Matthew Aguilar

Rating: 5 out of 5

CONAN: BATTLE FOR THE SERPENT CROWN #4

A blue-skinned, water-breathing Conan is just as surprising to see as the turn of events probably is for the barbarian himself. The circumstances Conan finds himself in grow more outlandish in every issue of Battle for the Serpent Crown, but it’s Conan’s superbly simple and no-nonsense dialogue that keeps things grounded. The carousel of cameos looks the best is has so far underwater with bright flashes of color going against the blue hues of the ocean while Conan clashes with his foes. If the build up is an indication of what’s to come, the conclusion should be a satisfying one. — Tanner Dedmon

Rating: 4 out of 5

EMPYRE: X-MEN #4

There is a very low ceiling for expectations of superhero event tie-ins, and Empyre: X-Men has destroyed those low expectations like Explodey Boy sitting on an oil tanker. The finale manages to pay off many of the most satisfying riffs from across the miniseries, altering the status quo with Hordeculture and resolving the issue of mutant zombies. However, the character moments are what make this climax sing. Hickman’s approach to writing both Doctor Strange and Wanda Maximoff is a joy; the former possesses the curmudgeonly qualities of a younger Larry David while the latter is reset as a grand tragic figure awaiting her next X-story. Yet it’s ultimately Explodey Boy that makes Empyre: X-Men #4 the best issue to emerge from the entirety of “Empyre.” The conversation between himself and his zombie self in these pages manages to transcend the silliness and chaos on the page and provide a deeply cathartic moment. It’s a promise that there will be day when things are better after so much awfulness. Even if it turns out to be a lie, it’s difficult not to celebrate the lie as it is told. — Chase Magnett

Rating: 4 out of 5

Marvel #2

EXCALIBUR #11

Excalibur continues to exist in a liminal space between defining its purpose and bouncing (semi-aimlessly) between ideas. Excalibur #11 exists primarily in the former space, but delivers three cliffhangers to suggest once again these many charming characters and interesting ideas are about to cohere into another compelling “Dawn of X” title. An info page serves as the primary example of this issue’s lackluster pacing, delivering lots of information about a bizarre world in the least interesting fashion imaginable. Excalibur doesn’t lack for ideas—issue #11 goes a long way to making Rictor a much more central character—but those ideas rarely connect to one another or maintain a sense of tension. While it seems obvious that Rictor will play into the threads surrounding Captain Britain, the connections are lacking and that slows down the team dynamics notably. Perhaps Excalibur is finally ready to crest its storytelling hill, but readers will have to wait one more issue to find out. — Chase Magnett

Rating: 3 out of 5

LORDS OF EMPYRE: SWORDSMAN #1

Finishing Lords of Empyre: Swordsman, it feels like a catastrophic mistake not to have included this narrative in the core series. Whereas Empyre has failed to define the motives and hearts of its Cotati characters, this single issue develops a deeply compelling narrative for both Swordsman (or rather, the being who uses his form) and his son Quoi. It is a tragedy that manages to finally provide meaning for why an oppressed, but pacifist group of people would pursue such a radically violent agenda. The issue also roots that grand tragedy in the relationship and perspectives of two specific characters. Even starting the issue with no attachment to either Swordsman or Quoi, they are presented—both in visuals and speech—in a fashion that quickly develops them both to be fully realized characters. It’s shocking to read Swordsman #1, perceive it as the heart of a much larger story being told, and realize that it has been excluded from a narrative desperately seeking its definition. Any reader of Empyre should consider Swordsman #1 a necessary addition and those avoiding events may still find lots to appreciate about this striking one-shot. — Chase Magnett

Rating: 4 out of 5

MAESTRO #1

[READ THE FULL REVIEW HERE]

Any reader’s opinion on Maestro #1 is bound to depend on their connection to the source material. The fan of Peter David’s Hulk in me is still excited to see some colorful mortar applied to cracks in the writer’s iconic run. However, the modern reader of superhero comics struggles to look past the many ways in which this story remains a product of a different time. No matter how impressive Peralta and Keown’s artwork may be, they cannot cover for how slowly the story arrives at obvious points and the threadbare character work on display. It all reads like a script plucked from 1992 and finally drawn in 2020. Maestro is not a story that needed to be told, but it can still be enjoyed in the proper context. — Chase Magnett

Rating: 3 out of 5

SPIDER-WOMAN #3

Spider-Woman’s life is pretty hectic these days, but damn if it isn’t entertaining. Writer Karla Pacheco is clearly having a blast with Jessica Drew, but as Jess goes from one crazy situation to another she continues to evolve and grow along the way, all with that killer sarcasm that fans adore so much. Granted, Michael seems like a complete idiot, but it helps that Jess is in on that joke, using him as a bit of a punching bag. As much s Marchand’s stupidity stands out, his daughter Rebecca’s genuineness and honestly balances it out, with one exchange between her and Jess acting as the crucial emotional tether in all this. Artist Pere Perez and colorist Frank D’Armata consistently showcase Jess as the true threat she is in this series, and that trend continues here, with action sequences that highlight Spider-Woman’s raw power and fearlessness. Representing Spider-Woman as a threat and a force to be reckoned with is something of a mission statement for the series, and so far it’s delivering on this in spades. — Matthew Aguilar

Rating: 4 out of 5

STAR WARS: BOUNTY HUNTERS #4

Valance continues his pursuit of Nakano Lash with a new ally in tow, as they both have reasons to catch up with the bounty hunter. Bounty hunting is a difficult business, however, with virtually every hunter having people hunting them as well, as this issue reveals a number of unexpected targets from some of the deadliest figures in the galaxy. Star Wars fans will surely appreciate flipping through this book to see famous character engaged in all manner of combat, but those who commit to reading the narrative might be left confused. This issue continues the title’s trend of introducing new characters and expositing their backstory and connections to familiar characters, all while offering a fractured narrative that jumps back and forth between seemingly disparate scenes. The action is exciting, but the narrative foundation leaves much to be desired. — Patrick Cavanaugh

Rating: 2 out of 5

THOR #6

Thor #6 is a big issue, one that alters the status quo of Marvel Comics canon in a way bound to catch some clicks. The entire issue is depicted in lavish detail that serves up the climax of Thor and Galactus’ battle with The Black Winter in excellent fashion. Each moment looks great, but they read like the endless escalation of later Dragonball Z seasons. Both of the big reveals in this issue are presented in grand splashes; the first feels unearned and the second looks like a mad-lib based on Donny Cates’ superhero oeuvre. Thor #6 is dedicated to playing the hits and that diminishes its impact significantly. — Chase Magnett

Rating: 3 out of 5

WOLVERINE #4

Way back in Wolverine #1, we got a tease of a Wolverine vs. Dracula story arc. That story begins in earnest in this issue, with Wolverine caught up in some trouble as his past catches up with him on the Canadian frontier. On the one hand, it makes me chuckle that Wolverine has put enough bodies in the ground that he can’t escape his bloody past even on the edge of the world. However, it still makes for a hell of a coincidence, which pulled me out of the story. Anyways, Omega Red also makes an appearance and hopefully, the long-promised fight between Wolverine and vampires will get a lot more interesting next issue. — Christian Hoffer

Rating: 3 out of 5

Other Publishers #1

ATLANTIS WASN’T BUILT FOR TOURISTS #1

Atlantis Wasn’t Built for Tourists, if pitched in a brief blurb, would sound very familiar. Secrets and creeping genre elements swirling around a mysterious protagonist, accompanied by something not too distant from the unofficial house style of new publishers made me skeptical on page one. However, the story unfolds in a fashion that is engaging with every page turn. Each new bit of information offers readers something to sink their teeth into, whether it’s some tense wordplay or a genuinely shocking escalation in the stakes. Writer Eric Palicki lets every reader know exactly what sort of story this is by the end of the issue, and ensures they already have a roster of characters and plot threads to track. It’s an engaging debut from start to finish that offers a sense of polish rarely seen outside of a handful of publishers. This is not simply a team and series I want to keep my eye on for future developments; I’m already on board for whatever comes in issue #2 because Atlantis Wasn’t Built for Tourists is a confident debut that promises only greater thrills ahead. –– Chase Magnett

Rating: 4 out of 5

DEAD DAY #2

Continuing from the very strong series debut, Dead Day #2 maintains the slick, polished zombies-meets-The Purge story vibe of things and takes it to the next level by offering some insight into why Melissa needs to leave her family on arguably the most dangerous night of the year to deal with something and someone from her past. The issue brilliantly pivots to add a new element to the story, adding undercurrents of revenge as well as a possible murder mystery. On top of that, the sub plot about the cultists and Melissa’s son begins to open up a bit as well creating a book that is balanced, intriguing, and completely unique. It’s a good second issue from cover to cover. — Nicole Drum

Rating: 4 out of 5

DECORUM #4

I love diversions in novels and large narratives—going down a rabbit hole to explore lore that enhances the more familiar characters and flow of events. That’s exactly what Decorum #4 delivers, focusing on a single, abstract chapter that remains disconnected from the central thrust of the series. It’s easy to imagine this very stylish chapter with all of its arcane discussions of celestial eggs, mothers, and dying planets being a highlight in the collected Decorum. Yet in a serialized installment months removed from significant bits of context and with no next page for readers to turn, it feels too disconnected to matter. The aesthetic becomes the point as meaning-making is delayed for another day when these stunning pages function in context. For today Decorum #4 is a visual delight that suggests readers return when #5 is released because Decorum is clearly designed to be read as a whole, but readers are left with only pieces to read for now. — Chase Magnett

Rating: 3 out of 5

FAITHLESS II #3

It may have appeared that Poppy vanished right in front of Faith’s eyes, Faith comes to and is told that she merely fainted, regardless of how real her vision seemed. In an attempt to recuperate, Faith meets Poppy’s new friends, only to realize being a friend doesn’t make them friendly, resulting in a demonstration of Faith’s powers. For the previous issue to have hinted at a dramatic reveal, only for the opening pages of this chapter to dismiss those events entirely took a fair amount of tension out of the story almost immediately, forcing the rest of the book to amp that tension back up. The tension we are then given is more of the emotional and relationship variety, with the final panel offering only a hint at something bigger at play, yet it still didn’t make good on the supernatural elements hinted at in the previous issue. Regardless, this chapter gives readers the blend of sex and sorcery they’re likely after, despite the narrative somewhat pulling its punches. — Patrick Cavanaugh

Rating: 3 out of 5

FIREFLY #19

Firefly #19 has most of the same problems as the previous issue. Lalit Kumar Sharma’s sketchbook style art fits the western part of the setting well, but the sci-fi side of the equation less well. Also, there’s some strange figure work in this issue, with Kaylee often looking practically skeletal. Greg Pak, who has nailed the voice of the series up until now, veers a little off track with some dialogue that feels too contemporary. The issue builds up to twist that’s telegraphed well in advance, and there’s the creeping sense that this storyline—built on a quality premise—may be past its prime. — Jamie Lovett

Rating: 2 out of 5

G.I. JOE #7

The new status quo for “America’s heroes” is one that lets the franchise stretch its legs and do things that it otherwise might not have been able to. Each issue has essentially been a one and done story focusing on different parts of the Joes working as an underground cell attacking Cobra, who has far more power than ever before in the world at large. This latest issue focuses squarely on Scarlet and her issues with PTSD, weaving the tale of how she rejoined the group, making for a thought provoking and fun issue. — Evan Valentine

Rating: 4 out of 5

GIDEON FALLS #24

The final page of Gideon Falls #24 hits like a brick wall in mid-sprint. It’s a consequential cliffhanger for the larger story, but most of its impact comes from the pacing of this action-packed issue. Lemire exercises excellent judgment in stepping back to allow Sorrentino to guide the story, only including sparse dialogue in the very brief lulls of the combined flight-fight from zombies. Her characters speak volumes in how they hold themselves and behave on the page with tremendous displays of bravery and desperation spurred by the circumstances. The design of onomatopoeia is exquisite, ensuring each footfall, gunshot, and literal exclamation make these pages read loudly. It’s easy to get swept away in the affair tracing these panels so quickly that when the end arrives you can’t wait to turn the next page. — Chase Magnett

Rating: 4 out of 5

LOW #24

There’s a fun pulp adventure playing out in the pages of Low. Years of history follow this large cast into their final adventure, one filled with betrayal and overdue confrontations. It’s a romp in the fashion of classic space operas, and Tocchini’s sprawling illustrations would fare much better without the director’s cut of didactic narration laid on top of it all. The series’ penchant to drone on about the meaning of hope was a hindrance from the start, one made only worse with time. Issue #24 fails to ground its concepts in reality (it’s difficult to accept an appeal for folks to forget ideology and just get along in Donald Trump’s America) and so the narrative captions are weightless compared to the action on the page. As a brief aside, they’d be an annoyance, but they play so central a role in Low #24 as to detract from that “fun pulp adventure.” Something exciting and colorful with the concept of hope playing out in its narrative is made to seem tiresome and banal. Leave it. — Chase Magnett

Rating: 2 out of 5

Other Publishers #2

LUDOCRATS #4

There’s a critique of modern superhero comics (and other event-focused genre fare) embedded in Ludocrats that’s worth noting. Jabs at exposition, unnecessary order, and the loss of joy make the comic read as though it’s speaking directly to Dark Nights: Death Metal. While those critiques provide some big laughs and notes worth chewing on, they aren’t sufficient to define Ludocrats on its own terms. No matter how much lip service is paid to the value of the unpredictable and absurd, the model of this story has become very familiar, complete with betrayals, a fall, and long-awaited cliffhanger all present in the penultimate issue. The stylistic excesses make these moments more enjoyable, but it’s clear by the end of issue #4 that Ludocrats is not presenting a clear alternative, even as it savages the worst of modern event comics in a deftly delightful manner. — Chase Magnett

Rating: 3 out of 5

A MAN AMONG YE #2

A Man Among Ye got off to a strong start with its debut, but it had to devote enough time to the world around Anne to build up the stage. Now that that’s out of the way, we’re able to focus more on Anne herself, the most interesting part of the story so far. There’s a smoothness in the way the characters are drawn and shaded as well as in Anne’s speech that irons out the rough edges of piracy. It helps balance the gruff profession with humaneness beyond stereotypes. The result is an inviting setting that’ll have you quickening your pace alongside the events of the story to see what’s happening next. — Tanner Dedmon

Rating: 4 out of 5

ONCE AND FUTURE #10

Once & Future attempts to balance and mix the fantastical Arthurian myths with an eccentric but compelling take on family, and Once & Future #10 nails the recipe. Writer Kieron Gillen’s cast of characters continue to grow in interesting ways, especially Duncan, who is begrudgingly picking up quite a bit from Gran. That said, this is truly a showcase for Gran at the end of the day, who absolutely shines in every panel. Whether she’s joking about needing a giant knife with the security guard or actually wielding it against a monstrous creature from ancient lore, she’s a constant delight, and it’s artist Dan Mora and colorist Tamra Bonvillain’s superb visuals that keep the energy and tension peaked throughout the latter half of the book. Action, humor, and wit abound in Once & Future, making for another can’t miss issue. — Matthew Aguilar

Rating: 5 out of 5

POWER RANGERS: DRAKKON NEW DAWN #1

The Ranger Slayer one-shot changed up the Coinless world status quo in a huge way, so the bar was pretty high for Drakkon New Dawn. Luckily writer Anthony Burch and artist Simone Ragazzoni were both up to the challenge because this greatly surpassed any expectations I had coming in. Burch’s wit and snappy banter is a stellar fit for Power Rangers, and it’s the main reason that Scorpina is one of the book’s shining stars early on. Ranger Slayer benefits from that banter as well, and midway through we’ve already got a coalition of contrasting personalities that make this more than another dystopian universe. The central mystery managed to hook me as well, especially after that cliffhanger ending that will have Ranger fans buzzing. Ragazzoni and colorist Raul Angulo deliver stylish action scenes and one hell of a Ranger Slayer, but they also convey how depraved and sadistic Drakkon through expressions alone, creating another layer of empathy for his victims. Drakkon New Dawn surpassed my expectations, and the next issue can’t get here soon enough. — Matthew Aguilar

Rating: 4 out of 5

RAI #6

[READ THE FULL REVIEW HERE]

Once again, Dan Abnett and Juan Jose Ryp have hit a home run. So many comics lose their luster and spark after just a few issues but the consistency in storytelling and the freshness they bring to each new issue remains a miracle; it is inspiring. Dan and Juan, if you’re reading this, the people want to see you bring your flair to futuristic cowboys next. — Spencer Perry

Rating: 5 out of 5

RICK AND MORTY: GO TO HELL #3

Rick and Morty: Go to Hell tosses out plenty of jokes, but few of them stick. With as much potential as the hellish landscape has provided, it feels like it’s being squandered by presenting Rick, Morty, and the rest of their companions with situations they could encounter on any random world or dimension they find themselves in. Seeing characters from the past in a trial of forgotten memories is a perfect example of something that could’ve been better, but it failed to capitalize. Cameos made by memories of the past were too few in number, and their hellish portrayal did little to remind readers of the setting. The best part of the whole issue is where it capitalizes on the setting through a spa-themed misdirect, but it’s far too short of a segment in the story to compensate for the rest. — Tanner Dedmon

Rating: 2 out of 5

SAVAGE DRAGON #251

While the caption on the cover, and the solicitation text, allude to a massive brawl that was set to play out before COVID derailed Larsen’s plans for Savage Dragon, the cover itself is representative of what’s inside. You’ll see an old school villain pop back up, and start to get the answers you crave as it pertains to that surprise visitor from the end of #250. The art is the standout here, especially as we see some old characters reinvented for the Malcolm era. The story itself is fairly straightforward, although it’s likely to be more surprising to fans who were wrong when they guessed what that #250 cliffhanger meant. — Russ Burlingame

Rating: 4 out of 5

SHADOW SERVICE #1

[READ THE FULL REVIEW HERE]

If you enjoy some of the darker books from the Big Two that dive into the world of magic, demons and witches (bring on the Hellblazer comparisons!) this is definitely worth a read. As for me, it follows the script of what I like from the first issue of a brand new series—introducing the characters, showcasing some bonkers imagery, and leaving me on a cliffhanger that screams “I dare you to come back and see where all this leads!” And so I will. — Connor Casey

Rating: 4 out of 5

Other Publishers #3

SONIC THE HEDGEHOG #30

In the wake of the Zombot invasion there are a lot of loose threads to clean up as Sonic’s world rebuilds from the ashes. Given the dozens of characters involved in this saga, it wouldn’t be hard for its epilogue to read like a checklist. Yet Sonic the Hedgehog #30 balances its overfull adventure with Claremont-ian grace. Each check-in provides a new status quo and offers a small character moment, at the very least. New problems are introduced along with mysteries and motives as the series discovers its next big conflict. This issue does not simply place a bow on the completion of a massive arc, but builds excitement for everything that will follow in its wake. It is an interstitial issue, but one that recognizes just how charming its cast of characters can be for young audiences and delivers a robust wrap up that is bound to keep any fan hooked. — Chase Magnett

Rating: 4 out of 5

STAR TREK: DEEP SPACE NINE – TOO LONG A SACRIFICE #2

The investigation continues in Star Trek: Deep Space Nine – Too Long a Sacrifice #2 from writers Scott Tipton & David Tipton and artist Greg Scott. Odo, with some assistance from Worf, looks into what leads he has, but these don’t offer up much. Using Odo’s notes as narration helps cement the noir aesthetic of the story, as does the shadowy artwork, but watching Odo follow dead leads feels as much like a waste of the reader’s time as the constable’s. It’s especially unfortunate that, in the process, they confirm Worf’s xenophobic impulses from the previous issue. While Cox does a decent job of setting the mood, he lacks an eye for details, giving his characters strange faces, and his panels lack depth. There’s something interesting buried underneath all of this as it becomes increasingly clear that there is a conspiracy at play. Unfortunately, the presentation and execution are too messy to make it enjoyable. — Jamie Lovett

Rating: 2 out of 5

THE TRANSFORMERS #22

The “Rise of the Decepticons” arc of Transformers seems to be coming to a head in issue #22, as Quake, one of the murderers who set up Cybertron’s spiral into upheaval, is paraded through the city streets. Some of the tension that defined earlier issues of Transformers fell away during this arc as the story’s breadth came at the cost of its focus. Brian Ruckley’s script here restores some of that tension as characters on all sides cross lines, with one choice in particular likely to have repercussions for some time. Anna Malkova’s artwork could stand to be more detailed and flesh out Cybertron, but she tells the story well, and for the first time in several issues, I’m curious about what will happen next. — Jamie Lovett

Rating: 3 out of 5

TRANSFORMERS ’84: SECRETS AND LIES #2

Full disclosure: I have limited familiarity with the original Marvel Transformers comics. As a result, there are specific beats in Transformers ’84 that seem meant to rewrite or reveal new bits of continuity that went right over my head. What lands with me is the book’s aesthetic. Veteran Transformers comics artist Guido Guidi and colorist John-Paul Rove do an incredible job of recreating the look, the texture of those old Transformers comics, and other sci-fi comics of the same era, matching the narrative penned by original Transformers writer Simon Furman. The story is dense, chewy sci-fi that’s tangled in esoteric Transformers mythology, and it doesn’t attempt to explain itself. This book feels like an artifact from another time and is an acquired taste. If you don’t have the inclination or the interest, you should steer clear, but if you do, then Transformers ’84: Secrets and Lies is can’t-miss material. — Jamie Lovett

Rating: 3 out of 5

THE TRANSFORMERS VS TERMINATOR #3

The Terminator and the Autobots realize they both have a common enemy, allowing them to set aside their differences long enough to take down the Decepticons and Cyberdyne as a team, only for the Decepticons to seemingly have found what they came to earth for in the first place. This puts all the mechanical creations on the same trajectory, ultimately leading towards chaotic combat. Bringing these two franchises together still feels like an overwhelming idea, as the book constantly inundates us with convoluted technical jargon. Nearly every panel features words like Autobots, Cyberdyne, Decepticons, Cybertronians, Energon, or Insecticons, in addition to the various Transformers being identified by name, making for an immensely dense experience. On top of that, the art largely features robotic characters in mechanical environments, resulting in each page being packed with straight lines and hard edges, resulting in a dizzying experience. Hopefully future issues of the book offer either a more cohesive narrative or more accessible art, as this issue was nearly impossible to decipher on all fronts. — Patrick Cavanaugh

Rating: 1 out of 5

VOYAGE TO THE STARS #1

Voyage to the Stars is the comic book adaptation of a hit improv comedy podcast starring Felicia Day, Colton Dunn, Janet Varney, Kristen Vangsness, and Steve Berg. It’s a mostly slapstick affair that tries to capture the manic energy of the popular podcast with somewhat mixed results. As the Adventure Time graphic novels have shown, not every podcast joke translates well to the comic page, as evidenced by the multi-page gag involving an oversized pair of robot testicles. Listeners of the podcast will enjoy this comic (especially the art by Connie Daidone) but newcomers will want to head towards the podcast first if they want to get a real feel for the show. — Christian Hoffer

Rating: 2 out of 5

YASMEEN #2

Yasmeen #2 had some big shoes to fill. The first issue was such an incredibly well-crafted book that it begged the question of whether subsequent chapters of Yasmeen’s story would have the same weight and nuance and as it turns out, they absolutely do. Yasmeen #2 delves a bit deeper into Yasmeen’s ordeal as a captive of Isis and doens’t shy away from the abuse and trauma she endured (though it does so with dignity—it is never exploitative) while also continuing the thread of how difficult “moving on” can be. What really works here, almost more than the story itself, is Mascolo’s art that manages to convey the worst of human horror and violence without ever being crude or inapprorpiate. The suffering isn’t painted in the acts themselves, but the expressions in the aftermath. It’s a hard read a times because of the subject matter, but it’s handled with care. It’s an extremely good issue. — Nicole Drum

Rating: 4 out of 5