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, Dynamite, 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 Empyre #1, Superman’s Pal Jimmy Olsen #12, and Savage Dragon #250.

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 #61

Things have hit the fan in Aquaman #61, and the chaos is glorious. Kelly Sue DeConnick put int the work to establish a new Atlantis with Mera in charge, an Arthur who is comfortable in his own skin, and an Orm that finally feels like the lethal force of nature he should be, and all of those elements are now on a collision course. Mera is every bit the badass leader she should be, and the back and forth between her and Orm is gold, as is the repartee between Arthur and Tula. Leaving out the city of Atlantis as a critical character to this potent mix would be wrong, because artist Miguel Mendonca and colorist Romulo Fajardo Jr. deliver an absolutely stunning world under the sea. There are several pages here that could and should be on posters, and Arthur, Mera, and Orm all feel as powerful and larger than life as you expect them to be. Aquaman continues to find new ways to weave political intrigue with undersea action and a love story unlike any other, and if you aren’t adding this to your pull list you’re missing out. — Matthew Aguilar

Rating: 5 out of 5

CATWOMAN #23

If nothing else, this issue of Catwoman is worth taking a look at for one major reason—the modern-day return of Snowflame, a cocaine-powered supervillain who became infamous among comic fans after appearing in one issue of New Guardians in the 1980s. This issue sees Selina crossing paths with Snowflame and his cartel in South America, resulting in a unique, albeit tonally-inconsistent, adventure. There are moments where the dialogue is cheesy and campy, and others where it borders on absolutely cringeworthy (there has yet to be a sincere use of the term “boomer” in comics). But there are enough Easter eggs and ridiculous plot points to make this issue reasonably entertaining, and Cian Tormey’s art is largely well-executed. It remains to be seen whether Blake Northcott and Sean Gordon Murphy are the best people to be writing Catwoman right now (especially as this feels wildly different from everything else that Selina currently has going on), but at least this issue isn’t a complete wash. — Jenna Anderson

Rating: 2 out of 5

DAPHNE BYRNE #6

Daphne Byrne‘s climax pays off all of the creeping tension that has been so well developed across the series. It doesn’t require massive monsters or bloody battles in order to induce a sense of deep unease, and even despair, within readers either. The folly of the cultists engaged in their orgy-like celebration offers plenty of visual horrors for Kelley Jones to exaggerate, and the violence that emerges by the end is unexpected and plays against Daphne’s own journey as well as the dark threat to her family. It’s an earned ending that finds the power of staid visuals in horror comics. The twist at the end prevents Daphne Byrne #6 from spending too much time in its’ protagonists headspace, however—one of the series’ greatest strengths up until this point. While it leaves the door open for a sequel it also makes the denouement to this particular story read in an abrupt fashion, but that’s still only a minor hiccup in, perhaps, Hill House Comics’ best original series so far. — Chase Magnett

Rating: 4 out of 5

DARK KNIGHTS: DEATH METAL #2

Death Metal #1 was at an 11 throughout the entire issue, and while issue #2 isn’t amped up quite as high, it still delivers a wonderfully creative adventure that happens to find a few grounding elements along the way to give it perspective. Writer Scott Snyder is clearly having fun with elements like the Batom, Batmobeast, and the new and improved Batman Who Laughs, but there’s also quite a few poignant and heartfelt reunions and exchanges that give the more fantastical elements some needed grounding, especially during one particular conversation between Wonder Woman and Batman, with some delightful help from Jonah Hex. Artists Greg Capullo and colorist FCO Plascencia deliver some gorgeous visuals throughout this issue, injecting tension and lighthearted humor in equal measure. You feel slightly uncomfortable when Batman Who Laughs is present, and you feel a sense of hope when the JSA make their welcome return, and that’s in large part to how they’re presented visually on the  page. Death Metal reigns in a bit of the crazy for issue #2, but if anything that might have made it a stronger issue overall, and we cannot wait to see what awaits us in issue #3. — Matthew Aguilar 

Rating: 5 out of 5

JUSTICE LEAGUE #49

Typically, DC Comics shows the heroes of the Justice League as world leaders, if not in their public policymaking than at least in action. Superman just signed up the Earth for the United Planets, Wonder Woman has led Themiscyra on multiple occasions, and even John Stewart was put in charge of an entire planet. That’s why Justice League #49 is a bit amusing to me, because it portrays the best and brightest of the DC Universe as little more than incompetent heroes who are great at saving things but struggle at actual leadership. Part of this, of course, is due to the alien nature of the planet they’ve taken over (mostly out of necessity), but a lot of this is due to a combination of lack of resources, poor decision making, and just sheer incompetence. This isn’t necessarily a bad Justice League story, but it is a startling contrast to how the characters are portrayed in just about every other comic and medium ever. — Christian Hoffer

Rating: 3 out of 5

DC #2

METAL MEN #8

This Metal Men maxi-series is ramping up for its third act, but not before bringing an action-packed, oddly endearing issue to readers. This issue takes the conflict between the two generations of Metal Men and stretches it into an interesting direction, while also finally playing off of the conflict with Chemo. The Chemo sequences are easily the best part of this issue, providing an unexpected journey for the delightfully-ridiculous DC villain. Metal Men might be getting better with every issue, which makes its eventual conclusion all the more exciting. — Jenna Anderson

Rating: 4 out of 5

NIGHTWING #72

The second we get Dick Grayson back, he gets snatched away! “The Joker War” is about the begin and Dick’s just another pawn in the game of chess Mr. J has started to play. For the first issue in quite some time, the “Nightwings” story arc takes a backseat and allows the titular character to shine once again, though everything’s not what it seems. With a supporting role from another member of the Batfamily popping up, Nightwing #72 introduces a fresh change of pace — at least much fresher than this book’s been of late. — Adam Barnhardt

Rating: 3 out of 5

STRANGE ADVENTURES #3

Strange Adventures continues to plug along with two timelines and artistic styles devoted to essentially delivering one beat each over the course of 28 pages. It’s the sort of pacing that may work well in a collection, but in a serialized format it’s dramatically underwhelming. The action sequence on Rann offers a clear sense of momentum developed by Shaner and Gerads’ faces provide the only nuance to be found in these characters and their reactions. In spite of skillful depictions, all involved suffer from being sketches—archetypes who readers can project meaning onto without sufficient context or depth to state anything of consequence. Given the pacing of Strange Adventures, it seems unlikely that will change in the near future either. There’s a sheen to this series that offers the appearance of seriousness and consideration, but it becomes increasingly clear with each issue that there’s a lack of substance to support that style. — Chase Magnett

Rating: 2 out of 5

SUPERMAN’S PAL JIMMY OLSEN #12

[READ THE FULL REVIEW HERE]

The series’ final moments tap into the concepts that tie all of the wildly different modes and ideas of this comic together. Superman is often compared to a god, but it’s never an apt comparison because he doesn’t derive any power from humanity’s belief in him; Superman’s power comes from his belief in us. It’s that belief that characterizes Superman’s Pal Jimmy Olsen, a series that loves strange and flawed characters, makes time for diversions, and celebrates the best in every situation it encounters. This is characterized without naïveté, too, as criticisms of class, wealth, and corruption are centered and remain present even in its hero’s victory. There’s a clear sighted sensibility to the series optimism, as it celebrates an idea of who we are that’s very much worth believing in. — Chase Magnett

Rating: 5 out of 5

TEEN TITANS #43

My appreciation for the Perez/Wolfman era of New Teen Titans forces me to confront why this comic doesn’t work on the page in spite of many similarities. A large part of the disconnect stems from a change in context. The style of superhero comics has built upon what was established decades ago considerably, but blunt, plot-driven heaps of dialogue and didactic depiction of themes present in Teen Titans #43 don’t reflect any form of progress. The slow reveal of a mystery never manages to do much more than establish what the mystery is and already obvious motivations for those involved. The action sequence at the end never offers a moment of excitement and the cliffhanger is laughable rather than shocking. There’s likely a twist buried beneath all of this, but Teen Titans #43 doesn’t offer readers much of a reason to stick around. Instead, it simply moves the pieces about its board in a fashion that would have been aping one of the best series of its time, if only it had appeared 40 years ago. — Chase Magnett

Rating: 2 out of 5

Marvel #1

2020 IWOLVERINE #1

Larry Hama resurrects his cyborg Wolverine for this tie-in series that is the perfect kind of tie-in, unbeholden to the crossover storyline at large but still rooted in it thematically and via character. In fact the entire core of the plot of this story is a fun one to chew on, but it can’t overcome sloppy artwork and crutch tropes. The usually reliable Roland Boschi delivers the pencils here, and his heart is clearly in the designs for Albert himself as the work done in the robo-Wolverine are the real highlight. Everything else though feels largely forgettable. — Spencer Perry

Rating: 3 out of 5

THE AMAZING SPIDER-MAN #44

The Amazing Spider-Man #44 is a heavy issue and it’s one that finds Peter trying to rest but unable to find said rest as dreams give way to horror after horror as Kindred pulls some truly dirty tricks. For all the bleakness and the heaviness and even moments that border on gore, it’s a really good issue. Nick Spencer has written some truly fantastic story here—there’s what is essentially a monologue of Peter leaving MJ a message that is gut wrenching and beautiful and Kim Jacinto’s art is sharp, well-done, and sometimes even uncomfortable. The issue is not one you want to jump into if you haven’t been reading along for at least a few issue prior, but it’s certainly an excellent kick off to what terrifying plans Kindred has with the Sin-Eater. — Nicole Drum

Rating: 4 out of 5

AVENGERS #34

Jason Aaron and Javier Garron are all about twisting expectations, and boy do they live up to that reputation here. Early on we see a sight not often seen in a cowering Khonshu, and things just get more unexpected from there, including one scene that will simply leave you floored, a scene that Garron and colorist Jason Keith make pop in all its gory glory. The story hits overdrive about midway through, and the hook for next issue has us intrigued, though there is one sequence between Moon Knight and Black Panther that should’ve resonated more but didn’t feel as profound or deep as it necessarily wanted to be. Despite that hiccup, this was another great issue of Avengers, and we’re all in on the Age of Khonshu. — Matthew Aguilar

Rating: 4 out of 5

CAPTAIN MARVEL #17

Captain Marvel #17 trades in the mystery of The Last Avenger and the upcoming star crossing cosmic adventure of Empyre for a delightful night of R&R, and while it doesn’t turn out to be that relaxing for our heroes, it is absolutely delightful for fans. Writer Kelly Thompson is clearly having a ball of a time with this issue, as Spectrum, Spider-Woman, Hazmat, Wolverine, Captain Marvel, and Ms. Marvel come together for a game night gone wrong, and the chaos is delivered with a lighthearted flair that any fan of the Boss of Space will appreciate. That said, Ms. Marvel might just be the MVP of the issue, as Thompson finds entertaining ways to play her lovable personality off the rest of the endearing cast. Artist Francesco Manna and colorist Carlos Lopez are perfect for this story, expressing much of each character’s reaction simply through their expression, though when things hit the fan, the art team can deliver a pretty epic splash as well. This isn’t necessary reading, but those who love seeing these characters interact will be in for a treat, and you’re guaranteed to crack a smile by issue’s end. — Matthew Aguilar

Rating: 4 out of 5

CONAN: BATTLE FOR THE SERPENT CROWN #3

If you thought Conan’s contrast with a modern-day world and setting was entertaining enough, imagine seeing him try to make his way through Wakanda. The setting blends old and new together in a way unfamiliar to him as hovering vehicles zoom through lush jungles, and while Conan: Battle for the Serpent Crown #3 doesn’t highlight the contrast between them quite as much as I’d like, there’s still an opportunity for that to happen. Conan’s unabashed dialogue continues to be a breath of fresh air amid the lengthy superhero banters. — Tanner Dedmon

Rating: 3 out of 5

EMPYRE #1

[READ THE FULL REVIEW HERE]

Following the story of Empyre #0: Avengers, the first issue of this developing saga suffers from the same issues as its previous entry but to a lesser degree. Ewing sets the stage fantastically here and, in doing so, throws you for a loop with the premiere issue’s final page—one that turns the tables on just what exactly “Empyre” is all about. One of the biggest successful Marvel crossovers that I like to use as a standard for what a summer blockbuster can be is Jonathan Hickman’s Infinity, a universe spanning maxi-series that saw the heroes of the world uniting against a celestial threat and Empyre‘s similarities to that are a notable addition here. Empyre is looking to be a summer blockbuster that plays on the strengths of the Marvel Universe, weaving continuity seamlessly into this event series. — Evan Valentine

Rating: 4 out of 5

FANTASTIC FOUR #21

Dan Slott has proven over the last year that he’s a great Fantastic Four writer. The problem here is that the Fantastic Four are only in their own book for a few pages. The great Skrull event series of 2020 can only carry a story so far. — Charlie Ridgely

Rating: 2 out of 5

Marvel #2

FREE COMIC BOOK DAY 2020: X-MEN #1

Marvel’s free comic for 2020 gives us a look into the world of the X-Men and the Marvel Universe in the coming months, and while these are two entirely different stories, they both do a solid job of hinting at things to come. Hickman and Laraz throw out a cavalcade of intriguing story beats for the future of the X-Men, extrapolating on the event of “X of Swords.” Meanwhile, the event of “Dark Ages” from Tom Taylor starts with an intriguing event that lives up to its title. A definite issue that is worth your time. — Evan Valentine

Rating: 4 out of 5

GIANT-SIZE X-MEN: MAGNETO #1

The one-shot installments of Giant-Size X-Men thus far appear to be playing the long game, laying groundwork for future revelations and Magneto #1 is no exception. Even as the issue never reveals what’s really happening above or below the ocean, it offers plenty of action and character interactions to engage readers who will be left wondering what exactly they just witnessed. Both of Magneto’s allies in this issue play off of his austere and confidently competent personality in a way that allows the hero to shine. There’s little attention paid to his status as a mutant revolutionary or Krakoan founder, but his role as a master manipulator of power (literal and metaphorical) is on full display. All of the settings visited are beautifully rendered by Larraz, as well, making it easy to simply enjoy the adventure playing out on the page and wait to wonder what it was all about another day. — Chase Magnett

Rating: 4 out of 5

GUARDIANS OF THE GALAXY #4

Marvel Boy a.k.a. Noh-Varr remains one of the most visually compelling characters in Marvel’s immense roster today. Fans of Marvel Boy and Young Avengers alike are bound to revel in his infiltration and action sequences, especially how each new “trick” is expressed on the page. He certainly delivers the best spitting sequence in comics this year. That expressive joy in toying with the comics page is combined with Ewing’s lamentably overlooked Rocket Raccoon miniseries, as a number of characters and plot points return here to set up both a thrilling heist and some exceedingly black humor about planets in ecological crisis. Even as this issue spends space wrestling with the aftermath of a character’s death and a very different status quo, it ensures each page is entertaining and that there’s never a single opportunity for lost momentum. It’s a thrill to read and promises that even the connective tissue of this Guardians of the Galaxy run will read as unforgettable. — Chase Magnett

Rating: 4 out of 5

THE IMMORTAL HULK #35

Following the revelation of The Leader’s obsession with the Green Door and hints at his designs for Hulk, The Immortal Hulk takes a moment to reflect on the post-Xemnu status quo before unleashing its next great threat in a stunning cliffhanger. It’s a significant pause point for the series, though, one that allows the consequences of its actions space to breathe while delving into themes of identity. One particular sequence between Bruce and Betty stands out as a clarifying moment for readers seeking to understand the anti-hero’s central metaphor. Even as it emphasizes more thoughtful moments of reflection, there’s still plenty of tension in these pages, especially in how each examined relationship is realized. It’s apparent that there are no figures who exist for the sake of plot, and that makes it easy to lose yourself even in an issue that is primarily focused on after-action debriefings. There’s still plenty of excitement left to come, and it already feels impactful given the many characters who will be affected. — Chase Magnett

Rating: 4 out of 5

SPIDER-WOMAN #2

Marvel’s new Spider-Woman series got off to a wonderful start, and with issue #2 the hitting streak is alive and well. Writer Karla Pacheco has already found a groove with Jessica Drew, highlighting the sarcastic and relatable elements fans love and using her current circumstances to create and expand the character in some interesting ways. Pacheco is exploring the characters complicated origins in a way that keeps it accessible and opens the door for some evolution both in terms of character and power. On the visuals side, artist Pere Perez and colorist Frank D’Armata continue to shine in close-quarters combat, giving Jessica a brutality and physicality in her fighting that she didn’t have previously, and it makes for some amazing sequences, including a climactic fight towards the end that went beyond my expectations in the best way. There is the occasional odd panel here and there, but those aren’t enough to outweigh the good. It turns out this was the absolute perfect team for Spider-Woman, and things are only getting better from here. — Matthew Aguilar

Rating: 5 out of 5

STRIKEFORCE #8

A book like Strikeforce excels when the entire team is being utilized in interesting ways, and while that’s the case for certain parts of the team, the book’s current lead is just holding up her end of the bargain. This latest storyline puts Angela at the forefront, and unfortunately that one substantial part of why the book is dragging at the moment. Writer Tini Howard has brought some great things out of Angela since the series began, but now that she’s more of the focus, there’s just not enough there currently to keep readers hooked, even when other characters are present. Angela has a full sequence with Wiccan and Spider-Woman at one point, and even their banter is not enough to keep her from being utterly boring. Then we get her alone in that last fight, with the rest of the crew relegated to small shining moments throughout the issue. The visuals don’t really stand out either, though there are some slick battle scenes in the first few pages. After that though there isn’t much to catch your eye, aside from one delightful and creative page to page transition. The hook for next issue is promising, so hopefully things get back on track next month. — Matthew Aguilar

Rating: 2 out of 5

VENOM #26

You know, I’m not a big fan of Venom generally, but Venom #26 is a solid book. Donny Cates does a fantastic job of crafting the story and even more than that reminds readers that Eddie Brock is fallable and can get his butt kicked, which is always sort of refreshing to see. But there’s also a fair amount of action in this issue that pairs up really well with the way the story’s pace builds from something slower to something that feels urgent and frantic heading into a shocking cliffhanger. The momentum that Venom #25 lacked, #26 regains. Overall a solid, enjoyable issue. Not perfect, but not bad. — Nicole Drum

Rating: 3 out of 5

Other Publishers #1

20XX #5

20XX is a book with some dark chapters and this week’s #5 is no exception. Mer is grieving a major loss, gets hit with a major betrayal, and the brewing war between the East and West sides reaches the point where it’s about to explode. That description makes it sound like a lot happens in the issue, and it absolutely does, but the brilliance of 20XX #5 is the use of empty space, simple images, and a the target use of actual dialgoue and word—especially in terms of how it is placed on the page—that makes the book genuinely outstanding. Lauren Keely and Jonathan Luna’s true strength with this book is how it’s put together in a way that is both futuristic and clean as well as heavy and emotionally devastating at the same time. It’s a well done issue. — Nicole Drum

Rating: 4 out of 5

BETTIE PAGE #1

Bettie Page #1 sees the iconic “Queen of Pinups” back for a new series penned by Karla Pacheco. Fans of the comic character and the real-life Page will undoubtedly get a kick out of this latest romp as the series takes quite a few stabs and Old Hollywood while a crew hopelessly struggles to make a new film on a tropical island. There’s a long-running Tolkien joke certain readers will love, and it looks like they’re trying to center this story around a scandalous murder. That could make for some fun future issues. — Connor Casey

Rating: 4 out of 5

FAITHLESS II #2

Faith heads to Europe to promote her latest pieces of art, only to earn a surprise reunion with Poppy. While Faith has to come clean to her partner about her lapse in commitment, an unexpected threat emerges and forces Faith to take drastic measures to protect Poppy, only to result in a seemingly catastrophic incident. After the somewhat ambling debut issue of the series, the narrative in this installment is much more focused and cohesive, which will surely appeal to readers who were less familiar with the original series. The exploration of sex, mysticism, and art continues to be the primary theme, with the final pages of the book hinting at something much more horrific and setting the stage for exhilarating reveals in coming issues, while also making the narrative meandering of the first issue more focused in hindsight. — Patrick Cavanaugh

Rating: 4 out of 5

FAMILY TREE #7

Family Tree begins to toy with its setting in a more consistent fashion in its seventh issue as the past, present, and mystical world of “tree people” are all brought into focus in tandem. Readers are able to better realize characters and their motivations given this multifaceted context, and it allows plenty of room for a mother’s grief to play out rather than rushing past emotional consequences. The figures here are thinner and the details of their appearance bring a sharpness in the inks that align with the severe bark of a tall tree; it’s an appropriate approach that fits the mounting violence and severity of these sequences well. Even as Family Tree #7 begins to understand its approach in balancing each element of its own story, those elements are impactful enough that any misgivings are easily ignored. By the final page all that’s left is a desire to see more of every part of this branching narrative. — Chase Magnett

Rating: 4 out of 5

GIDEON FALLS #23

Things are never what they seem in Gideon Falls, that much is for certain. What started as a mind-bending Western has slowly morphed into a post-apocalyptic sci-fi thriller—and it looks like it’s not stopping there. Between the past few issues, Lemire and Sorrentino have crafted a Black Mirror-esque tale, warning all of us what a not-so-distant future may look like with the constant advancement of technology and a society glued to their devices. As the multiverse continues to fold in on itself, the Gideon Falls team manages to craft one cautionary tale after another. Not just that, but they can also create superstar characters in a handful of panels, taking them from the sideline to A-list status one issue after the next. By itself, Gideon Falls #23 is a solid-enough read but if you can learn one thing from this book, it’s that it’s just another piece of a thousand-piece puzzle. — Adam Barnhardt

Rating: 4 out of 5

THE LUDOCRATS #3

The Ludocrats has settled into a familiar rhythm that may run contrary to the series’ spirit, but proves plenty amusing nonetheless. An appearance by a comics-style narrator, blithe statements about consequential events, a pointed comedic stare, and a “That’s all folks!” style ending are just some of the tropes which form a pattern, yet the constant invention of new scenarios, settings, and characters still leaves plenty of space for novelty. That’s where much of the joy in this series lies as the most consequential commentary seems limited to barbs about the stale nature of many comics. While it’s present, it’s not nearly as engaging as the antics that fill every page with color. This may primarily function as a romp, but it’s certainly one of the most obviously enjoyable romps to be found in comics today. — Chase Magnett

Rating: 4 out of 5

Other Publishers #2

MIGHTY MORPHIN POWER RANGERS #51

Mighty Morphin Power Rangers might be ending soon, but it is determined to go out in a blaze of glory, and that blaze kicks off in style in Power Rangers #51. Writer Ryan Parrott builds off of the climactic battle in #50 with stellar Drakkon battle that showcases the strengths of artist Moises Hidalgo and colorists Walter Baiamonte and Katia Ranalli. The book’s visuals shine when fists are being thrown, though it doesn’t shine as brightly when things are more static during a conversation, with some odd expressions and poses in the mix. The lone exception to this is the scene between Billy and Drakkon, as the creative team nails a sense of fear, dread, and mystery throughout this sequence, presenting the infamous villain as the lethal and crazed threat he should be. The issue ends on a high note as well, combining a vibrant and action packed battle with a fantastic hook that fans have been looking forward to. While the visuals let down at times, it doesn’t make this issue any less important to what’s coming next, and you shouldn’t miss out. — Matthew Aguilar

Rating: 4 out of 5

MOONSHINE #19

Moonshine is far more effective in evoking mood than character. Lou interacts with a number of his former associates in this issue and there’s even a lavishly illustrated flashback to his origins in organized crime, but he still never rises above the level of a tough with a chip on his shoulder—even after 19 issues. However, the depictions of a Prohibition-era setting and Tempest’s attempts to climb the ladder read beautifully in isolation. They are evocative sequences with rich backgrounds and a lavish love for noir. Risso’s artwork elevates an issue that struggles to offer its own identity as it ties past and future plot threads together with little depth being added along the way. Mileage may vary amongst readers, but there are at least a few solid thrills along the way. — Chase Magnett

Rating: 3 out of 5

THE OLD GUARD: FORCE MULTIPLIED #5

Force Multiplied balances a number of moments of convenience with some of the most awe-inspiring action sequences in the series (or recent comics) thus far. The oceanbound climax is simply stunning and one particular spread will likely leave readers staring for minute on end. Fernandez’s grasp of cause-and-effect makes each brutal moment flow naturally forward, no matter how horrifying it becomes to witness. There are a number of strong character and relational beats, but it’s difficult to focus on them when contrasted against some choices and changes that read as plot-driven. The cliffhanger establishing a new status quo for The Old Guard‘s third and final series particularly stands out in this regard. While the logic and concept are earned, the quick change of focus and alteration of leadership do not. It’s a sequence that is didactic in language and rushed in execution, detracting from an otherwise stellar midpoint to this consistently stunning series. — Chase Magnett

Rating: 4 out of 5

ONCE & FUTURE #9

Once & Future is one of my most anticipated comics every month, and this latest issue only proves why once more. Writer Kieron Gillen continues to intertwine the old myths and stories with a sarcastic and meta-awareness that gives the series a welcome edge. Gran is still one of the most delightful characters in comics, but the rest of the cast is also coming into its own, and that’s not even counting the increased presence of characters of legend making their way into this crazy world. Artist Dan Mora and colorist Tamra Bonvillain outdo themselves here, with some stunning explosions and a thrilling Beowulf battle to kick things off and one hell of a final page hook that will have you wishing for a time machine so you can see what’s next. In short, this book is awesome, and if you aren’t reading it, seriously, what are you waiting for? — Matthew Aguilar

Rating: 5 out of 5

RICK AND MORTY GO TO HELL #2

Rick and Morty: Go to Hell looked like it wasn’t going to make the most of its hellish landscape until the second half of the issue. Most clashes between Rick and his family boil down to the same few moral and ethical dilemmas, so it’s up to the specifics and setting to do the rest. Seeing Rick and Morty trudge through a desert being berated by a belligerent sun is the perfect use of the Rick and Morty formula. Focus more on the hellish landscape and the plight of those two instead of another Jerry story and Go to Hell will stay heading in a smart direction. — Tanner Dedmon

Rating: 3 out of 5

SACRED SIX #1

Dynamite’s Sacred Six #1 is one of the most intriguing team books I’ve read in some time, though I don’t quite have a complete handle on what it really is just yet. What writer Christopher Priest has sold me on is the tone and vibe of this world, and I find myself wanting to know more of the battles between Ashthorne and Sacred, as well as the characters being stuck right in the middle of that war. Artists Jae Lee and Gabriel Ibarra provide some gorgeous visuals in a story that ranges from ancient Egypt to the sound stages of Hollywood and everywhere in between, and there’s a general sense of eeriness throughout that I really enjoyed. Now, hopefully we’ll get more actual answers and perhaps a battle or two in the second issue, but this is quite the introduction, and I’m definitely coming back for round 2. — Matthew Aguilar

Rating: 4 out of 5

Other Publishers #3

SAVAGE DRAGON #250

[READ THE FULL REVIEW HERE]

The quick cuts and character-driven stories that shape Savage Dragon #250 feel a bit like a clip show, but one that touches on a lot of important moments that have arisen over the last three months, since Savage Dragon #249 took place in late March, shortly after the pandemic really started to obtain a grip on American culture. Larsen does a good job of balancing the need to fill in blanks going both forward and back—setting up stories to come, while giving potential new readers (he has said there are always at least a few in these big anniversary issues) the background they need to understand it. It’s Savage Dragon, though, so even a character-driven story is going to have some sex and violence—and in this case, the Dragon kids get in on the action once again (just the violence, not the sex). The moment that will have a lot of people talking, though, is a jaw-dropping cliffhanger at the end of Larsen’s lead feature. — Russ Burlingame

Rating: 4 out of 5

SNAKE EYES: DEADGAME #1

G.I. Joe is not something that is in my typical wheelhouse. The most exposure to the characters and the franchise were commercials for the action figures during the ’80s and the occasional episode of G.I. Joe: A Real American Hero so to say I went into Rob Liefeld’s Snake Eyes: Deadgame #1 with absolutely no expectation is both an understatement and completely accurate—and I’m really glad for it. Snake Eyes: Deadgame #1 is an interesting combination of nostalgia, mythology, and action that feels the way the voiceover to a late ’80s television series sounds, all soaked in testosterone. And it’s rad. The story kicks off with a peek into Snake Eye’s past that ends up having a direct connection to the mission that ends up being the center of the issue and leads right setting up the conflict for the series. In that sense, it’s solid storytelling as it gives you just enough to get interested and works well for long-time G.I. Joe fans and total newcomers alike. What’s a little less effective is how quick and almost tidy the issue is. The whole issue moves from introduction to end of issue little cliffhanger way too quickly. The pacing is similar to what you’d expect of a Saturday morning cartoon, but the content is a bit more superficial, to the point of sometimes feeling cliche. Even for that weakness, it’s still a fun, albeit brief, read. The art in the issue is a little uneven in places—I have some questions about how Scarlett is drawn—but Liefeld draws a great Snake Eyes, especially in action. Bottom line? Snake Eyes: Deadgame #1 feels like a fun blast to the past. Don’t take it too seriously and it will leave you oddly excited for more. — Nicole Drum

Rating: 4 out of 5

STAR TREK: DEEP SPACE NINE – TOO LONG A SACRIFICE #1

Star Trek: Deep Space Nine returns to comics for the first time in a decade with Too Long a Sacrifice #1, from veteran Star Trek writers Scott Tipton & David Tipton, artist Greg Scott, and colorist Felipe Sobreiro. While all the Deep Space Nine cast members appear in the issue, the story’s main protagonist is Constable Odo. Set during the height of the Dominion War, a bomb explosion in a promenade restaurant rocks the already beleaguered space station. Odo’s investigation takes on the atmosphere of a noir mystery as potential suspects begin casting aspersions on each other. Sobreiro’s colors set the mood with heavy shadows and backgrounds of purple and blue. The dark colors help to soften Scott’s on-model portraits of the television cast. While the art sets the tone well enough, the team struggles with action sequences, and there are panels with blank white backgrounds that only serve to distract from the mood. One of the reasons the Tiptons have lasted so long on the Star Trek line is their uncanny ability to mimic character voices and plot structure from the television shows, sometimes to a comic’s detriment. Here they nail each character except for Worf, who comes off as a regressive caricature of himself as he looks to arrest suspects based on their species’ reputation. Otherwise, leaning into the noir helps keep this issue from becoming merely a pale imitation of its source material. — Jamie Lovett

Rating: 3 out of 5

STAR WARS ADVENTURES #32

The first story sees Finn hoping to recruit assistance from a remote group of warriors, only for these survivors of The First Order to offer an interesting perspective on the war tearing the galaxy apart. Set before the events of Star Wars: The Rise of Skywalker, the narrative helps fill in the gaps on Leia Organa’s call for help at the end of Star Wars: The Last Jedi and the cavalry that appears at the end of the final chapter of the Skywalker Saga, shedding light on groups throughout the galaxy who might not be directly invested in the war, but are still willing to fight for what’s right. The second story sees explorer Emil seemingly passing through famous stories from all corners of the galaxy and Star Wars’ famous history, only to discover that he has become a victim of a “story vampire” seeking to suck him dry of all of his knowledge. Given that Emil has never been an especially compelling character, seeing the more surreal exploration of him traveling through various adventures does finally justify his existence, as well as the moral twist at the end about the power of focusing on the present instead of being envious of the adventures other have embarked upon, an uplifting concept in a day and age where everyone is sucked into social media. — Patrick Cavanaugh

Rating: 4 out of 5

TEENAGE MUTANT NINJA TURTLES #106

With Sophie Campbell establishing the new status quo in her first five issues on the series, Teenage Mutant Ninja Turtles #106 sees the members of the freshly-minted Splinter Clan trying to get on with the business of living life in New York City’s newly-established mutant town. The issue starts a new arc with Campbell stepping back from scripting and art duties. Instead, she provides the story, with Turtles co-creator Kevin Eastman continuing to consult, while Ronda Pattison pens the script. Pattison also provides colors for the work of incoming artist Nelson Daniel. Campbell’s first arc is a tough act to follow, and #106 does feel pedestrian by comparison. Threats lurk around the fringes of mutant town preying on its children, and the Turtles have to investigate while growing into their new roles as mentors. Daniel’s art is serviceable but employs some awkward panel compositions. Similarly, Pattison’s colors do the job but feel flat in places. It’s a decent enough issue but struggles against the lofty standards set by the series. — Jamie Lovett

Rating: 3 out of 5

TRANSFORMERS ’84: SECRETS AND LIES #1

Simon Furman, the fan-favorite writer of Generation 1 Transformers comics, returns to that continuity once again in Transformers ’84: Secrets and Lies #1. He’s joined by artist Guido Guidi and colorist John-Paul Rove, reuniting the team behind last year’s Transformers ’84 #0. Secret and Lies continues the story from that first prequel, unveiling the chess game of espionage and intrigue that unfurled on Cybertron to lead to the launch of the Ark and the Transformers’ landing on Earth. The spy Punch again serves a narrator, only this time in his Counterpunch guise, to relay a tale from behind enemy lines. Guidi and Rove have taken great care to recreate the look of the original Marvel Comics Transformers books, from Guidi’s intricate linework to Rove’s use of Ben-Day dots and reliance on fiery oranges and piercing purples in his coloring work. Furman’s dialogue doesn’t have the same over-the-top flair here that he exhibited in his previous outing, but fans of old school Transformers comics are going to appreciate what the team has done here. — Jamie Lovett

Rating: 3 out of 5

VAMPIRELLA #11

The conclusion of “Flight Plan” also serves a capstone for this volume of Vampirella so far. After several scattered issues, the purpose and outcomes of a commercial airliner dropped on a suburban neighborhood are clarified, even among the diffuse narrative tracks that define Priest’s writing. Vampirella’s arc, specifically, is clarified in a sustained fall from grace (or, rather, normality) as antagonists, former friends, and even her therapist all draw new understandings of how they fit into this increasingly convoluted web. There’s enough focus in this issue to allow for a satisfying arc for each of these players, as well as a cliffhanger capable of building excitement for where events will proceed. Vampirella has always offered readers something of a balancing act, demanding a good deal of work to engage with its story, but here it shows how that effort may be rewarded, especially if that balance is maintained moving forward. — Chase Magnett

Rating: 4 out of 5