YOUNGBLOOD #100

Story: Rob Liefeld
Pencils: Rob Liefeld
Inks: Rob Liefeld/Chance Wolf/Shelby Robertson
Color Art: Juan Manuel Rodriguez
Lettering: Rus Wooton
Production/Design: Drew Gill
Publisher: Image Comics
Cover Price: $4.99
Release Date: June 10, 2026

Previously in Youngblood, superstar artist Rob Liefeld was working at Marvel Comics when he saw the wave of the future: Superheroes as celebrities. The debut of Youngblood (which, it must be noted, was the debut of Image Comics) showed us a world where costumed adventurers spent as much time on their endorsements and their late-night appearances as they did on punching evil. It was a prescient take, foreseeing the coming world of faux celebrities, reality TV “stars”, and even social media, to some degree, all while there was barely even a World Wide Web to predict such impending horrors.

That’s 408 Months And At Least 15 Number Ones

As Youngblood #100 begins, we find Roman, the King of the Seven Seas, using his mystical horn to send a worldwide signal: The time for rebellion has come. The Keep, an intergalactic civilization of evil overlords, led by Kirby-esque giants, has occupied the world for the past three years. Now, Shaft and his Youngblood team (Badrock, Chapel, Combat, Cougar, Die-Hard, Doc Rocket, Photon, Sentinel, Sundance, and Vogue) revolt against their oppressors, who have corrupted some of the world’s heroes to aid them. We are given a view into the minds of Shaft, Die-Hard, and Badrock, now carrying Mjolnir and name-checking Chris Evans in the process. We even get moments with other Liefeld characters, like Prophet, who gets his own spotlight moment, and characters who haven’t appeared in Youngblood in forever. By the time the villains of the Youngblood mythos arrive, it’s clear that today is the day the world is freed from alien tyranny.

Youngblood: Endgame

It is important for readers to know that this issue continues directly from Youngblood Volume 7 #5, something that I didn’t realize at first. As the final part of the V7 arc, which reunited the entire Liefeld stable, including Supreme, the Brigade team, Roman (which is Namor spelled backward, BTW), explains the death of Thor and the presence of a giant literal devil in the midst of it all. It’s a smorgasbord of Youngblood history, all of which comes to a head here. It doesn’t explain much of it, though, as this issue is wall-to-wall action that never lets up long enough to tell the reader how a few characters are in more than one place at one time.

The art is exuberant, with some interesting layout choices through the battle sequence, including some nice full-page images that are brimming with power and excitement. It is not, however, going to change your mind about the artist, which means that if you already love a Liefeld book, you’ll love this art. If you only see the flaws, you’ll only see the flaws. There really isn’t much in the way of dialogue to discuss, as this issue, much like Youngblood #1, is mostly tough-guy one-liners and banter, ranging from “We’ll finish taking out the trash!” to “There’s always a bigger fish!”

Bottom Line:

All in all, Youngblood #100 starts off with an odd bang, misidentifying two team members in the big splash page opener, blatantly swiping Kirby’s Celestials, and using the so much of the plot of Avengers: Endgame that we actually get Maximage (the Doctor Strange analog) taking a moment to remind the heroes that they’re on the one path to victory, earning 2 out of 5 stars overall.

When I bought Youngblood #1 thirty-four years ago, I honestly didn’t expect the characters to last, or for Image Comics to be any more successful than any of the other companies that followed in its wake. I was absolutely wrong on both counts, I will admit, but issue one hundred has all the same flaws as issue one did, putting too many characters on the field without any context (or very many backgrounds, for that matter), focusing on quick moments, bits of snappy dialogue, and interesting-but-all-too-familiar characters. If you love Youngblood, you’ll love this book.

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This week’s lineup includes a new Absolute title from DC, giant monsters invading classic literature, M.A.S.K. joining the Energon Universe, and enough Supergirl merchandise to convince you that Warner Bros. would happily put Krypto on every product in America if given the opportunity.

IF YOU READ ONLY ONE COMIC THIS WEEK

ABSOLUTE CATWOMAN #1

Writers: Che Grayson, Scott Snyder
Artist: Bengal
Publisher: DC Comics
Cover Price: $4.99

The Absolute Universe can’t, won’t, and don’t stop as Catwoman gets her own title. The greatest thief in the world has it all—until a blast from the past needs her help to solve a mystery. I love Catwoman's cowl design, and with all her tech, I find this take on the feline felon intriguing.

DC is going “All In” and it continues to pay off at the cash register.

ON THE READ PILE

Masters of the Universe: The Wings of Fate #1

Writer: Tim Sheridan
Artist: WilL Sliney
Publisher: Dark Horse Comics

The movie may have stumbled a bit on its initial release, but real fans of MotU might want to check out the latest comic book adventure from Dark Horse Comics. This adventure is set in the world of the movie universe, and Tim Sheridan does have experience penning He-Man adventures, so this might be the synergy you need this week.

Godzilla’s Monsterpiece Theatre Presents: Godzilla’s The Odyssey

Writer: Frank Tieri
Artist: Ilias Kyriazis
Publisher: IDW Publishing

The big movie of the summer is coming, and IDW Publishing understands that synergy can drive sales, so why not take the current craze of putting Godzilla in everything and put him in one of the greatest stories ever told. This one-shot won’t become an Illustrated Classic, but I hope this finds its way into some middle school bookshelf.

M.A.S.K. #1

Writer: Dan Watters
Artist: Pre Parr
Publisher: Skybound Entertainment

The Hasbro cartoon explosion continues at Skybound this week, as the next phase of the Energon Universe kicks off in the pages of M.A.S.K. M.A.S.K. is one of those shows I never watched, so I don’t know much about the characters except for that one appearance in G.I. JOE a few months ago. I do appreciate how Skybound has been able to bring all of these various properties into a cohesive universe, so perhaps by this time next year I will have become hooked.

SUPERGIRL BY THE NUMBERS

As of this week, tickets are on sale for the upcoming Supergirl movie. KFC has a Krypto bucket, toy companies are rolling out figures and collectibles, and comics shops are getting a full “Summer of Supergirl” push.

16 days — days until Supergirl opens in North American theaters and IMAX on June 26, 2026.

67 years — since Kara Zor-El first appeared in Action Comics #252 on March 31, 1959.

8 issues — the length of Tom King and Bilquis Evely’s Supergirl: Woman of Tomorrow, the modern comic story DC keeps putting in front of readers ahead of the film.

216 pages — the size of the DC Compact Comics edition collecting the entire Woman of Tomorrow series.

$9.99 — the price of that compact edition, which is exactly the kind of gateway-drug format DC wants on shelves before the movie hits.

#14 — Supergirl #14 lands today, giving the character a same-week comic-shop presence while the movie countdown ramps up.

0 days — KFC’s limited Krypto Collectible Bucket launches today. Yes, Supergirl has reached the “fast-food bucket” stage of franchise awareness.

$29.99 — the price of that ultra-limited Krypto bucket at participating KFC restaurants, while supplies last.

5 — blind-bag collectible designs in KFC’s Supergirl Ultimate Meal promotion.

20+ years — how long it had been since KFC launched a film-inspired collectible lineup like this.

62 products — currently listed in DC Shop’s broader Supergirl collection, ranging from comics and apparel to collectibles and movie tie-ins.

$285 / $345 — DC Shop preorder prices for Hot Toys’ sixth-scale Supergirl & Krypto and Lobo movie figures.

126 episodes — the length of the previous live-action Supergirl TV run, which aired from 2015 to 2021.

$14.3 million — lifetime gross for the 1984 Supergirl movie, a reminder that Kara’s first big-screen outing was a very different kind of swing.

$48 million — the inflation-adjusted domestic total for that 1984 film, according to The Numbers.

And if that somehow does not feel like enough:

Funko, McFarlane Toys, Mattel, Rubies, BoxLunch, Crocs, DC Shop, Little Golden Books, KFC, theater collectibles, apparel drops, facsimile editions, international anthologies, and Krypto-branded everything are all part of the rollout.

At some point, “Superman’s cousin” stops being the pitch, and becomes the focus of attention.

Cheers,
Stephen Schleicher

M.A.S.K. #1

Script: Dan Watters
Artist: Pye Parr
Colorist: Pierluigi Casolino
Lettering: Rus Wooton
Publisher: Skybound Publishing/Image Comics
Cover Price: $4.99
Release Date: June 10, 2026

Previously in M.A.S.K., the world is becoming a terrifying place, and brilliant roboticist Matt Trakker needs help saving it. Enter M.A.S.K., the Mobile Armored Strike Kommand, a network of specialists recruited to respond to the next global emergency. At a moment’s notice, Trakker and his agents can deploy bleeding-edge technology that converts their vehicles AND the pilots thereof into the ultimate weapon against chaos. But Miles Mayhem and V.E.N.O.M. (Vicious Evil Network Of Mayhem) are one step ahead in a secret arms race, scouring the globe for deadly weapons from this planet and beyond, ready to sell out the entire human race.

Only M.A.S.K. can stop them… but will Trakker’s own secrets jeopardize their entire mission?

Masked Crusaders Working Overtime

High noon, in the Nevada desert. An entire armored column with air support and the most advanced technology chases down one 40-year-old Camaro, all the time wondering how “that relic” manages to outpace them. The chase leads to the very edge of a cliff (the kind that Wile E. Coyote, Thelma, and Louise would have warned him about), and the driver stands down and is arrested. At the same time, agent provocateur Vanessa Warfield is interrogating a mysterious man about a mysterious research project, only to find that he’s NOT been paid for his silence. The horrors he endured have convinced him to keep his mouth shut, even in the face of her torturing him.

Back in Nevada, General Flagg, topkick of G.I. Joe, arrives to debrief the Camaro driver, one Matt Trakker, formerly of the M.A.S.K. Project. Initially meant to be a bulwark against the Cybertronians arriving on Earth (see every Skybound issue of The Transformers), their work has been co-opted by General Mayhem, a madman who believes every single conspiracy theory, from men in black to lizard people and back. He also has his own spies inside Flagg’s chain of command, which turns the interrogation into a battle of powerful armored masked men.

A Really Fine First Issue

By the end of the tale, we’ve seen Miles Mayhem in his full insane glory, delved into the mystery of the technology he seeks, and finally seen Thunderhawk take flight. There’s even a very satisfying turnabout from Trakker to Flagg which I don’t want to spoil for first-time readers. If you’re one of the people who remember the cartoon in its original run, remember to take some painkillers so that your back won’t ache tonight. Also, you’ll find a lot to like in these pages, despite it being a much more realistic and, dare I say it, “grounded” take on the Mobile Armored Blah Blah Blah. Focusing things mostly on Trakker and Mayhem is a smart move for a first issue, saving the reveal of any additional M.A.S.K. agents for later arcs, much like they’ve been doing with the other Energon Universe books. Parr’s art is very well-done as well, successfully making the tense back-and-forth interrogations featuring Miles and Matt visually dynamic and fun to look at. For me, though, it’s the opening sequence that is the piece de resistance, as it really feels like a cinematic high-speed pursuit across the desert despite being a series of static panels.

Bottom Line: B.U.Y.I.N.G. F.R.E.N.Z.Y.*

The Energon universe has given us all-new takes on G.I. Joe and Transformers that feel fresh and exciting, so seeing that M.A.S.K. #1 is good should be no surprise, but I highly recommend that you check it out for excellent art, a strong story and the secret of Agent 42, wrapping it all up into 4.5 out of 5 stars overall. Best of all, you won’t have to remember the original series to get in on the ground floor here which, let’s be honest, is probably for the best.

*(Buy Up Your Issue Now Guys, For Resale Edition Negotiations Zoom Yonder)

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REVIEWS

GODZILLA’S MONSTERPIECE THEATRE PRESENTS: GODZILLA’S THE ODYSSEY ONE-SHOT

Writer: Frank Tieri
Artist: Ilias Kyriazis
Publisher: IDW Publishing
Cover Price: $7.99
Release Date: June 10, 2026

Godzilla’s tour of the literary canon continues as it smashes its way across The Odyssey in this oversize standalone one-shot!

Homer’s The Odyssey is widely considered to be the greatest epic of all time. So, how could you possibly make it more epic? Fill it with kaiju, that’s how. Odysseus’ journey home was already challenging enough, but what if instead of storms, sirens, and cyclopes, the gods sent monsters even more powerful than the titans? And what if Zeus sent the most powerful one of all to assist the king on his odyssey? It’s like Homer said: “Of all creatures that breathe and move upon the earth, nothing is bred that is stronger than Godzilla.”

Written by Frank Tieri, illustrated by Ilias Kyriazis, and featuring part two of Tom Scioli’s Godzilla vs. Robin Hood.

[rating:4/5]

You can purchase this issue via our Amazon affiliate link - https://amzn.to/4vwTVNF

MISTER NEMO #1

Writer: Mark London
Artist: Alden Kaye
Publisher: Mad Cave Studios
Cover Price: $4.99
Release Date: July 5, 2026

A NEW CHAPTER OF THE UNDERWORLD UNIVERSE BEGINS HERE. A brilliant analyst uncovers a global conspiracy—and is immediately marked for disappearance—only to be rescued by the mysterious Nemo, a man waging a secret war from beneath the ocean. As they dive into a hidden world of covert power and impossible technology, one question remains: can they save the world before it even knows it’s in danger?

[rating:4.5/5]

You can purchase this issue via our Amazon affiliate link - https://amzn.to/4dXUNoK

TRADE DISCUSSION

CEMETERY KIDS DON’T DIE VOL. 1

Writer: Zac Thompson
Artist: Daniel Irizarri, Gege Schall
Publisher: Oni Press
Cover Price: $17.99

The twenty-first century sucks hard, but it’s been made somewhat tolerable by the latest media innovation to finally unseat the iPhone. Enter the Dreamwave: the first gaming console played entirely while you sleep.

Now the obsession of millions around the globe, it’s also the one point of solace for four friends whose lives have been marred by trauma and dysfunction. Together, this group of ultra-online “Cemetery Kids” spend their nights roaming the open world of the most immersive and brutal horror game ever created: “Nightmare Cemetery.” Together they seek to dethrone an enigmatic humanoid monster known only as the “The King of Sleep.”

Which was fun—until one of them doesn’t wake up . . . and finds their consciousness locked inside a horror game that is anything but imaginary. Now, the three remaining Cemetery Kids must navigate the game’s forbidden landscape to rescue their friend . . . and pray that the secret lurking at its center doesn’t follow them home.

You can purchase this issue via our Amazon affiliate link - https://amzn.to/4dSFg9H

At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

My youngest son is in Greece right now, which is the sort of sentence that sounds more casual than it feels when you are the parent saying it.

Before he left, he was nervous. Not mildly nervous. Nervous enough that he did not want to go.

I get it.

We dress these opportunities up as adventures, but from the inside they often look like disruption: a long flight, strange food, unfamiliar travel companions, different languages—a world where your normal routine no longer protects you.

But that is also why he needed to go.

Not because fear is silly. Fear is not silly. Fear is information. But it is not always instruction.

THE ODYSSEY

Most stories we love begin with someone crossing a threshold. The character leaves the Shire, escorts an old man and his droids, walks into the haunted house, takes a message to the front lines…says yes to the trip. The story does not begin because they are fearless. It begins because they are moved to action.

That is true of kids traveling overseas. It is true of artists making work. It is true of creators trying to get a book made. It is true of readers picking up something outside their usual lane.

The point is not to become a person who is never scared. The point is to become a person who can recognize when fear is gatekeeping the threshold rather than warning of a cliff.

CROSSING THE THRESHOLD

Comics are full of characters who are afraid before the leap. But comics as a business are also built by people taking frightening steps. Which is why browsing the aisles of your local comic shop or digital comic outlet can be an adventure. Rows upon rows of people taking risks by trying something new. Something different. Something strange.

Batman, Superman, and Spider-Man are comfort food.

We know what we’re getting.

The adventure starts when you reach for something else, like D’orc, Something is Killing the Children, That Texas Blood, or even this week’s Godzilla’s Monsterpiece Theatre: Godzilla’s The Odyssey.

And sometimes that leap is the person reading this column who has always wanted to create their own comic book, blog, or podcast. The fear holding you back is the same fear that led Bilbo to initially reject being the thief. The same fear that had Luke Skywalker say he couldn’t leave the farm. The same fear that had my son not wanting to go to Greece.

Most adventures don’t begin with confidence.

They begin with hesitation.

But like the Hero’s Journey, once you cross the threshold, the greatest adventure begins. The Sidekick (that’s what we call our youngest son) is two days into his adventure, and it looks like he is enjoying himself.

Today is a great day for you to begin your adventure, taking that first scary step into the unknown. You’re going to love it.

Cheers,
Stephen Schleicher

I keep hearing from the “always-accurate” Internet that long-established comics characters Magnus: Robot Fighter, Solar: Man of the Atom, and Turok: Dinosaur Hunter are likely to return to comic books, this time with Skybound/Image Comics.

WHAT IS HAPPENING?

With their successes with Transformers, GI Joe, and Universal Monsters under their belts, Robert Kirkman and Skybound Entertainment may soon have access to those three classic Gold Key properties, looking to add to their line of comics that have been based on established, popular franchises.

Word has it that a formal announcement is expected at this year’s San Diego Comic Con in July. Until then, I’m a longtime fan of these characters, so I’m optimistic this will very likely come to pass. I have followed the several different incarnations of them, so the sooner they return, the better!

Granted, they have been revived a time or two already, some with Valiant, Dark Horse, and even Dynamite! I have just enjoyed their adventures so much over the years that I wanted to bring them to everyone’s attention so we can keep our collective ears to the ground! I believe there is still life in those robot hunters and all!

These are some of what I consider to be “classic” comic book characters. They have the same appeal regardless of who the creators are, as long as they don’t stray too far from the original concept.

MAGNUS

Russ Manning, a terrific comics creator in his day, brought Magnus to life in 1963, and the character had an interesting setup. Magnus was a human being trained by a free will robot named 1-A so he could eliminate other robots that threatened humanity. That was so different—a robot training a human to destroy his own kind—I was strongly attracted to the science-fiction elements of the series.

Gold Key, unfortunately, was much harder to find in any comics shops or stores at that time, so I struggled to keep up. But I always bought any issues I found. When Valiant took over the franchise in the 1990s, it was much easier to find new books. There was even a Dark Horse series later on, and I still had to scour the area to find them. Hey, Magnus was even a female in one incarnation. How “today” of him!

The popularity of Image, specifically with several store owners near where I live, just might help me buy new issues as they are released. I would love that!

SOLAR

At times, I found it hard to recognize this character. Initially, he was named Doctor Solar, and he had green skin on his face, which went away once he was only called Solar and had flesh-colored tones on his skin.

His atomic powers fluctuated a lot from being more like Captain Atom to, at times, rivaling Doctor Manhattan’s power level from the Watchmen! It seemed to vary based on what the writers needed in order to tell the story they were producing.

But I again liked the sci-fi aspects of the hero, so I chased after every issue, which was tough to do on a regular basis.

TUROK

Of the three, Turok was much more dinosaur and fantasy than science fiction. Of course, guys always like monsters, so I had to compete with my friends who read comics to get new issues as soon as they appeared! He also could be called “dinosaur hunter” or “son of stone,” which meant the story had changed gears.

Turok has been described as a “time-traveling Native American warrior.” He ended up with his own video game, another thing my friends all liked about him. Personally, I preferred to read the comics, but I still liked the game!

He is an interesting contrast to the other two sci-fi heroes, being much more “down to earth” and much less reliant on science. All three were very action-oriented, so I always wanted them to get their own animated shows.

Of course, I always wanted all three to team up somehow, so you never know… it could happen when Mr. Kirkman’s group takes charge of them.

All this reinforces my thought that there really are no “bad” characters, only bad treatments. I could make a long list of guys, gals, and groups I have truly been a fan of, and I still want more.

What do you think? Are you fans of all or some of these characters? If Image/Skyibound does produce comics with them, would you buy and read them? Are there other comic characters you would like to see revived and given another chance? Whatever your opinion, share it on the Major Spoilers Discord server.

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At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

WHAT IF…? THE UNCANNY X-MEN #1

Writer: Gerry Duggan
Artist: Jan Bazaldua
Colorist: Arthur Hesli
Letterer: Clayton Cowles
Editor: Darren Shan
Publisher: Marvel Comics
Cover Price: $4.99
Release Date: June 3, 2026

Previously in What If…?: What If…? is a Marvel Comics series that has explored alternative realities since 1977. Due to its popularity, it has also been adapted into an animated series and is part of the Marvel Cinematic Universe.

THE PREMISE

What If…? The Uncanny X-Men #1 introduces its point of divergence with Madelyne Pryor being saved by X-Factor and Cyclops leaving the X-Men to raise their child with her. From there, Jean Grey attacks Mister Sinister and makes him forget that he ever cloned her. Nathan grows up with a normal childhood until his mutant powers activate, at which point his parents reveal his heritage. The trio forms a new superhero team that eventually becomes more trusted than the X-Men.

However, Sinister regains his memories and attacks, committing a mutant massacre and killing Pryor. Cable finds his mother dead, and his father blinded. The duo then forms a new X-Factor that goes on a murderous rampage to avenge Madelyne. After the events of Krakoa and Arakko, and without a way to terraform Mars, the two mutant nations go to war. Earth’s heroes lose, prompting a nuclear response from the non-powered governments. In the end, Earth becomes uninhabitable, and humanity is wiped out.

SHOW DON’T TELL

I don’t subscribe to the idea that everything must be shown. There is a place for narration to inform the reader, rather than forcing everything to be inferred through dialogue and action. To me, there should be a careful balance between the two, but What If…? often pushes narration to the extreme. X-MenI found myself fatigued by Uatu explaining events that were already visible on the page; it feels like pointing out the obvious. While I understand that this is part of the series’ stylistic intent, I would have preferred a more restrained balance. I may also be a bit weary of end-of-the-world storylines, given the current state of the world.

The art is fairly standard for Marvel’s current output—solid in quality, but not especially memorable. While there are numerous references to previous comics, they don’t leave a lasting impression.

BOTTOM LINE: IT’S FUN

Overall, What If…? The Uncanny X-Men #1 is fun, but somewhat forgettable. I read this issue a few days before writing this review and had to revisit it to refresh my memory of the plot. With that in mind, I would rate this comic a 3 out of 5. The creative team delivers competent work, but I was hoping for more depth.

3 out of 5 stars.

At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

Kenny Porter is a very busy comics creator! This week in Episode 748, we talk with him, who has had stories published by DC Comics, Image Comics, SEGA, and Top Cow, as well as Fearless from Scholastic and Barnstormers! from Insight Comics. If you visit your local comics shop, you are very likely to find at least two of his books there—The Schlub collected as a trade paperback from Image, and Superman: Father of Tomorrow from DC. Here’s the description of that latter book: “In a corner of far-flung space, a world explodes. A lone rocket escapes the destruction and races through space, ultimately landing on a small farm in small-town Kansas. A kindly couple steps with trepidation toward the alien craft as the door opens. Out steps a man named Jor-El, the sole survivor of the planet Krypton! As Jor-El fits in to his new home, he realizes that he can help the world, not just with his newfound powers, but with his intellect as well. Witness how a Man of Steel and Science saves the world!” We talk about both books with Kenny as well as Operation: Iron Coffin, which is coming soon from IDW. You can check out his website at this link. If you haven’t already been buying comics with his name on them, be sure to check them out after you listen to our fun conversation!

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At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

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ONLY THE SAVAGE ARE LEFT #1

Writer: Zack Kaplan
Artist: Stefano Raffaele
Colorist: Thiago Rocha
Letterer: Hassan Otsmane-Elhaou
Publisher: Dark Horse Comics
Cover Price: $4.99
Release Date: June 6^th, 2026

Previously in Only The Savage Are Left, a virus from an unknown source called the teratavirus has infected the world, turning people into bloodthirsty monsters. It’s later discovered that the cure is to inhale the smoke from burning people who have already turned.

Wait It Out

Only The Savage Are Left #1 starts off with a recap of how the world got the way it is. A virus had spread, turning people into zombie-like monsters. It’s then revealed that people who are infected can be cured by inhaling the smoke from burning corpses of those already turned. This plunges the world into a vicious place, where people are hunting monsters to save themselves. Things then shift to a group of people burning an infected down as they search for a pair of people, a woman named Oaklynn and her father. Those two find themselves at a fort where Oaklynn is recognized by Ryder, her old friend and lover. He gives them a tour of their town, but it’s revealed that her father is in need of antibiotics, which they can’t give him. This leads Oaklynn to leave in search of them. After not returning, Ryder decides he has to venture into the wilds to find her.

Get On With It

Only The Savage Are Left #1 is somewhat of an anomaly. It packs a ton of information into the first issue, and it moves quickly, but by the end of it, you still really don’t know what’s going on, who the main players are, or what anyone’s motivations are, and we only barely get into the meat of the story. This issue spends just too much time on building up the lore of the world, which honestly is only slightly different than your typical zombie apocalypse. I did enjoy the somewhat non-linear aspects of the storytelling here. Seeing the flashes of Oaklynn’s and Ryder’s relationship before things went bad, inserted into the present situation, was a nice touch and was handled well. We don’t get a lot of insight into the characters, though; we know there’s a connection, but we don’t know what Ryder’s personality is, nor Oaklynn’s, and all the supporting cast just slot into various cliches like the gruff and battle-hardened survivor or the firm but reluctant town bureaucrat. Now, there is some uniqueness to this world, and the hope is that it’s here that we’ll see this series eventually diverge from the run-of-the-mill society-destroying pandemic fiction, but we don’t really get any hint of that being the case in this first issue.

Much Of The Same

The visuals in Only The Savage Are Left #1 seem to follow the writing’s lead in being as boilerplate as it can be. Nothing about the look of this book comes off as unique or couldn’t have just been pulled right from any other number of zombie comics. The monsters are just people with some skin conditions; the survivors are in your typical scavenged, purpose-over-style clothing. Even the apparent bad guys look like they could be Mad Max extras. On top of this, the two lead characters are bland and featureless. The art does manage to capture a strong sense of motion, and the few action sequences do come off as tense and engaging, so it has that going for it.

Bottom Line: It’s Boring

Besides a couple of details that don’t get a lot of exploration here, this could be any zombie comic book made in the last thirty years. The pacing is off here as well, with entirely too much page real estate being given to world-building that can be boiled down into a couple of sentences. I’d like to give this the benefit of the doubt and say that this issue will be key for the rest of the series, but I can’t even imagine a situation where this issue would be all that important to any ongoing story. 2 out of 5 stars.

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THE DEADMAN #1

Writer: W. Maxwell Prince
Artist: Martin Morazzo
Colorist: Chris O’Halloran
Letterer: Good Old Neon
Editor: Paul Kaminski
Publisher: DC Comics
Cover Price: $3.99
Release Date: June 3^rd, 2026

Previously in The Deadman, in the millisecond following his murder, the soul of shifty circus aerialist Boston Brand was commandeered by the goddess Rama Kushna, who deputized the erstwhile performer’s ghost with a sacred spectral assignment: the Custodian of All Souls.

On The Clock

The Deadman #1 starts off in the hospice wing of a hospital as the nurses and doctors discuss some of the patients. Unknown to them, Boston Brand aka The Deadman is looking on, waiting to kick off his night of soul management. He interacts with a couple of patients, while utilizing some of his powers, including possession. Afterward, he heads to his hometown, which happens to be a nexus for lost spirits. After interacting with some of them, he’s given his next assignment and heads off. In the desert, he encounters the next person he’s supposed to help pass over, but instead of doing that, he watches as a demon of sorts consumes the soul of the recently deceased. Something that is very concerning. Interspersed with these scenes are periodic cutaways depicting the odd and horrific goings-on of a rich man indulging in some questionable vices.

Appreciating The Blue-Collar Afterlife

While I wasn’t expecting The Deadman #1 to be a strictly serious comic book, considering the more humorous way the character has been used in the past, I was pleasantly surprised by the irreverent tone that this issue takes. While it’s not completely dismissive of the emotions, pomp, and circumstance surrounding death, it does go out of its way to knock it all down a peg and establish that these elements just aren’t as serious as we might think. I was also a fan of the tone they give to the characterization of Boston Brand here. A lot of his approach to the things he’s tasked with feels workmanlike, right down to having to catch the bus on the way home. I think this is a deliberate choice as what appears to be the antagonist in this series is a very wealthy person, so this sets up a conflict that exists on multiple levels. Really my only complaint is that there is a very large info dump at the beginning of this issue and while they do try and be cheeky about it, clearly being aware of the large amount of lore they’re dumping, it still comes off as lacking eloquence in its delivery.

Struggling With the Style

With The Deadman #1 being done by the same creative team behind Ice Cream Man, having a visual style that is a bit unsettling and perhaps purposely a bit ugly is just par for the course. Having the art be just a little off-kilter with oddly spaced teeth, flatness in the characters, and plenty of blank eyes does fit with the narrative and tone of the story, but that doesn’t necessarily mean it’s all that nice to look at. There are some great pages here, and the inclusion of little fourth-wall-breaking elements in the background is a highlight. Also, the contextual costume is a nice touch that adds some nice sight gags, but all in all the style of this art doesn’t work for me.

Bottom Line: A Unique Spin

While the visual style didn’t really do the trick for me, there’s enough going on in this issue to make me overlook that. Tonally, The Deadman #1 takes an unexpected direction that, upon further review, makes total sense for the issue and the character. Speaking of characters, this comic has them, and they’re a lot of fun. While Boston Brand takes up most of the space, some side characters are scene-stealing and add a lot of fun to things. 4 out of 5 stars.

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Repercussions from the Snorplek begin to cause problems for some members of the team as they each try to figure out what happened.

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At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

Whether it’s a six-figure LEGO collection caught in a legal dispute, a movie star realizing pre-production actually matters, or publishers scrambling to keep projects on track, the most interesting stories weren’t about success.

They were about what happens when things start slipping out of control.

STEPPING ON A LEGO BAREFOOT

If you haven’t followed the Bricks and Minifigs drama this week, let me catch you up:

• An ailing elderly man amassed a $200,000 collection of Star Wars LEGO sets (MIB)

• A corporation making exactly the kind of decision corporations tend to make.

• YouTuber Reckless Ben bringing it to the world’s attention

• Questionable conduct by local and state police

• A major religious entanglement

• A feckless PR lackey

• Fingers being pointed on all sides

• Patreon CEO stepping in and telling Bricks and Minifigs to step off

• And so much more!

It’s a crazy mess that you can do a deep dive on your own, but be prepared… it is a wild ride.

To be clear, corporations are designed to protect revenue first and relationships second, even if that means bad publicity.

Also, this has nothing to do with the LEGO company. Though they’ve been very quiet about this consignment dispute.

If a movie about Tetris getting snuck out of Russia, or the one about meme stocks can garner festival awards, then you can bet that the Bricks and Minifigs drama has everything needed to become the next streaming hit.

HERE’S THE WAY WE DO IT

Hollywood has somehow convinced itself that spending $250 million on a movie before figuring out exactly what the movie is remains a viable strategy.

Reportedly, while working with Christopher Nolan on the Odyssey movie, Tom Holland kept reaching out to Sony and Marvel to tell them they can’t keep making movies by the seat of their pants.

I’m surprised it took Holland this long to figure it out.

The Marvel Method worked when few people were cranking out a plethora of comics in the early days, but it doesn’t quite work that smoothly today.

While documentaries allow you to find the story in the edit, that’s not the best way to create a multi-million dollar movie.

This is why movies need:

A clear vision

A clear theme, purpose, or message

Time spent in pre-production to reduce any major problem or issue during production

Did Holland’s demands work? Spider-Man: Brand New Day arrives on July 31, 2026.

NEW ARCHIE WRITER

When we first kicked off our weekly newsletters, one of our earliest reports had W. Maxwell Prince writing the upcoming Archie #1 from Oni Press.

Today, Prince is out, and Ben H. Winters is in. Another reminder that even the best-laid publishing plans rarely survive first contact with reality.

Oni Press didn’t state why Prince had exited the project, though we hear it has to do with scheduling conflicts with Ice Cream Man, and The just launched The Deadman series.

Winters made his Oni Press writing debut with Cruel Universe, so perhaps the hope that a slightly askew Archie-verse isn’t completely gone.

Archie embarks on a whirlwind, all-star adventure through his town’s past, present, and future . . . beginning with a local film festival that’s about to turn everything upside down! And, at the center of it all, lies an enigmatic paradox that only Archie’s pal Jughead Jones can possibly unravel…

I’m still picking this up when it arrives in September, mainly because of the Oni/Archie deal that keeps the Archie titles alive.

BURIED UNDER THE MASK

After years of development starts, stops, reboots, recasts, and studio reshuffling, He-Man finally made it to the big screen…again.

Jared Leto as Skeletor is a bit over the top…

Are you going?

Whether it’s a six-figure LEGO collection, a superhero movie, or a comic book relaunch, the lesson seems to be the same:

Systems work best when somebody is paying attention.

The moment nobody is, things get weird.

The system remains operational… barely.

Cheers,
Stephen Schleicher

THE TWILIGHT ZONE #7

Script: Tony Fleecs
Penciller: Andy Price
Inker: Andy Price/Maria Keane
Letterer: Tony Fleecs
Shading: Andy Price/Maria Keane
Publisher: IDW Publishing
Cover Price: $34.99
Release Date: June 3, 2026

Previously in The Twilight Zone, a lonely taxidermist struggles to find solace in his grotesque work. Despite his solitary days, he’s lived a full life. His mother loves him. He runs a successful business, and he’s the local hero who saved his remote village from a recent wildfire. However, his heart still wishes for a companion who won’t be disgusted with his taxidermy obsession. No sooner does he wish for it than the girl of his dreams arrives... from The Twilight Zone.

A Compelling Start

In the small town of Willoughby, just next door to The Night Gallery, Henry Wallinowsky runs a taxidermy shop. As our story begins, he is on the phone with his mother, who worries that he needs to get out of his studio and meet people. Henry isn’t so sure, as he is busy with his work and feels that’s enough. As his Ma talks, Henry deals with a long stream of customers who love his work, even as she points out that he’s a hero after saving everyone from “that fire.”

When Lucy walks into his story, Henry finds himself fascinated (as would you, if a woman who looked like a young Elizabeth Montgomery started to flirt with you, in all likelihood.) But it’s Lucy’s request that gets Henry’s attention, sparking a romantic urge inside him.

But I’m Not Sure About The Ending

The thing about any episode of The Twilight Zone comes in the way the uncanny elements are woven into the characters’ lives. I often argue about the difference between a Twilight Zone ending (where strange forces act on a character to teach them a lesson or to convince them to improve their lives or escape a bad situation) and an Outer Limits ending (where everyone tends to die screaming). It’s an over-generalization, but this issue’s story ends in a way that I’m torn about. On the one hand, it is very much in a Twilight Zone vein, but without giving too much away, it also has horrifying Outer Limits overtones that leave me a bit conflicted as a reader.

I find the art in this issue to be quite wonderful, giving us a bucolic small-town setting befitting the material, and a protagonist who might as well be a young Jack Klugman, including a facial resemblance. Add in the resemblance of Lucy to Elizabeth Montgomery, and little visual references like Meredith’s Department Store (from S1E24, The After-Hours) or the town being named Willoughby, and it’s clear that the creative team knows their Twilight Zone stuff.

Bottom Line: Still An Interesting Take

As a lifelong aficionado of all things Twilight Zone, I find The Twilight Zone #7 is about 80-percent successful in capturing the original, even with my questions about the ending. The creative team works hard to create a tone of uncertainty and discomfort, with art and coloring that capture the spirit of 1960-something without feeling like a rerun, earning 4 out of 5 stars overall. The requisite “Big Twist” moment is foreshadowed well, building appropriately with a bit of nostalgia and a tinge of romance, making for a well-balanced read.

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At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

Some get rebooted. Some get reimagined. Some get sold to a toy company for half a billion dollars and then launched all over again.

The Power Rangers are back with a new #1 this week, but they’re hardly the only thing worth checking out. We’ve also got post-apocalyptic comic conventions, a Deadman series that looks delightful, and a fresh batch of numbers showing just how absurdly successful a group of color-coded teenagers with attitude became.

IF YOU READ ONLY ONE COMIC THIS WEEK

MIGHTY MORPHIN POWER RANGERS #1

Writer: Marguerite Bennett
Artist: Andrew Lee Griffith
Publisher: BOOM! Studios

The Power Rangers are back for another series at BOOM! Studios.

What started as a nostalgia play years ago eventually became one of the more ambitious franchise comics on the stands, taking the characters and mythology into places the television series never could.

Marguerite Bennett returning is a huge plus, and Andrew Lee Griffith’s artwork looks fantastic from everything we’ve seen so far.

If you’ve been away from the Rangers for a while, this feels like a good place to jump back in.

ON THE READ PILE

FML #8

Writer: Kelly Sue DeConnick
Artist: David Lopez
Publisher: Dark Horse Comics

If Stranger Things hits your sweet spot, but you’d like something with more family drama, more heart, and a comic convention turned into a post-apocalyptic battleground, then FML is exactly where you should be.

The STFU Kids and the OG Riot Grrls continue to make this one of the more interesting books on the shelves.

FML has quietly been one of comics’ hidden gems for the last couple of years, and it’s always a pleasant surprise to see a new issue show up on release day.

Deadman #1

Writer: W. Maxwell Prince
Artist: Martin Morazzo
Publisher: DC Comics

Fans of Ice Cream Man already know that W. Maxwell Prince has a unique ability to make readers uncomfortable in the best possible way.

Pair him with Deadman, and there is a very good chance this series goes completely off the rails…in a good way.

Radiant Black #42

Writer: Kyle Higgins and Joe Clark
Artist: Marcelo Costa
Publisher: Image Comics

The current arc wraps up here as heroes and former enemies unite to take down the latest big threat.

There’s also the surprise return of someone many readers assumed was gone for good.

Probably not the best jumping-on point, but it does look like an important setup issue for whatever comes next.

POWER RANGERS BY THE NUMBERS

The Mighty Morphin Power Rangers have been around for more than 30 years, and they’re doing the most Power Rangers thing imaginable:

Launching another #1.

32 years, 9 months — Time since Mighty Morphin Power Rangers first premiered on U.S. television on August 28, 1993.

30+ years — One of the longest-running live-action children’s television franchises in history.

900+ — Episodes produced across the franchise.

$1 billion — Power Rangers merchandise sales by 1995.

$6 billion — Toy sales generated by 2001.

$522 million — Hasbro’s 2018 acquisition of Power Rangers and other Saban entertainment assets.

$22.25 million — Amount Hasbro had already paid to license Power Rangers toys before buying the entire company.

$142.3 million — Worldwide box office gross of the 2017 Power Rangers movie.

$100 million — Production budget for the 2017 reboot.

1.42x — Worldwide gross versus production budget before marketing costs and theater splits.

$600,000 — Reported budget per episode in the early years of the franchise.

$600-ish per week — Frequently reported pay earned by some original cast members, with no residuals and a merchandising machine worth billions operating around them.

150 markets — Number of territories where Power Rangers aired when Hasbro acquired the brand.

6 toy categories — Playmates’ new licensing agreement covers action figures, blasters, plush, role-play items, vehicles, and accessories.

5 — Original teenagers with attitude.

10,000 years — How long Rita Repulsa remained trapped before some astronauts had one very bad day on the Moon.

Cheers,
Stephen Schleicher

MIGHTY MORPHIN POWER RANGERS #1

Writer: Marguerite Bennett
Artist: Andrew Lee Griffith
Letterer: Ed Dukeshire
Colorist: Joshua Jensen
Editor: Ari Yarwood/Tea Fougner
Publisher: BOOM! Studios
Cover Price: $4.99/$5.99/$6.99
Release Date: June 3, 2026

Previously in Mighty Morphin Power Rangers, it has been ten years since the original Mighty Morphin Power Rangers turned in their morphers and went their separate ways. But now they’ve been called back to the legendary Command Center to face a new, terrifying form of a familiar foe: Rita Rabiosa.

They are not teenagers with attitudes anymore, but are they still the same heroes they once were?

A Brand-New Day!

It happens quite suddenly, just like it did back in 1993. An alien menace attacks the Earth, forcing a desperate bid to find defenders. Five people are teleported into the Power Chamber, but it’s no longer Zordon pulling the strings. Instead, the Blue Ranger, Billy Cranston, has been forced to reassemble his team after a decade apart. During that time, they’ve all moved on, built new lives, and grown up, but the arrival of Rita Rabiosa means that once again, it’s Morphin Time! Of course, there are some complications... Jason is no longer the confident leader he was, while Kimberly finds herself doubting why she was so ready to return to action. Zack was pulled away from defending a client in his job as an attorney, while Trini was summoned with her toddler. The team pulls together as they always have, jumping into action, only to find that Ms. Rabiosa has the ability to weaponize and control Earth technology, using their own cell phones, defense systems, and even emergency vehicles against them. What’s more, ten years is a long time to be out of the saddle, leaving the team in a precarious position.

There’s an even more disturbing question left unanswered, though. Where is Tommy?

Who Is Rita Rabiosa?

This issue starts with a bang, and the action and incident don’t let up. It’s a 24-page race to the finish, and while I appreciate that it emulates the all-action, yell-out-the-plot-as-we-go experience of watching MMPR on television, it is a little overwhelming. Before we can really absorb the Rangers’ adult experiences, the Power Center is rocked by an attack. Before we can process Trini’s daughter, she’s being shuttled into a special protective robot shell to keep her safe. The team morphs immediately after that, which does give us a look at the new suit designs, a subject on which I am torn. On the one hand, the cover looks AMAZING, the details of the costume are much more cinematic (which is to say that you could easily see the textured influence of the MCU), and they maintain their original helmet designs for the most part. That said, the Zyuranger/Mighty Morphin suits are among the best-looking Super Sentai/Power Rangers costumes, and these contemporary redesigns upset what was an almost-perfect balance in the diamond-shaped chest, boot, and glove accents. That’s not a deal-breaker, by any means, but the soft edges of Griffith’s pencils are a little harder to ignore. The smudginess and pastel color palette don’t seem to fit the command center sequences, and the character’s facial expressions are indistinct throughout the book. The battle sequences are mostly fine, but there’s a lack of elements for scale that makes it a little frustrating, especially once the Zords are in play, as they don’t really feel like giant robots.

Bottom Line: Perhaps A Little TOO Exuberant

When it comes down to it, though, Mighty Morphin Power Rangers #1 is an exciting debut that gets straight to the point, feeling as fast-and-furious as the original TV episodes that it’s based upon, with art that gets certain elements exactly right while making some puzzling decisions, rounding out to 3 out of 5 stars overall. There are bits of things we have seen before here: Trini’s daughter Minh is a younger version of the daughter Minh from Once And Always, the 30^th anniversary special, or so it would seem, and the video game, Rita’s Rewind, features a take on adult Rangers returning to action. But I’m willing to give this book an arc or two to see what they have in store; I just hope that the story (and the readers) get a chance to slow down and breathe somewhere along the way.

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At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

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REVIEWS

RADIANT BLACK #42

Writer: Kyle Higgins and Joe Clark
Artist: Marcelo Costa
Publisher: Image Comics
Cover Price: $3.99
Release Date: June 03, 2026

END OF STORY ARC As Jack Marlow’s parade marches the streets of Chicago, RADIANT BLACK and **HORIZON **are set on collision course from which neither will emerge unscathed! Don’t miss this 5th anniversary issue with an ending that once again will change RADIANT BLACK forever!

[rating:4/5]

You can purchase this issue via our Amazon affiliate link - https://amzn.to/4nX587N

THE MANDALORIAN AND GROGU

Writer: Jon Favreau
Director: Jon Favreau
Studio: Lucasfilm
Release Date: May 22, 2026

The evil Empire has fallen but Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they enlist the help of legendary Mandalorian bounty hunter Din Djarin and his young apprentice Grogu.

[rating:3/5]

TRADE DISCUSSION

X-MEN: THE BROOD SAGA

Writer: Chris Claremont
Artist: Dave Cockrum and Paul Smith
Publisher: Marvel Comics
Collects Uncanny X-Men (1981) #154-167, X-Men Annual (1970) #6, Special Edition X-Men (1983) #1.

The complete Brood Saga! An X-Men extravaganza up there with the very best, blending space opera - featuring the X-Men, the Starjammers and the Shi’ar - with disgusting parasites from the outer limits of the universe in the form of the deadly and sadistic alien Brood! Featuring art by X-icons Dave Cockrum and Paul Smith, it’s an action-packed adventure with a visual majesty that will leave you awed. Then, the X-Men encounter the darker side of the Marvel Universe in stories that pit them against Dracula and take them to Belasco’s mysterious realm of Limbo! Chris Claremont crafts each story - and tops it all off with a character-defining tale that shows us Professor X and Magneto as allies before their philosophical fallout that would reshape mutantkind’s future!

You can purchase this issue via our Amazon affiliate link - https://amzn.to/4dRYOcR

At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

The superhero adaptation pipeline is starting to mature.

And that’s where things get interesting.

Because the next comic book TV boom may not look like traditional comic book TV at all.

Sometimes it wears a ten-gallon hat and a sheriff’s badge.

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That Texas Blood, the neo-noir western from Chris Condon and Jacob Phillips, is headed to FX.

A story built on treachery, blood, generational secrets, and morally complicated people doesn’t need a V-One serum or a multiverse event to be compelling. It doesn’t need a push from Marvel or DC because it already knows exactly what it is.

That’s part of its strength.

It also occupies a space that comics have historically done very well, but don’t always get credit for:

The middle.

Not blockbuster superhero spectacle.

Not underground experimentation.

The middle.

Stories with strong concepts, clear genre hooks, memorable characters, and enough world-building to sustain multiple seasons of television.

A blueprint comic.

When executives evaluate a comic book adaptation, there are usually two ways to look at it.

The first is the brand-first adaptation:

“We’re adapting this because millions of people already know it.”

That’s the Marvel model.
The DC model.
The proven-IP model.

The second is far more interesting.

Comics aren’t a genre.

They’re a medium.

And that’s what Hollywood keeps rediscovering.

A good comic has already solved many of the hardest problems in development:

• story

• tone

• world-building

• visual language

• character dynamics

In many ways, the comic becomes the blueprint.

Sometimes that blueprint carries a giant talking axe.

Barbaric fits this model perfectly.

A barbarian cursed to use violence only for good, traveling the world with a foul-mouthed talking axe and a young witch.

You understand the premise almost immediately.

It’s visually distinct.

It’s adaptable.

Which is probably one reason Netflix found it appealing.

TV doesn’t just need IP.

It needs durable premises.

And this is where audiences, commentators, and even some studios often get the conversation wrong.

They talk about intellectual property as though audience recognition is the only thing that matters.

But comics—especially the books living in the middle—offer something incredibly valuable:

A tested narrative engine.

The audience may not know the title.

But the story works.

The creators know the tone.

The characters already have momentum.

And the adaptation isn’t trapped beneath decades of audience expectations the way a major superhero franchise often is.

There is room to expand.

Room to translate.

Room to evolve.

Sometimes it takes decades to figure a character out.

In the latest Criminal installment, Five Gears in Reverse, Ed Brubaker talks about conversations with the actors playing Rick Lawless and Mallory in the upcoming streaming adaptation and how those discussions helped shape new backstory material.

Because Criminal spans decades, there is room for the adaptation to add to the mythology rather than simply reproduce it.

And in turn, that may make both versions stronger.

This is only the beginning.

There are dozens of comics currently moving through development that aren’t based on superheroes, recycled franchise concepts, or the latest reality-show experiment.

The next wave of comic book television may not announce itself with capes, crossover charts, or multiverse promises.

It may look like a crime drama.

Or a western.

Or a fantasy road series featuring a barbarian and a talking axe.

That doesn’t make it less of a comic book adaptation.

It might make it a healthier one.

Hollywood keeps saying it wants original ideas.

What it actually wants are proven ideas that somebody else already tested first.

That’s a comic book.

Because the future of comics on screen was never just about the biggest brands.

It’s also about the strange, sturdy, commercially viable middle—the books that are too sharp to disappear, too adaptable to ignore, and too good to stay hidden forever.

Cheers,
Stephen Schleicher

‘ZENITH’ IN COLOR

The very first time I ever read Grant Morrison’s writing was in a black-and-white British collection of Zenith on the recommendation of my brother. I was stunned by the story and the art! Every time they have released another edition this book, I have added it to my collection.

Now, word from the recent MCM London Con has come that a new omnibus edition of this series will be coming from 2000AD that, for the first time, will be in full color! Oh, boy!

Here’s the book’s description per the Internet:

Zenith: Full Colour Omnibus Edition
GRANT MORRISON (W) STEVE YEOWELL (A) JP JORDAN (C)
HARDBACK, 432 PAGES – £49.99
ON SALE DECEMBER 1ST
By legendary, bestselling writer Grant Morrison (Batman: Arkham Asylum, All Star Superman, Batman & Robin).
The entire Zenith saga presented for the first time in full colour. Perfect for longtime fans, this edition is fully coloured to also make it more accessible for new readers.
Co-creator and artist Steve Yeowell (Batman, Fantastic Four, The Invisibles) is a beloved and iconic UK artist.
Featuring colours by rising star of comics – JP Jordan (Power Rangers, Star Trek).

Needless to say, the first thing I did when I saw this was contact my LCS and ask them to be on the lookout for it! I want this! And I’m sure it will hit the U.S. sometime around the release date!

I’m excited about this book because it was the first time I read a post-heroic character in a post-heroic world. Poor Zenith has to fight the baddest of the baddies while his level of power is pretty low comparatively. I felt for him!

‘EMPIRE’ COLLECTED

Empire, from two powerhouse comic creators – Mark Waid and Barry Kitson – initially came out from a smaller press company, so it didn’t get the love it deserved at the time! I scrambled to find copies!

A Doctor Doom-like supervillain named Golgoth has defeated all superheroes and conquered the world but must now contend with internal power struggles.

It has shocks galore, including where Golgoth gets his power from! I have already backed it, of course. If they should ever make new stories in this universe, I’ll be there!

This book is being crowdfunded at zoop.gg at this link. This campaign should conclude by the end of June.

Highly recommended!

‘HOT STUFF, BABY, THIS EVENING’

The good news is that the industry continues to release new, probably future “classic” comics stories that make me look forward to their weekly releases!

Probably the biggest deal in the industry right now (and likely will be for at least some time) is DC’s Absolute Universe. I keep hearing amazing stories about Absolute Batman, including an article that said the new head of Marvel Comics, when asked who his favorite comics character was, actually said Absolute Batman!

What???!!

The Absolute Universe continues to grow and grow while the quality of storytelling remains extremely high. Just look at the recent release of Absolute Green Arrow #1, for instance! I was blown away by it and am anxiously awaiting more issues! Hey, Absolute Batman is now the “gold standard” by which all other comics are measured! The recent sales success of Ben 10 #1 was compared to the sales of the latest Absolute Batman issue! I wonder if, one day, we’ll see Scott Snyder as the editor-in-chief of DC if Jim Lee wants to devote himself to his art again!

Also, Jeff Lemire, always one of my favorite scripters, has literally been “on fire” recently with his Absolute Flash as well as the new Fury of Firestorm. They both have smoke pouring out of my ears as I read them! Jeff is back to the level of excellence that he had way back in his Animal Man days. But I always buy and read everything he writes, so I’m not surprised!

Marvel has also been making some great moves recently! Their new “Midnight” horror imprint has my attention, including the recent exclusive signing of Philip Kennedy Johnson, whom I will seriously miss writing on Superman for DC. His Infernal Hulk has really captured my imagination ever since he started writing the character a few years back! Making the Hulk a horror character just seemed to be “low-hanging fruit” that I’m glad he took on! I’m seriously looking forward to his horror take on Spider-Man, among others!

While the comics industry continues to work on re-inventing itself and improving its access to fans, new and established, it’s encouraging to see wonderful books like the ones I’ve mentioned here coming out and getting the attention they deserve! I’m more optimistic than ever that the best days for buying and reading comics are still ahead of us!

What do you think? Are there other books that fans should be looking out for and buying? What series should be reprinted and made available in your local comics shop? What other advances would you like to see the industry make? Whatever your opinion is, share it on the Major Spoilers Discord server.

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At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

It’s a great week here at the podcast, so it’s time for a great conversation! In Episode 747, it’s the return of David Pepose, the writer of Savage Avengers, Space Ghost, Speed Racer, and The O.Z., wonderful comics you should definitely support! During our discussion, we talk about his latest Kickstarter, and it’s for The O.Z. #1-3, which you can sign up for at this link! Here’s the book’s description: “Haunted by her past, a disillusioned Iraq war veteran must survive the war-torn land of Oz.” Of course, the O.Z. stands for the “occupied zone,” which is something we talk about. David and I discuss his return to Kickstarter after some time away. We also delve into his run on Space Ghost, which I truly enjoy, then touch on Speed Racer and his other books! David is one of those great rising comics creators you should keep up with, so don’t miss this fun conversation!

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At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.

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DOOMQUEST #1

Writer: Ryan North
Artist: Francesco Mobili
Colorist: Frank D’Armata
Letterer: VC’s Travis Lanham
Editor: Tom Brevoort
Publisher: Marvel Comics
Cover Price: $5.99
Release Date: May 27^th, 2026

Previously in Doomquest, Victor Von Doom has long sought to make the country he rules, Latveria, a major power amongst the other nations of Earth. But a lack of resources and importance has always stood in his way. But if he could shape history to his will, nothing could stop his and his nation’s ascension.

A Glorious Project

Doomquest #1 opens with a quick recap of Doctor Doom and Latveria’s history. It then shifts to Doctor Doom receiving the latest reports that Latveria still doesn’t compare to the rest of the world in any meaningful statistic. At the same time, Reed Richards is giving a talk about how humanity could find peace if someone were able to alter the events of history in such a way that all changes happen simultaneously. This gives Doom an idea, and he immediately devotes the entirety of Latveria’s manpower and resources to accomplishing this very goal. Just as he is about to accomplish his goal, though, the combined forces of The Avengers, The X-Men, and The Fantastic Four attack.

Harnessing Doom

Of all the villains in the Marvel catalog, there are maybe a handful that ever get pushed to the forefront as major threats to the Marvel Universe as a whole. Doctor Doom is among that group, but so often he is depicted as a single-minded world conqueror type without much depth. In Doomquest #1 he’s given a slightly different spin. While he’s still very much a megalomaniac, here he’s also shown to be much more concerned with the fate of the nation he rules in a way that seems genuine and not just as an extension of himself. Rather than his hopes for Latveria’s success to be a mirror to his own, he sees himself as the only person who can make Latveria great. It’s a subtle shift in characterization, but it’s this characterization that makes this issue work. While at no point does this issue make the reader think that Victor Von Doom is not a bad guy, it also presents things in a way that makes you almost root for him, which is an unexpected but entertaining thing. Really, my only issue with this book is in the pacing. This is a quick-moving comic, as if it wants to get to the time-traveling shenanigans quickly, but it never actually gets to that. Much of this issue reads like a preamble to a foregone conclusion, which makes me feel like they should have just gotten to that quicker so we can get to what this series is going to be about sooner rather than later.

A Gamble That Pays Off

Doctor Doom in Doomquest #1 does not look like an imposing figure and this issue is all the better for that. One of the most intriguing parts of the visuals in this issue is when Victor looks strong and when he doesn’t. During sections of this book that are obviously supposed to be propaganda, Doom looks impressive and victorious. This also carries over when he’s interacting with his subjects. But in sequences when he’s by himself or face-to-face with his enemies, he’s given a smaller stature and a less impressive presence. It’s an effective technique that helps dig into the core of the character and helps turn this from simply a fun superhero vs. supervillain romp into something a bit deeper.

Bottom Line: A Strong Foundation to Launch From

While I think I would’ve liked to see this issue get to the meat of the series’ premise quicker, I do like the time they spend on establishing the characterization of Doctor Doom that hopefully will carry on through. The plot of this book is somewhat simple, but it also doesn’t need to be anything more complex; it just needs to be a decent enough spotlight to examine the main character with. 4 out of 5 stars.

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At Major Spoilers, we strive to create original content that you find interesting and entertaining. Producing, writing, recording, editing, and researching require significant resources. We pay writers, podcast hosts, and other staff members who work tirelessly to provide you with insights into the comic book, gaming, and pop culture industries. Help us keep Major Spoilers strong. Become a Patron (and our superhero) today.