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 Sex Criminals #30, Giant-Size X-Men: Fantomex #1, The Dreaming: Waking Hours #1, and Last of the Independents.

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

BATMAN #96

Borrowing a bit from Tom King’s “Knightmares” arc in the sense that Bruce isn’t exactly in his right mind, Batman #96 plunges readers into the second part of “The Joker War” by giving Batman and readers alike a look at what that glittering, perfect Gotham would look like before it’s all dissolved into a toxin-twisted hallucination. For as boring, half-hearted, and bloated as much of the lead up to this issue has been, Tynion delivers a solid issue this week. We get our first glimpse at Clownhunter—who appears to be every bit as much a gimmick as Punchline, but now on the heroes side of things—as well as an update on just how bad things are in Gotham thanks to a definitely-still-alive Harley Quinn. The story moves at a good pace, the art is quite nice, and it’s a generally solid issue. While my primary complaints about the arc remain—specifically its reliance on the source of all of Batman’s trauma: the murder of his parents, to make things feel like they have real stakes and then even that doesn’t work—this issue makes the reader wonder what’s next. Things aren’t thrilling or groundbreaking, and there’s still this nagging sense that the whole story is going nowhere, but the issue is an intriguing read if for nothing else than a glimpse at what Bruce’s ideal world looks like. — Nicole Drum

Rating: 3 out of 5

DARK NIGHTS: DEATH METAL – LEGEND OF THE  DARK KNIGHTS #1

Legends of the Dark Knights is an excellent exercise in “What if?” if there ever was one. It’s at times almost a scholarly examination of the multiverse concept and the rules that govern it and is often an unhinged flurry of possibilities following the wildest threads to their conclusions. Both the tones and styles of each story vary frequently enough to keep the collection fluid with each of them boasting their own punchy moments. The branching Batmen are some of the most creative ones you’ll find and are crafted with a level of detail made even more impressive by how short some of the stories are. Your biggest challenge with Legends of the Dark Knights will be choosing which twisted version of Batman is your favorite. — Tanner Dedmon

Rating: 5 out of 5

DCEASED: DEAD PLANET #2

After a packed first issue, DCeased: Dead Planet #2 keeps things at a brisk pace. The heroes make their way to Ivy’s garden in Gotham, Jonathan might not be as dead as initially thought, a few members of The Unkillables pop up, Damian gets to have a tender moment with Jason Todd (now there’s a something I never thought I’d write) and the plot shifts its attention to Australia. The real highlight of the episode comes from sudden instances of body horror as Tom Taylor shows just how terrifying Plastic Man and Swamp Thing can be. — Connor Casey

Rating: 4 out of 5

THE DREAMING: WAKING HOURS #1

[READ THE FULL REVIEW HERE]

A new dream begins in The Dreaming: Waking Hours #1, from writer G. Willow Wilson, artist Nick Robles, and colorist Mat Lopes. Though the series fills the void in Black Label’s Sandman Universe line left by The Dreaming‘s finale earlier this year, it bears no connection to that story beyond the presence of The Sandman‘s primary character, Dream of the Endless. Wilson, Robles, and Lopes offer a fresh start for readers curious about The Sandman or its universe, and the team follows through on that opportunity with a well-crafted introduction broaching questions of identity, attribution, and intersectionality. — Jamie Lovett

Rating: 4 out of 5

FAR SECTOR #7

Far Sector has a wonderful way of translating complicated concepts into very human stories, and that is certainly the case once more in Far Sector #7. That said, the visuals definitely make the first grand impression, as Jamal Campbell is doing some of the best work of his career. Lantern fights have rarely looked this impressive, and writer N.K. Jemisin shakes things up about midway through to give Campbell a new canvas from which to stun. That new landscape also gives Jo some new perspective, and that constant evolution and growth is one of the best aspects of not only this character but also of this series. Throw in a long awaited answer regarding her ring and you’ve got another perfect example of why Far Sector is a Green Lantern fan’s dream. — Matthew Aguilar

Rating: 4 out of 5

JUSTICE LEAGUE #50

Justice League #50 concludes the three-part “Trotha” storyline with an extra-sized issue. Although nothing significant happens that impacts the wider DC Universe, we do get a nice and neat ending that helps the Justice League detangle themselves from the strange Trotha. While we get a rather clean ending, I feel like the issue’s reveals as to the root cause of Trotha’s problems was a bit cliche and provided a convenient out for generations of prejudice and strife. This entire storyline felt like a throwback to the Silver Age—the story itself was perfectly pleasant, but it ultimately felt out of touch with the wider DC Universe. — Christian Hoffer

Rating: 3 out of 5

STRANGE ADVENTURES #4

Adam Strange murdered the beloved son of an indigenous people to Rann, then proceeded to lead his entire tribe into a slaughter. However, the focus of Strange Adventures remains on Adam Strange. The Hellotaat are only mentioned by name once throughout all of Strange Adventures #4, and then it is as a fighting force waiting to be led back into battle by the same outsider who violently seized control of their people. Even as this series attempts to open a space for the complexities of war and how societies respond in their wake, it has made its ugly perspective clear. All sympathy rests with Adam Strange, treated like a confused bystander torn between despotic humanoid people of Rann and the truth-seeking Mister Terrific, even as he leads battles and slays both native people and invaders. There is no responsibility placed upon the foreign soldier fighting a war he clearly does not understand. Instead, he is positioned as an update of the white savior, one who may be problematic, but whose values and heart are never in doubt. Yet all of the evil embedded in that trope remains as it washes over the actual cost of war, barely acknowledging the tremendous costs placed upon an entire race of people to focus on the woes of a single outsider. All of the “both sides” rhetoric and fraught considerations in the world can’t cover the abundant flaws of this colonialist narrative far more devoted to an American invader than those he kills. — Chase Magnett

Rating: 1 out of 5

THE TERRIFICS #29

If anything, the only strike against this issue of The Terrifics is the fact that it’s the penultimate installment, as there’s enough plot weaved in here to help kickstart another dozen or so issues. This issue sees Metamorpho and Sapphire return of Sebastian Stagg at the end of last issue, while also pitting the rest of the Terrifics and the T-Council against a surprising cosmic threat. Everything, from Gene Luen Yang’s endearing narrative to Max Raynor’s energetic art, is unsurprisingly and consistently great. This series continues to be an absolute joy to read, and this march toward the end (for now) is incredibly bittersweet, but gratifying. — Jenna Anderson

Rating: 5 out of 5

YOUNG JUSTICE #17

The framing device of a young woman helping out during Metropolis’ recovery from a superhero battle offers a nice change of pace and new perspective in Young Justice, but this issue doesn’t spend sufficient time with Yolanda to invest readers in her story and what’s left in the middle is passable B-material for a story many readers may not even be aware happened. Four members of the team meet with their mentors, and each meeting offers some small nugget of information without moving the plot forward or providing more than a single gag for readers to laugh about. The issue reads like a stalling tactic, attempting to hint at a broader world without actually engaging with it. There’s a lot of personality and story to be mined with this cast, but Young Justice #17 simply tells readers why they should care rather than showing them a reason. — Chase Magnett

Rating: 2 out of 5

Marvel #1

BLACK CAT #12

This take on Felicia Hardy has been really exciting for the most part, mainly because Felicia has been given quite a lot to work with. This entire issue is a fight with Iron Man in super suits and nothing more. It’s not a comic about Felicia Hardy. Doesn’t Tony Stark already have his own series? — Charlie Ridgely

Rating: 1 out of 5

CAPTAIN AMERICA #21

Ta-Naheisi Coates’ story here is a poignant one regarding the idea of “toxic masculinity” as Captain America, Bucky, and Sam Wilson storm a city under the control of the Black Queen, Selene. While the story is solid, the art by Bob Quinn feels amazingly mis-matched with what should be a dark super hero tale. This issue proves that the sum of a comic’s parts might be its undoing. — Evan Valentine

Rating: 3 out of 5

DEADPOOL #6

If you are not a Jeff fan, you certainly will be by the end of Deadpool #6. The issue is a fun detour into the land of the X-Men, and that provides writer Kelly Thompson plenty of material to break the fourth wall, and Wade doesn’t disapPoint. Having Wade interact with the X-Men and their newly created nation is as delightful as you expect, from his methods of actually getting into Krakoa to the chaos that ensues once he gets there and the ramifications of his overall visit. The true star of the show though is Jeff the Shark, who makes every scene he’s in a delightful joy, and though he doesn’t actually talk, Deadpool plays off of the adorable though lethal little guy amazingly well. Artist Kevin Libranda and colorist Chris Sotomayor make that central fight absolutely shine, while letterer Joe Sabino brings all of that hilarious dialogue to life even when the fists (or sharks) aren’t flying. Deadpool hasn’t been this entertaining in quite some time, and this is easily one of the books I look forward to most every month. — Matthew Aguilar

Rating: 5 out of 5

DR. STRANGE #6

Dr. Strange #6 provides a clunky ending for a concept that never quite found its feet. In a rush to wrap up the story of magical weapons smuggling, the issue provides readers an at-length explanation as to who Madame Masque is before proceeding to explain everything that is done to stop her in narrative captions. The plot is clear and the characters all offer their charms, but there’s a deluge of exposition that never allow Kev Walker to imbue those elements with more than momentary excitement. There’s one last half-hearted attempt to tie Strange’s sorcery and medical skills, but it’s a poor metaphor at best. Dr. Strange provided a new setting and supporting cast with plenty of potential for its hero, but readers will need to await his next series before discovering whether that potential will be utilized well. — Chase Magnett

Rating: 3 out of 5

EMPYRE #4

Marvel’s latest crossover has apparently thrown the baby out with the bath water, falling under the weight of its many moving pieces that this series attempts to juggle. There are so many different forces and betrayals taking place that you can definitely get lost in the proceedings and while Ewing still does a good job with characterization here, some of the revelations are a bit too eye rolling to be accepted (specifically with She-Hulk). With two issues left, I’m crossing my fingers that the mini-series can still turn itself around before the end. — Evan Valentine

Rating: 2 out of 5

EMPYRE: X-MEN #2

Empyre: X-Men makes some space to continue fleshing out Hordeculture, the group of elderly botanists posed to cause trouble for Krakoa. They steal the spotlight in this issue as they play frenemies with the X-Men in the midst of battling both plants and zombies. Even if that central conflict loses focus until the issue’s conclusion, there are enough laughs and solid action sequences to carry the issue toward its next destination. In spite of the name, this remains primarily an X-Men story rather than an “Empyre” one, and that’s to the miniseries benefit. Everything that occurs here provides some insight into the “Dawn of X” line as this tie-in continues to read more like an excellent X-title. — Chase Magnett

Rating: 4 out of 5

Marvel #2

FANTASTIC FOUR #22

For a book titled “Fantastic Four,” there sure are a lot of pages without the Fantastic Four characters on them. The saving grace here is that some of the tertiary FF characters that Slott has made great over the last several issues play prominent roles here, and it’s exciting to see them flourish. — Charlie Ridgely

Rating: 3 out of 5

GIANT-SIZE X-MEN: FANTOMEX #1

[READ THE FULL REVIEW HERE]

The Giant-Size X-Men one-shots have tried to balance focusing a spotlight on one particular character while continuing a narrative surrounding Storm’s impending death, and some have been more successful in maintaining that balance than others. The latest in this line is writer Jonathan Hickman and artist Rod Reis’ Giant-Size X-Men: Fantomex, and while there are intriguing aspects of this comic for long time fans of the character, the overall balance is unfortunately quite off. It all results in an issue that takes a long time to not say very much, nor does it move the overall plot forward in any substantial way until the very end, and its zeniths aren’t sufficient to overcome those flaws. — Matthew Aguilar

Rating: 3 out of 5

GUARDIANS OF THE GALAXY #5

The Guardians v. Guardians showdown comes to a number of surprising endpoints in what is, shockingly, only the fifth issue of this relaunch. Not every character in a very busy issue receives a moment in the spotlight, but most do and each of those individual moments brings a special charm. It’s the battle between Moondragons that offers the grandest highlights, especially considering how Juann Cabal’s layouts enhance it. Even in the midst of a caper comic with a lavish, fun-loving tone, Ewing and Cabal continue to reinvent the cosmic region of Marvel Comics at lightspeed offering the ideal blend of entertainment and ingenuity in space-based superhero comics. — Chase Magnett

Rating: 4 out of 5

LORDS OF EMPYRE: CELESTIAL MESSIAH #1

Celestial Messiah #1 provides some insight into Quoi, the Celestial Messiah and leader of the Cotati forces invading Earth in Empyre. This mostly serves to catch readers up on the character (who first appeared back in the 1980s, but had all but vanished until the lead up to this event) and his complicated relationship with Mantis, who has reverted back to her Celestial Messiah personality after years of being a supporting member of the Guardians of the Galaxy. While not necessary to enjoy “Empyre,” I think this is one of those comics that helps bridge the gap for longtime readers, or helps new readers understand where “Empyre” fits in the grander scheme of the Marvel Universe. — Christian Hoffer

Rating: 3 out of 5

STAR WARS #5

Luke and R2-D2 track the woman from the young Jedi’s vision to a remote fishing planet in hopes of learning her identity. After an action-packed chase across the planet, the woman reveals her identity, while Luke accidentally reveals details about his identity that could spell doom for this mission. By the nature of this series, we know Luke isn’t in any real danger during any of his missions, though the book still finds way to expand upon the well-known journey of the Jedi. One highlight from this book is a scene in which readers witness how the reputation of Luke’s heroics are exploited by others across the galaxy, even if that draws the attention of the Empire. Another highlight is that, while the woman who first appeared in Luke’s vision many issues ago could imply a massive revelation or connection to an obscure corner of the universe, her identity isn’t overly dramatic as her identity isn’t entirely exceptional, though it does connect to the lore of the series and isn’t a completely arbitrary character. These exceptional moments and the overall excitement of the book elevates the material above what is ultimately a low-stakes installment. — Patrick Cavanaugh

Rating: 4 out of 5

STRIKEFORCE #9

Strikeforce is coming to an end, and while it has flashes of what made the series so great, it isn’t exactly the perfect sendoff. The actual end of the issue ties up all the loose ends and brings us full circle to where we began, but the adventure that takes up the majority of the issue just doesn’t quite come together. Writer Tini Howard shines in the moments where the group is playing off each other and fighting the odds, but more often then not Blade just grinds that fluid movement to a halt. His abrasive style just sticks out all throughout the issue and not in a way that makes contrasts well with the banter. It doesn’t help that the plan itself (partially by design mind you) gets muddled, so it’s hard to figure out what is going on or what the actual goal of the mission is. Artist German Peralta and colorist Guru-eFX absolutely shine during the Spectrum battle and the smaller character moments towards the end of the issue, and those few pages are some of the book’s strongest, but they just can’t overcome the confusing nature of the earlier pages. There are delightful moments in this final issue, but unfortunately, it just doesn’t meet the high bar set by the series’ early issues. Hopefully, we’ll get to see them back together down the line though, because this time was a pleasant surprise. — Matthew Aguilar

Rating: 2 out of 5

Other Publishers #1

AGGRETSUKO #5

Aggretsuko #5 is back with a new chapter, and it speaks to an audience that has found itself separated from their usual workspace. The update follows Retsuko and the accounting team as they fight a mysterious employee who has frozen their office with a lock A/C. Of course, this issue will speak to many who have dealt with a similar situation, but they have been largely removed from it due to the pandemic. This fun issue may make some miss the ordeal, but Aggretsuko will nip that feeling in the bud before long. — Megan Peters

Rating: 4 out of 5

BUFFY THE VAMPIRE SLAYER #16

Boom Studios’ Buffy the Vampire Slayer reboot is taking Xander Harris in an exciting direction. The character’s place as one of the three core “Scooby Gang” members is complicated. On the one hand, Xander is the affable, loser, nerd of the group who grows into a competent, blue-collar worker and loyal friend by the show’s end, often thought of as the group’s heart. On the other, he’s also a surrogate for the male gaze of the show’s creator, a gaze that the show itself would indulge in at times. Writer Jordie Bellaire has used the fresh opportunity offered by the comic’s new continuity to play into those darker angles. At the beginning of the series, Bellaire depicted Xander as a frustrated young man with a growing bitterness at the lack of affection he received from the young women in his life. This Xander was more sympathetic than a radical incel, but possibly on the path to becoming one. As progresses, Bellaire is using Xander’s vampiric transformation to fully embrace his problematic traits, turning him into this continuity’s version of Buffy’s first archenemy, the Master. In Buffy the Vampire Slayer #16, he makes himself known, attacking someone close to Buffy and confronting both Slayers, Buffy and Kendra, for the first time. It’s fascinating to see Bellaire use the Buffy approach to storytelling to examine the legacy of one of Buffy’s original characters. It’s a shame that the execution isn’t on par with the concept. The confrontation between Xander and the Slayers takes place in a burning building. It’s a challenging scene to draw, and artist Ramon F. Bachs isn’t up to it. The scene falls flat as Buffy appears to go through the motions of a fight without any clear direction or target, let alone narrative flow. The ideas here are exciting, and Bachs’ artwork is solid in other places, but it’s frustrating to see such a crucial scene flubbed this way. — Jamie Lovett

Rating: 3 out of 5

COFFIN BOUND #5

Coffin Bound‘s second arc kicks off in an exhilarating and legitimately gorgeous fashion. After the harrowing events that happened to Izzy last issue, this installment pivots over to Taqa, who has become a religious devotee to a particular kind of “God.” A search for meaning leads Taqa on her own unique road trip—and quickly causes her to make enemies in the process. Dan Watters, Dani, and company make pure magic with every issue of this series, with this one unfolding like a sunset-hued gonzo thrill ride. Coffin Bound‘s return is one of the best things to happen in comics this summer, so you should definitely join in on the thrill ride sooner than later. — Jenna Anderson


Rating: 5 out of 5

THE CROW: LETHE #3

If there’s one thing for sure, it’s that Lethe certainly isn’t for the faint of heart. Seeley’s story paints an incredibly grim ending for Null Narcos, only fitting for the character—especially for what we’ve learned about him during this mini-series. For the first time in three issues, Kyriazis’ art was almost overpowered with the substantial gore found nearly on every page. Even then, everything made sense. This story is very much about pain, suffering, and accepting what can’t be changed and Seeley writes it all very well. Overall, the series was still a bit too dense for the number of issues it was awarded but it’s still a worthy-enough tale to behold. — Adam Barnhardt

Rating: 4 out of 5

DISASTER INC #2

There’s a chance that Disaster Inc could ultimately be promising, but the series’ second issue feels bogged down by its own averageness. As the ensemble of characters continue their dangerous trek into the nuclear wreckage, we gradually begin to get more worldbuilding, but it all rings a little hollow. The characters are simultaneously too flatly sympathetic for you to truly root against, and just terrible enough for you to not want to root for. Disaster Inc is still clearly finding its footing, and it remains to be seen if it will be a series that is worth fans’ time. — Jenna Anderson


Rating: 2 out of 5

THE GODDAMNED: THE VIRGIN BRIDES #2

Jael and Sharri’s flight from the Old Mothers and their community continues here and, while the young women don’t get much further, their journey (and all its violent trials and tribulations) is vividly rendered by R.M. Guéra. The landscape of their garden and community provides a harsh and often surprisingly beautiful backdrop for a tale that’s as influenced by Thelma & Louise as the Old Testament. It’s a journey that’s much more about rebellion and friendship than the structure of oppression against which they are rebelling. Biblical references provide set dressing, but it’s the lively moments of action that allow Guéra’s work to grip readers with sequences of terrible tension and rare elation. Strangely enough, that makes The Virgin Brides a thrilling comic with highlights of fun in spite of its too self-serious dialogue. This is one ride intended to be enjoyed, step by small step. — Chase Magnett

Rating: 3 out of 5

ICE CREAM MAN #20

Ice Cream Man #20 offers an increasingly dark pastiche to classics of children’s literature, including Goodnight Moon and The Giving Tree. Series stalwarts will recognize the nihilistic tone and bug-filtered style that hang over this specific narrative of family hostage-taking, and those elements can still capably send a shiver down one’s spine. There’s an absence of depth beyond the horrifying reimaginings of the familiar, though. The cruelty and darkness are obvious, but they also represent decreasing returns on the series’ eponymous antagonist. It’s the reinterpretation of each illustrator’s style that offers the most notable highlight, while a familiar form of madness oozes out of each page along the way for another solid, if not stellar, installment of this series. — Chase Magnett

Rating: 3 out of 5

JUDGE DREDD: FALSE WITNESS #2

Judge Dredd is a fascist, which makes his focused disdain for the simulacrums of Fox News personalities presented in False Witness so baffling. In the midst of a Mad Magazine-like dilution of metaphors for current topics that make a Dredd adventure so much fun, this one’s emphasis on the evils of talking heads also pushes Dredd to close to the role of superhero. He’s still an unrepentant thug who abuses even the notion of civil rights here, but the comic seems to shout that even he still stands for certain things. There’s a bit too much sympathy and direction of creative wish-fulfillment to make it read as the definition of obvious. Of course the story told around Doctor Filth and his like are colorful and don’t steer away from gratuitous violence. It’s still an enjoyable 2000 A.D.-style romp, even if it trips over itself along the way. — Chase Magnett

Rating: 3 out of 5

Other Publishers #2

KING OF NOWHERE #4

The King of Nowhere finally brings us some answers about the comic’s central protagonist, the strange town that he’s found himself in, and why there’s someone out to kill him. Unfortunately, the answers aren’t all that interesting—there’s no real originality or ingenuity and any questionable decision is just waved away as actions made under the influence of booze. This is a weird comic, but not a very engaging one. — Christian Hoffer

Rating: 2 out of 5

METALSHARK BRO 2 #1

The second volume of this kitchen-sink series starts strong with a unique depiction of hell and a fun Bond riff. Writers Bob Frantz and Kevin Cuffe lean into comic book narrative tropes perhaps a hair too much though as the baseline plot feels like one you’ve read a hundred times. The strength of the writing though comes from its silly jabs at real life figures. Artist Walter Ostlie does great work with the sequences that keep the action still, but moments of swift movement and combat don’t really work and are difficult to navigate. In the end it’s a fun read but sometimes stale. — Spencer Perry

Rating: 3 out of 5

MY LITTLE PONY/TRANSFORMERS #1

The second you open the cover and read the very first panel, this crossover is delightfully self-aware, a tone that allows the book to provide a little something for everybody. Being an all-ages book and a licensed crossover between two of pop culture’s biggest pieces of intellectual property, it’s all pretty inconsequential—but that’s not something that matters here. If you don’t think you’re the target demo for this book, you may want to rethink, because you may be surprised—this book is fun through and through. — Adam Barnhardt

Rating: 4 out of 5

ON THE STUMP #4

If all else fails, On The Stump will always have a significant shock factor to fall back on. Like the issues that have come before it, #4 is full of its fair share of blood, guts, and fighting—lots and lots of fighting. This title has never been super tight with its pacing and that’s something very apparent here. At times, some pages move at a breakneck pace, jumping from one scene to the next without giving you time to catch your breath, only to turn around and draw out another scene that doesn’t deserve the space on the page. There’s definitely a world being built here, but even with a slight history lesson, it’s shaky at best. — Adam Barnhardt

Rating: 3 out of 5

PROTECTOR #5

Protector captures Emily Dickinson’s idea that “hope is a thing with feathers.” Its final chapter offers no easy future, but it offers a future, and it reads like the best one can hope for in the wake of a heartless warmachine fueled by the blood of any human being in its path. The final conflict, taking place at a source for what destroyed our own society, frames humanity against the ideas and powers that ruined so much. It’s a brutal showdown that comes with a heavy price, but it’s ultimately framed by artist Artyom Trakhanov’s vision of a wild North America. The final page frames both the story of Protector and the possible future it hopes can still be realized—a wild and dangerous place, but one that still supports life. It’s a realistic vision of hope and one that still finds a place for humanity within its luscious greens and flourishing fauna. Protector summoned a vision of humanity that, much like Dickinson’s description of hope, are capable of taking flight in spite of their fragility. The result is one of 2020’s most honest comics. — Chase Magnett

Rating: 5 out of 5

RAGNAROK: THE BREAKING OF HELHEIM #6

The conclusion of The Breaking of Helheim also draws the first “book” of Raganarok to a close, and positions itself as an interstitial chapter—offering closure for existing story threads while framing the series’ future conflicts. Even as it quickly moves between different points of focus and returns to subjects barely mentioned since the first few issues of Ragnarok, every sequence is delivered with clarity and striking eye for design. Thor’s greatest battles still lie ahead, but his moments of reflection and combat here offer plenty to satisfy readers even as they await bigger things. The Breaking of Helheim #6 doesn’t provide a climax so much as it offers a pause before intermission. Readers will know as they prepare for this pause that whenever Simonson and his new vision of Thor returns, it will be a grand spectacle worthy of the gods it showcases. — Chase Magnett

Rating: 4 out of 5

READ ONLY MEMORIES #4

Opening in a flurry and ending on a much quieter note, Read Only Memories #4 gives some welcome closure to its characters’ most pressing matters. The blasts of neons throughout help swing the moods from sinister to pensive as the situation calls for it with striking emotions carved into faces.. We see relationships quickly fractured and strengthened, though it feels like Hedy and her quest for answers could’ve gotten some more focus in some way to round out her character given how it was the catalyst for the story’s events. — Tanner Dedmon

Rating: 3 out of 5

Other Publishers #3

RICK AND MORTY PRESENTS: BIRDPERSON #1

Birdperson #1 tries to make you chuckle at pretty much every chance it can, so it naturally misses a few of those swings. But when it connects, it ends up being a pretty enjoyable origin story and a peek into one of the strongest relationships in Rick and Morty. It smartly keeps the focus on Birdperson throughout instead of shifting it to Rick by using RIck as a supporting character rather than the protagonist. Some creative battle scenes and schemes coupled with Rick’s unpredictability proved to be the perfect companions for Birdperson’s signature boringness. — Tanner Dedmon

Rating: 4 out of 5

SEX CRIMINALS #30

[READ THE FULL REVIEW HERE]

Sex Criminals has been a beautiful, weird bright spot in the comics world for the past seven years, which makes the very nature of its conclusion incredibly bittersweet. But this week’s “final” issue wraps things up as only Sex Criminals could—with a heartfelt, hilarious, and breathtaking thrill-ride of a narrative. It captures the unabashed love that the series has had both within its canon, and among the fandom that has followed it. There’s a sentiment throughout this issue of making peace with your past and savoring the moment, something that reads even more powerfully in our moment, as both the past and the future feel slightly beyond our grasp. Nothing has shown how emotionally resonant and unabashedly weird comics can be quite like Sex Criminals, and that was true through the very end. — Jenna Anderson

Rating: 5 out of 5

STAR TREK: YEAR FIVE #13

Star Trek: Year Five enters its “second season” in issue #13. “Showrunners” Jackson Lanzing and Collin Kelly write this “season premiere,” joined by artist Angel Hernandez. Hernandez’s clean style is well-suited to the “sleek,” 2001: A Space Odyssey-inspired uniform and starship designs from Star Trek: The Motion Picture, making their Year Five debuts, though Fran Gamboa’s colors give Hernandez’s characters an artificial sheen. Lanzing and Kelly pack a ton of story hooks into this issue, presumably laying the groundwork for future installments that are timely and exciting, including the political rise of a Federation nativist party that could take power in the coming election. The arrival of a Klingon seeking to deliver justice to Kirk and fend off Federation influence on Klingon culture is a familiar plot, as is the reveal that a covert Starfleet organization may be conducting unsavory experiments on officers. Still, the execution is strong enough to remain compelling, even if the issue as a whole is overly-busy. There’s a lot of heavy lifting in this issue as it sets the stage for what’s to come, but Star Trek: Year Five continues to be easy to recommend to any Star Trek fan. — Jamie Lovett

Rating: 4 out of 5

STAR WARS ADVENTURES: THE CLONE WARS – BATTLE TALES #3

On what is meant to be a diplomatic mission, a group of clones discovered their captured brethren, only to learn that they have been taken prisoner ahead of suffering a terrible fate, forcing them to choose between sticking with diplomacy or turning towards combat. This latest mission offers a similar amount of thrills and excitement witnessed in previous installments in this title, though it makes enough tonal shifts to elevate the standard story. The events unfold on a dark, muddy planet, adding a moodier atmosphere to the entire ordeal, while also featuring the concept of clones being hunted for sport by Trandoshans, a much more mature reveal than what you’d expect from a kid-oriented book. These slight tweaks manage to make the book all that more compelling and help it become a stand out entry into this miniseries. — Patrick Cavanaugh

Rating: 4 out of 5

UNDISCOVERED COUNTRY #7

After the expedition team barely survives an encounter with the Destiny Man, their journey must push forward, forcing them to confront not only the mysterious terrain of the former United States but also some of its most dangerous residents. Given that readers are currently in the midst of dealing with a global pandemic which sees some countries (well, mainly just the one) tearing itself apart and threatening the livelihood of the entire population, it’s hard to look to Undiscovered Country if you’re looking for any escapism. We’re given a handful of flashbacks that help explain how the country descended into such dangerous territory, though the final pages tease the more dystopic and sci-fi nature of the series’ current potential. With this being the first issue in a new arc, it serves largely as an attempt to provide some closure for the previous arc while hinting at what’s in store for our heroes next, offering the bare minimum of compelling components to keep readers invested yet not entirely enthralled by where the upcoming journey will take them. — Patrick Cavanaugh

Rating: 3 out of 5

USAGI YOJIMBO #11

Usagi returns home to discover not all is well at the start of what already appears to be an essential story for one of comics’ longest-running series. Stan Sakai uses the first chapter of “The Return” to effortlessly introduce and frame Usagi’s history for new readers, ensuring that even three decades of stories will not prevent this from being a welcoming starting point for the curious. Both the present narrative and flashbacks also frame the stakes of what’s to follow a particularly portentous cliffhanger. While most of Usagi Yojimbo #11 is dedicated to the work of introduction, it also showcases Sakai’s ability to modulate tone as it moves between a tense present and genuinely delightful vision of Usagi’s childhood. Those moments in the past provide a snippet of fun that plays with shonen tropes to invest readers in the narrative’s core trio of characters. That single flashback is sufficient to justify the cover price, but what is prepared in these pages offers even more promise as “The Return” continues. — Chase Magnett

Rating: 4 out of 5

VAMPIRE THE MASQUERADE #1

Vault Comics enters the “World of Darkness” setting with Vampire: The Masquerade #1, the first issue of a new series based on the goth-punk horror tabletop RPG created by White Wolf Publishing in 1991. This issue includes two stories, the first by writer Tim Seely and artist Devmalya Pramanik and the second by writers Tini Howard & Blake Howard and artist Nathan Gooden. The Seely/Devmalya story introduces readers to a vampire enforcer who is about to become caught up in a political scheme. The Howard/Gooden story involves a group of anarchs, vampires living outside of the mainstream vampire society, who struggle to get by. Both stories throw readers into the deep end of vampire politics in Minnesota’s Twin Cities without much explanation. As someone with a broad knowledge of the “World of Darkness” setting and thus a passing familiarity with its version of vampire society, I was able to follow things well enough. Complete newcomers would likely be bewildered by the references to the various vampire clans and governing bodies. The artwork in both stories is suitably dark and moody, making heavy use of blacks in the coloring work. The first story fails to establish why we should care about our enforcer’s fate beyond using the fact that she still cares for her aging sister as a play for sympathy. The second story has characters that are more immediately interesting. However, the limited page count prevents it from getting to the heart of what the story is about before the issue ends. There’s potential for both of these stories to grow into something worthwhile for fans of the source material. This issue isn’t there yet. — Jamie Lovett

Rating: 2 out of 5