It was another huge week for the comic book industry. DC celebrated Harley Quinn's 25th anniversary with a new anthology special and delivered the second chapter of the epic Dark Nights: Metal event. Marvel capped off Secret Empire with an epilogue issue and finally brought back the fan-favorite team the Runaways. Elsewhere, Valiant gave us a tease for their new reader-friendly Ninjak relaunch and Image released new issues of perennial favorites like Kill or Be Killed and Curse Words.
Scroll down to check out our reviews for these and various other new releases, and be sure to let us know your favorite books of the week in the comments below.
Written by Dan Jurgens | Drawn by Viktor Bogdonavic
It's finally here. After literal years of waiting, we finally find out the true identity of Mr. Oz, the man in the shadows who has been plaguing the DC Universe since his introduction in Geoff Johns/John Romita Jr.'s Superman #34. And it kinda sucks. Before we get to that, though, let’s address the rest of the comic, starting with the fact that the art is freaking gorgeous. I'm not a die-hard reader of this series, but Bogdanovic is tempting me. His Superman, rising out of the sea, carrying a truck filled with vaccines, is so perfect -- I could hear the splash of the water, had to shield my eyes from the bright sunlight. Okay, that's an exaggeration, but man is it good. Anyway, here Oz unveils his master plan, which is to make a bunch of people do evil stuff that... they already do? Causing an oil spill, killing a protected rhino for its horn, being violently racist. It's oddly reminiscent of Secret Empire, as both preach that a lot of human suffering is the fault of one evil mind, and not the fault of people being short and selfish. Like Satan, Mr. Oz is set up as this dark tempter and the only reason people are bad is because he drives them to be. Which is just ridiculous. Hate-Monger didn't make Charlottesville happen. So when a racist tries to kill a bunch of brown people, and the comic blames it on the mysterious Mr. Oz, it just feels insulting. As does the fact that after Superman, at the beginning, takes vaccines to a third world country he returns saying it's good to be home where people can appreciate life. Which, wow, how first world can you get? If it weren't for the last page reveal of Mr. Oz, I'd say this comic was a waste. I could only get through because the art was so so dang good. -Tara
Final Score:
Written by Scott Snyder | Drawn by Greg Capullo
"Two issues in, Dark Nights: Metal is certainly living up to its name. This miniseries is louder and more boisterous than anything writer Scott Snyder and artist Greg Capullo have tackled in the past. But it's not all spectacle and zany superhero action with this book. Metal is also proving itself to be a story that builds on past Batman stories in meaningful ways while building a conflict that touches nearly every corner of the DCU." -Jesse
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Final Score:
Written by James Tynion IV & Christopher Sebela | Drawn by Carmen Carnero
There was something that seemed off about this issue, and I didn’t realize that James Tynion IV had taken on a co-writer until I reread it. This is the most uneven issue of Tynion’s Detective Comics run. It basically zips through the Anarky and Spoiler story for a rushed confrontation with Batman that falls flat on the page. Honestly, I really didn’t want to see more of the First Victim and his followers, and that’s where the story seems to be going. Artist Carmen Carnero seems to have a pretty good take on Clayface and his more monstrous side, but the idea of Clayface regressing back into his evil self just seems unnecessary. Tynion had done such great work with the character that even the threat of undoing it seems like a waste of time. Hopefully the return of Tim Drake will help bring back some of the fun to this book. -Blair
Final Score:
Written by Joshua Williamson | Drawn by Neil Googe
This series has been a solid addition to the DC Rebirth lineup, but its track record hasn't been too great when it comes to villains. That's especially true for the new additions to Flash's rogues gallery. This issue adds another new face as Joshua Williamson and Neil Googe place more emphasis on the "blood thief" subplot that's been brewing of late. This new villain doesn't leave a strong impression in terms of look, powers or motivation. His tendency to monologue doesn't exactly endear him to the reader, either. But at least Barry's own personal drama carries more weight as the ramifications of Barry's Negative Speed Force exposure continue to play out. In some ways, Barry's world has only grown darker with the advent of DC Rebirth, but at least it feels like there's a purpose behind the darkness. Neil Googe's work generally impresses here. His facial work is expressive, though occasionally distorted and oddly proportioned. As is usually the case, colorist Ivan Plascencia is the real star of the show. His vivid colors bring a palpable sense of energy to the page and help the book maintain a consistent tone despite the sporadic shifts in penciler. -Jesse
Final Score:
Written by Robert Venditti | Drawn by Rafa Sandoval This was weird. Almost the entire issue is made up of a conversation between Hal Jordan and his late father as Jordan races across space to save the life of Highfather of New Genesis. It’s a bizarre Metal interlude, especially since it’s never really clear why Hal is hallucinating the ghost of his dead father, if it is a hallucination. But it's a sequence that quickly stays past its welcome and takes up much more space than it needed. At least Rafa Sandoval’s art is still nice to look at, but the claustrophobic tone of Hal’s cockpit conversation with his ghost dad doesn’t do Sandoval any favors. To be honest, this feels like a filler issue, and it barely advances the plot at all. I expect more from Venditti, and he usually delivers. But this time, Green Lantern’s flight fell far short of what it should have been. -Blair
Final Score:
Written & Drawn by Various
It's Harley's twenty-fifth and for her birthday, DC threw her a big bash, inviting all of her friends. Just like a party, there's a ton of stuff in this comic, not a lot of it makes sense, and it all kinda blurs together, but there are definitely awesome highlights. For instance, the Babs Tarr, Harley/Ivy/Catwoman pin-up is gorgeous. David Lafuente's art in Somewhere That's Green was so good I kinda want him to take over the book. The last story, with Chip Zdarsky writing, has an interesting take, showing Harley Quinn as someone who can ruin your life with her words, someone whose true strength isn't her insanity but her insight. But the best, though, is the story about Harley Quinn's birthday. Throughout, we see that the Joker is calling up dozens of villains and threatening them to meet him at a dock for a job, on Harley's birthday, and he's even leaving her behind. But - plot twist! - it turns out he was actually throwing her a birthday party. Only for it to be revealed that Poison Ivy actually did it, forcing Joker to throw Harley a party by poisoning him. It's a delightful and sweet story, one that seems like it'd be at home on Batman: The Animated Series, which is fitting since one of Harley's "dads," Paul Dini, wrote it. A fun but sometimes tedious party, it's worth a read if you love Harley. -Tara
Final Score:
Written by Tom King | Drawn by Mitch Gerads
Mister Miracle #2 is an oddly straightforward issue coming on the heels of the first. While the series still asks the reader to question the veracity of everything they're seeing on the page, there's far less interplay between Scott Free's earthly struggles and the cosmic grandeur of the New Gods. This issue emphasizes the latter, with Scott and Barda called upon to lend a hand in the latest war between Apokolips and New Genesis. This issue feels like it's missing a certain something, but at least it still works as an effective character study. Whether exploring the tension between Scott and Orion, the intimacy between Scott and Barda or the surprisingly warm relationship between Scott and Granny Goodness, Tom King and Mitch Gerads paint a vivid portrait of a man who can't quite escape his old life. Gerads' versatile art is also a huge selling point with this series. He's able to constantly bounce between sweeping fantasy and intense personal drama, shifting texture and style as necessary. And this series is another testament to the fact that Gerads is every bit as talented a colorist as he is a penciler. -Jesse
Final Score:
Written by Rob Williams | Drawn by Giuseppe Cafaro w/ Agustin Padilla
Whatever momentum this series has managed to build up over the past year has mostly faded thanks to the "Kill Your Darlings" arc. This issue attempts to cap off the long-brewing conflict with Direktor Karla and the People, but it does so in very abrupt, unsatisfying fashion. There's little sense of significance to the rushed, jumbled plot here, even as Rob Williams delivers what is ostensibly the climax of his first year on the title. Though to be fair, it's hard to say how much the series' wonky art quality of late has impacted the flow of the story. Where Suicide Squad previously boasted some of the biggest names at DC - and very recently featured a terrifically rendered issue by Stpejan Sejic - this arc has been a jumbled mish-mash of rotating artists and generally muddled visuals. This finale chapter is easily the weakest yet. Giuseppe Cafaro's pencils are flat and lacking in energy. Worse, there's a frustrating lack of consistency to his character designs. Deadshot is barely recognizable out of costume, and Waller spontaneously changes body shape and height in every panel. Agustin Padilla's pencils are slightly more appealing in the epilogue scene, but there's still a harsh, rushed quality to his work. At this point, the most we can hope for is a fresh start as the series moves on to other conflicts. -Jesse
Final Score:
Written by Steve Orlando | Drawn by Robson Rocha
Wait... that was the conclusion? Supergirl #13 races to the end of the Fatal Five storyline at such a rapid pace that it 's genuinely a surprise when the story comes to a close. But not necessarily for the right reasons. Robson Rocha has some standout pages, including the last shot of Supergirl in flight and the new man in charge at the DEO. However, it's somewhat frustrating to see the public turn on Supergirl like sheep, just because of the footage of Kara speaking to her father, the Cyborg Superman. Yet that’s where the issue leaves us. Steve Orlando has blown up his status quo for the DEO, National City, and even for Supergirl herself, who no longer has the love of the people. The coda ties into the events currently unfolding in Action Comics, but even that seems to be rushed and inelegant. There was a lot to like about the first year of this title, but this change of direction already feels unfocused and unsatisfying. -Blair
Final Score:
Written by Benjamin Percy | Drawn by Mirka Andolfo
The thing to remember about Teen Titans #12 is that it’s not really a Teen Titans issue. It’s a tie-in to Metal that just happens to have some of the Titans in it. But it’s mainly a team up of Damian Wayne and Oliver Queen, the stars of Benjamin Percy’s primary books. On that level, the issue is a fun look at two characters who have barely interacted before. Surprisingly, Damian’s brand of arrogance actually plays off of Oliver’s arrogance in an unexpectedly funny way. Throwing in a few members of the Suicide Squad is a nice touch. Mirka Andolfo’s art does an excellent job of depicting the transformed Gotham City and Riddler, as well as the Batman Who Laughs and his feral, vampire-like Robins. Of the Metal tie-in books, this was easily the best one yet. However, it feels like the Teen Titans have been relegated to guest stars in their own series. That’s never a good look. -Blair
Final Score:
Written by Shea Fontana | Drawn by David Messina
From start to finish, the Shea Fontana run has been a joy, showing a truly different side to Wonder Woman, dealing with bodily autonomy, the sacrifice she makes, her fight against authority figures and her friendship with Etta Candy. It's been such a great, great series, and this final issue is no exception. A lot of times arcs will end with a big blowout fight but this one, while featuring a fight, kept dealing with the issues it wanted to address thoughtfully. Diana meets enemies who want to help the world as much as she does and she has them peacefully submit to her, which is just so Diana. I've loved this version of Diana and will be sad to see her go. Hopefully, Fontana will get another chance to write her again, because my god, there's never been one I've liked better. The themes and stories (and how the perfect, Diana's golden lasso of truth, is used at the end) will stick with me and forever color my vision of Wonder Woman. -Tara
Final Score:
Continues
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