The artwork… Wow. If you can make She-Hulk seem powerful when fighting somebody over 100 times bigger than her, then you know you've done a good job. The panels are fluid, almost blending together, to allow the characters smooth movement through the story. We could see this comic book adapted into an animated series easily. The colours help to set the tone for each part of the story, and each character stands out at any given point.

To say there are so many strong characters in this team, Issue #8 would benefit from exploring more than one character.

Even though there's only a loose connection to Civil War II, Captain Marvel's inclusion is enough to make it feel cohesive. We genuinely can't wait to see how Nico will react to Alice's capture of Captain Marvel, and whether she'll fulfill Ulysses' vision. If so, there's no chance Captain Marvel will ever change her views on his powers.

We're very disappointed to see Marvel have put this series on a hiatus. An all-female team in Marvel Comics is very important, and now there's going to be a noticeable gap. The comic was impeccable from start to finish, and we can only hope it returns sooner rather than later.

If you're after the full Revolution experience, you won't be disappointed. If you're looking for a fun one-shot, you also won't be disappointed. If you're looking for an intellectual think-piece that offers mind-bending theories and complex storylines? Yep, you'll be disappointed.

There's vampires biting into necks, eyes rolling back into heads, and plenty of blood. Literally, there's lot of it. It plays like a silly horror story and works impeccably with these characters. Somehow, we don't quite think this'll be the end of the Pussycats in this series and we hope we're right.

Overall, this issue is up to standard with other Civil War II tie-ins, though that's not an exceedingly high standard. Coulson stops flitting between the two sides of the war, finally, and there's plenty of cool action sequences. Unfortunately it's not particularly gripping and we have no desire to read the next issue – though we'll be back if there's another Civil War II tie-in.

The humour feels very in sync with what we're used to from the show, and the mischief the team get up to is just as fun as what we see on the small screen too.

All-New, All-DifferentAvengers works better as a Vision story at the moment and that's great if you're a fan of the character. If you're expecting a team-based comic, tryA-Force!

All-New, All-Different Avengers #14 is a welcome instalment in the Civil War II narrative. It stays away from the big players in the event, yet it manages to reflect the huge scale of the conflict.

The artwork in this comic is rugged, suiting Old Man Logan and his other-worldly clones perfectly. Each character is heavily expressive, you can even see the worry in the eyes of the burglars when they're confronted! The colour palette is mostly dark, as it should be for a comic based on these characters, and it compliments the gritty storytelling well.

The colours in the issue change drastically as the tension rises and Logan's rage builds, up until Gabby's death – where the page is full of reds. It's a clever way to signify different parts of the story and adds to the momentum. There's not too many characters that are entertaining and brutal as an angry Logan, and we love it. Could we see Laura, the All-New Wolverine, adopt her angry side that she's tried so hard to surpress since she assumed his identity?

We'd love to see Laura interact with other Marvel heroes more, but because they've used Old Man Logan as her introduction into the war, it's left us wondering what it could have been without him. Imagine Laura interacting with Carol Danvers, Kamala Khan, and Miles Morales – it'd be amazing. But still, this storyline has been great up until this point as it starts to slow down a bit.

The artist, Thomas Pitilli, has opted for a messier (albeit calculated) approach to linework – something we haven't seen much of in Archie Comics. It suits the storyline well as relationships are scrappy and a bit shaky at the moment, so everything's a bit out of place in the world of Riverdale. Emotions are displayed wonderfully by expert face work.

The artwork is brought by a new artist this time: welcome Joe Eisma. His style is awesome, and falls in line with other artists on the book previously, so it feels right at home. The character work and body language is on point. It's clear that Joe Eisma knows what works with these characters.

If you're a fan of typical Archie material, then this issue will hit a sweet note with you. It's melodramatic, moody, and excellent. The story is simple and smooth from start to finish, and it doesn't sacrifice effectiveness in terms of the script.

The story is basic at the moment, but with Kang's time travelling we're sure things will be fleshed out well as the series goes on.

Overall, this issue is a tad messy when it comes to the explanations of time travel and works best when it doesn't try to spell things out to the reader. Hercules being a hero is always cool and seeing the Avengers assemble just in time to take on many versions of Kang was pretty damn exciting.

In summary, Avengers #3 is a strong, strong instalment in this new series. It pushed the story along nicely while giving it enough attention, the characters all get treated as they deserve, and the artwork is impeccable. The secret Vision whispered the Wasp will be playing on our minds until Issue #4!

This comic is a breath of imaginative air and is fascinating from start to finish. We cannot wait to indulge further inthe world ofBlack Hammer in upcoming issues, and it's a series we'll be recommending to our friends. Give it a read, and let us know if you feel the same!

Overall,Black Hammer is still heading in a fascinating direction – in only 2 episodes we empathise with the characters and route for them to find success in anything they do. We want to know more about the event in Spiral City, and what is was that forced them into hiding. Mystery is ever-present, luring us in time and time again.

We're so glad that we'll be exploring the backstories of other characters before the series is over, as each character truly carries enough weight to spend an issue with – allowing Lemire to truly dig into what made them the person/alien/robot they are today.

The artwork feels like a send-back to old fashioned comics, while making it feel fresh. The best bit of the art is the expressions seen (and ultimately, felt) through the characters themselves. Pair amazing writing with expressive art and you've got the recipe for greatness. Each character is beautifully messed up in their own way, and there's the dysfunctional family we never knew we wanted.

We know a lot about the main roster now, so where will the book go from here? We have no real idea, but we're excited nonetheless.

This impeccable storytelling is accompanied by beautiful artwork at the hands of Stelfreeze. Not only does it read masterfully, but it's drawn to almost perfection. You get a feel of the country and the traditional theme throughout; even the action sequences kick-ass. They are happy to get into minute detail at any given point, and it makes it a genuine pleasure to look at.

Black Panther #4 is just another outstanding piece of an impressive and game-changing story by Ta-Nehisi Coates.

The artwork noticeably changed this month, as Chris Sprouse fills in for Brian Stelfreeze, but it's a huge drop-off in quality. Intricate character detail and glorious scenery really tops off amazing storytelling. This story, so far, is a dark and daunting challenge for our hero as he tries to revive Wakanda back to it's glory days. If you haven't started to readBlack Panther yet, you're missing out.

Yet another brilliant instalment in this series cements it as one of Marvel's finest ongoing properties alongside Vision and a couple of others that are coming to an end in favour of Marvel NOW!

Action comes into play big-time, and it makes a great change. Not that we're sick of the deep and meaningful elements of previous episodes, but nothing beats seeing Black Panther and friends in action.

These touching character moments are complimented and brought to life wonderfully by the artwork. Sprouse's art strives in these delicate, concentrated moments, so slower stories like this result in some of his best work.

We love T'Challa – we really do – but it's only right that we see the women who fight for and with him develop. Perhaps we can follow their journey up until the point they join forces with Black Panther.

The artwork accompanies the story incredibly. The scenes and character movements are unique and gritty, they really do stand out from other comics – especially those from Marvel. Natasha's condition changes thoroughly along the story, and the comparison from beginning to end is astonishing. She's struggling, and the art represents this just as well as the script does.

We don't want to ruin the story, but hopefully if we sing its praises enough you'll feel compelled to check the series out. It's worth it, we promise.

Either way, this issue is a good jumping on point for new readers. The whole story of setup in a simple and straightforward way so anybody can get up to date in no time at all, and the art is wonderful so that's a bonus. Are you a comic fan who's new to Bloodshot? Read this. Are you a big Bloodshot fan? Read this. It's that simple.

The artwork differentiates between these all-silver characters with ease, opting to disregard the background to keep the focus solely on the characters. This works wonders as it's a very character driven comic, and that's why we're so into it. We're invested in Ninjak, Livewire, Bloodshot, Deathmate, and the other key players in this comic and that's what makes it a must-read every month. Bring on #3!

It's hard not to think that this series will just keep getting better as time goes on, but we'll just have to wait and see. Waiting is the hard part.

This issue is what we'd call a “squeaky bum moment” – bare with us – as it's intense and you're expecting Deathmate to show up at any moment, but Jeff Lemire cleverly holds it off until the point where everything seems alright. It's a clever move and shows that Deathmate has a strong effect on people without even being near them.

This feels like the calm before the storm (to use an analogy that's used all too often, it's just incredibly fitting.) Lemire gives us something slow-paced, allowing us to strap ourselves in for another intense saga in the world of Bloodshot.

Overall, it's a refreshing take on comics based on the period it draws from – and mixing it with horror elements only benefits the overall effect of the story. Ancient stories and scary stories individually are nothing new, but it feels as if Valiant are treading on new and exciting ground.

If the old school costume and art doesn't do it for you, perhaps the frequent appearances and mentions of other Marvel heroes will. This comic isn't the best thing we've ever seen, it feels like an animated Luke Cage series – and that's great. We feel like we can continue to find time in our day to read this series. Another hit for Marvel NOW!

This comic is a silly, cool book that would probably work best as a Sunday morning cartoon. Just something to plonk on for your kids as you read the paper and chugg coffee. Nonetheless, it's a lighthearted and simple read that takes you to another place for a little bit. If you're craving Marvel nostalgia, look no further. If you're looking for a compelling and gritty read with a strong storyline, try elsewhere!

The artwork in Issue #11 has it moments: sometimes it's jam-packed with detail and looks outstanding, and other times it looks rather standard. This doesn't mean it's bad though, as it gives you a good feel as to what's occuring and how the characters are feeling at that precise moment.

Sam has changed over the course of his run as Cap. At first he'd follow his heart into any situation, but recently he finds himself stuck in between his actions as a black American man and as Captain America; a symbol of hope and justice for many.

The Sam Wilson comic is overshadowed by the Steve Rogers comic where he's fake-Hydra, and we wish it wasn't the case. This story is more interesting in many aspects, and touches on real life issues (albeit in a elaborated fashion.)

Things don't look great for Sam at the moment, but he shines in this storyline – and so do the team working on the comic. The artwork is impeccable and the story itself is unforgiving. “Take Back The Shield” has been great so far!

Captain America: Steve Rogers #1 finishes a great first issue with a shocking twist.

This storyline, so far, has been rather interesting as we didn't know the route that Marvel would go to explain the Hydra connection (or lack of.) The artwork is still good, full of detail, and paints a perfect picture to match the story at each moment. Bring on Issue #3!

Hopefully the story can move forward now we're fully caught up with Steve's actions early into the story, the series was starting to build a bit of momentum towards the end of Issue #2 and it would be nice for it to get back to that from Issue #4 onwards.

In all honesty, we feel as ifCaptain America: Steve Rogers is lacking in direction, mystery can work but only for so long. Eventually, Nick Spencer will need to get to the point and speed up the storytelling a bit before readers fall asleep. We have a little idea as to what this Captain America is about, so now the plot needs to pick up pace and stop being a drag on what started out as an interesting premise.

Overall, this is the most compelling and painful issue of Captain America: Steve Rogers yet. Steve is no longer just a Hydra agent, here's a clear threat to the Marvel Universe, and we don't know how he'll claw his way back into heroism from here. Bravo, Nick Spencer.

The dialogue? Boy oh boy. We reread a lot of what was said, purely because it's just captivating and thought-provoking. The manipulation between characters, even those with finer intentions, is fascinating. There's no real action – which somewhat makes it feel as if there's something missing – but when the story and dialogue is this good, we can let the creative team off.

There's no action in this comic. There's a huge amount of narrative, monologue, and plotlines to get stuck into, but nothing visual. There's a thick portion of story to get through which is a treat, and there's a promise of a big battle at some point. This is the start of a new, fascinating, and thrilling arc.

The concentration on Zemo and his terrible plans is cool, but we just can't seem to get into it all. Perhaps it's because we're here for Captain America, but instead we're getting a slow and sluggish instalment that is building towards something bigger. Hopefully all of this buildup works in crafting a dramatic and worthwhile conclusion.

Issue #7 taps beautifully into Rhodey's death and the affect it has on Carol, she revealed she loves him and even sheds tears after the hearing. It's not often she lets go of her emotions and wears her heart on her sleeve, so this made it extremely effective when she finally did so.

Captain Marvel #8 does an amazing job in representing the struggles and challenges of Carol's belief. It shows how resilient she is to stay in the position she's in without budging. More Captain Marvel please!

This issue feels like a step back in the Captain Marvel series, as it opts to be dramatic for the sake of it.

Champions #1 is a breathe of fresh air after the dragged-out Civil War II rivalry, and it's perhaps the best time for a new team to join the Marvel universe. These kids are likable and know how to serve their own brand of justice, and for those reasons alone we're all chips in.

The Champions have to no missions, so Waid can get away with dealing with more character-driven stories. This is more a coming-of-age story in the Marvel universe, more-so than a traditional “Heroes Vs. Villains” story anyway.

Anyway, this issue just puts a plaster on a huge crack. They may have “saved the day” in this instance, but realistically these events happen in a ridiculous amount of places. They've not really solved much. We appreciate the sentiment and the message this issue tries to send, but perhaps it should have waited – or not sent at all. At least the artwork is cool, eh?

Read Champions #4, we're expecting them to be around for a long time.

The sheer amount of characters on a page never feels busy when mantled by the genius that is Marquez, who pays a stupid amount of attention to each and every hero to make sure they all have their chance to shine. Don't get us wrong, the story is progressed in Civil War II #2, but it's not huge in terms of scale. Hopefully the next few issues manage to push it along at a better pace, without rushing it… We're not asking for much,honest…

This comic looks as good as you'd expect from a huge event, but it's not stepping up to the occasion where it really matters: the story. The series is slowly building up and is promising improvement each month. Hopefully Bendis explores the interesting elements over the four remaining issues.

The story is building up in terms of tension and the war is really brooding now, and it's about time. The artwork is still massively impressive to us, it portrays each character extremely well and the emotion of the comic is portrayed perfectly through the expressions of the characters. Whether it's Tony's depressing explanation of Ulysses' power or Carol's elation to speak to She-Hulk again, you can really feel the emotions as you read.

As expected, Civil War II continues to be a cluster of pure confusion in terms of plot and character decisions. There's plenty that just doesn't make sense, and the motivations behind the war are still questionable. It feels like they're fighting for the sake of fighting, and that shouldn't be the case after six issues. There's only two issues to go, and it's possible that the series isn't redeemable at this point.

Overall, we're slowly getting towards the conflict we were promised, but like other issues, it just feels a tad empty. We're interested to see where Bendis will go after the cliffhanger at the end, but it's probably too-little too-late for this event to be redeemed.

Even if this issue is full of beautiful art – which it is – we can't help but think Bendis is dragging his heels with this comic. It's the penultimate issue and the fight is just picking up. We certainly don't know how this event will end but we're almost certain that it'll be rushed and underwhelming. The pacing and padding has been the downfall of the event, and frankly we're disappointed.

This issue marks the culmination and end of the complete Civil War II event, and it's been underwhelming up until this point. Issue #8 is all-out action between Captain Marvel and Iron Man, and while it's bloody amazing to watch, it's not enough to redeem the event as a whole.

Another good aspect of this book is the potential of the Government passing on the Superhero Registration Act II – a second take on the act that divided the Marvel universe in the firstCivil War. Overall, this one-shot was decent and did well to expand on a decent storyline, but it's not essential reading and we've not learnt too much after finishing it.

Even the art leaves more to be desired for us. It too feels and seems rushed, and it doesn't suit the tone of the story too well. You'd expect solemn tones and a display of overwhelming emotion, but it's just not present. Unless you're after the completeCivil War II experience, you'd be fine to missThe Fallen.

Even if you have no interest in Civil War II, this issue works great as a standalone adventure and you'll still enjoy it if you're a Spidey fan. This tie-in is a logical part of the main event and we're looking forward to #2.

We've had the slow-paced, tension-building issue… it's time for an all-out brawl between Spider-Man and a worthy foe, Clash.

Also, theCivil War Ii tie-in seems to be missing. This comic doesn't particularly serve as an extra part of the event, it's more of a continuation of theAmazing Spider-Man run, and that's just fine. Marvel, stop using your main event to draw in readers to spin-off comics if they're not actually relevant.

This issue sees more development with Ulysses than with Peter or Clayton – though Clayton seems to be pursuing a different avenue of villainy. Peter's words of wisdom and encouragement for Ulysses could help him harness and develop his powers for good, but we'll have to wait and see. All in all, this was a solid instalment in the series.

Damage Control are a team who specialize in the clean-up after superheroes and villains clash. This story couldn't be any less relevant to Civil War II to be honest, mainly focusing on how strapped for cash they are. It shows the realistic and relatable side of the Marvel Universe, as they are just ordinary every-day people who are trying to get by. The artwork was definitely nothing special, but was detailed enough to get a good scale as to the damage that had been caused. The story involved an “Unhuman” who'd taken the form of machinery, who quickly changes alliance to assist the team going forward in later issues.

Nick Fury is the only Marvel property to return from the first issue ofChoosing Sides.Following on from when he was ambushed by S.H.I.E.L.D. Agents, Nick Fury is presumed dead and working in the shadows to cleanse his beloved organisation. From the get-go, he poses as Moon Knight– which allows him to act as crazy and ruthless as he wishes, since the character is a lunatic with many mental issues, after all. He's been giving a S.H.I.E.L.D. case number for the mysterious “Leader” that these double agents are obeying under, and that's where it ends. Rather abruptly, in fact. I guess we'll have to wait for Choosing Sides #3 to find out who this alluding figure is.

The first two stories tie intoCivil War II amazingly and add new depths to the story, we're happy that these characters have been included as they have unique perspectives on the story at this point in time. Nick Fury is great and his story is typical for his character – we enjoy it, but it's not relevant for the story.

There's plenty of violence, as you'd hope in a Punisher story, though you don't actually see too much of him. The threat of The Punisher appearing is more intense than his actual appearance " that's not a bad thing. It's great that Frank still does what he does best amongst Civil War II.

If you like cool Alpha Flight stories, satisfactory Misty Knight or Colleen Wing stories, or enthralling spy thrillers featuring Nick Fury, thenChoosing Sides #5 is a must-read.

The Nick Fury portion of this issue is a change of pace, opting for reflection more than aggression. Nick Fury Jr. couldn't be any more different from his dad, burning the life model decoy of Nick Fury and ditching his eye patch, opting for a more unique look. Nick Fury Jr returns to SHIELD by the end, and he's no longer a fugitive. He only trusts himself now, since Maria Hill basically sent him on a suicide mission. This storyline finishes with his donning sunglasses and telling us to “Deal with it.” It's an awesome ending, and cements Nick Fury's involvement in the current Marvel Universe as worthy.

In summary, this comic feels pointless and it's a bit silly to give it the Civil War II title. It's nice to look at, but the story doesn't give you anything to sink your teeth into. You'll come out of the first issue feeling underwhelmed and somewhat cheated. We're hoping the other mini-series, which include Ulysses Infinite and the Amazing Spider-Man, have more purpose and add something to the event.

The artwork is still very solid in this comic, these larger-than-life characters are brought to life well and they're given a grandiose appearance. Even the new Gods look up to date and more current, they're shiny and brand new – where the old Gods are more worn.

Herc ends the issue breaking free of the curse, and he now knows their plan: destroy everything. He vows to put an end to their reign of terror before helping Cap and the others withCivil War II. Sounds good!

It's a nice coming of age story in a sense. Though we haven't been too hot on the single issues, this story plays out well now we've got our hands of a few of the instalments. Though Hercules and his Gods of War don't get involved in Civil War II, it's been a decent run.

Overall,Civil War II: Kingpin #1 doesn't give you too much to chew on but provides the perspective of the criminal underbelly of the Marvel's comic universe.

The Civil War II tie-in is more present in this issue than most, as Kingpin is making the most of the opportunities given whilst the heroes are at odds with one another.

Overall, we're very pleased with this issue. Fisk explains his motives, Frank Castle shows up on the scene, and they both violently scrap it out. The huge fight sequence will please fans of either character, and the artwork compliments the dark storyline wonderfully.

This issue concludes the Civil War II tie-in pretty well – though there's no actual link between this particular issue and the event – and sets up the ongoing series nicely. Fisk is back in action, and will let nobody get in his way.

The artwork is glorious in those precious close-up moments, especially with Karnak, though the quality of the art deteriorates when distance gets in between the reader and the characters. As long as Karnak sticks around, this comic will be worth the read. Bring in Issue #2, Marvel!

It's a bad sign when you feel like there's a wasted issue in a three-issue-long run. The art is amazing – utterly brilliant – as is the panel layout, but the story is a disappointment.

What was once our most anticipated tie-in series for Civil War II has now become an issue to read whenever we can be bothered, especially since it doesn't capitalise on the potential of the two outcast races conflicting. There's only three more issues to go, and it's hard to imagine a lot happening between the beginning and the end.

Overall, we're rather happy with this Issue and are desperate to know what Magneto's plan is!

Even the art is just a bitmeh. The characters look quite cool at times, but there's occasions where close-ups where they look strange. Despite this, backgrounds are done quite well and boast a good amount of detail. The occasional battle scenes are decent and manage to keep you engaged through-out, but they're not enough to redeem the book.

It's seeming less and less likely each instalment that the X-Men will come out of this event well, and the fact that Marvel don't own the movie rights seems to be working against them.

The artwork in this issue is gritty throughout, though Spider-Man's detail makes him feel like a new entity in the comic – which is true. The artist has done a good job in capturing the signature tones and feels of a Daredevil comic, and the action panels are kick-ass. It's not the best art we've ever seen, but it's purposeful and works well with the storyline.

The artwork and colours in the comic book are mesmerizing – they continue to be a consistent strong point in thisDaredevil run. The artwork isn't the best in terms of skill, but it's unique and rather edgy – much like the title character. It's not afraid to stand on its own, away from previous work for Daredevil, and it benefits from it. Hopefully we continue to see some Dark Art from this point on!

The artwork is as gritty as the story, and the figure we see at the end is genuinely maniacal. There's splashes of red that simplyhas to be bloody injuries, it's chilling. His image suits the character of somebody who'd perform these atrocious attacks though, so the artist has done a bloody good job.

Reilly Brown and Szymon Kudranski are the team behind this comic run, giving an almost cinematic feel to a chase sequence and bringing out the best of each other. It has a dark feeling, as expected, and it fits this combination of characters perfectly. Unfortunately, some characters seem just too weird in terms of proportion and it's hard to look past. Overall, if you enjoyedDaredevil Season 2 on Netflix or you're a fan of the comic history between the duo, then you'll find this issue entertaining. But if you're looking for something new and innovative; keep looking.

Overall, the story is flat and rather generic and the art doesn't translate too great from online to print – which we commend Marvel for attempting. This issue is one we're likely to forget about rather quickly, and we think of fans ofDaredevil Season 2 on Netflix will find this rather stale. Hopefully the team behindDaredevil/Punisher learns what works and what doesn't, sooner rather than later.

We're still hungry for a courtroom element being weaved into the ever-interesting conflict between Daredevil and The Punisher, but this comic is getting better each month without it.

Issue #1 ofDeadpool & the Mercs for Money is exactly what you expect from this arrangement of characters, and we're looking forward to the second issue when they attempt to capture Radioactive Man!

This is a fun and silly comic that gives a well-deserved break from the tense collection of comics coming from Marvel at the moment due to theirCivil War II event. We're glad this series is separate from the war, as it gives them chance to establish themselves away from the same narrative as many other characters.

Dynamic panels during action sequences and classic characterizations go a long way to painting the perfect picture for this maniacal story. Panels are laid out immensely and allow the chaotic (and time-bouncing) storyline to make complete sense. We can't wait for Deadpool & the Mercs for Money #3!

The humour, as always, is spot on in this comic. The writer captures the character of Deadpool perfectly and delivers time after time. We look forward to the mischief this brand new team will find themselves in!

It seems as if the team will retrace their steps by rounding up the radioactive villains again, which'll be a tad stale but could still work because of the new team and their own special dynamic. We prefer this team to the original, but the smaller characters (Gorilla Man, Masacre) don't get enough time at all. This issue was the Deadpool and Machine Man show with a hint of Domino.

One thing we've noticed with theseCivil War II “tie-ins”: they are really distant from the event and it feels like Marvel are labelling them as such just to sell more. Deadpool is the exception though, as he spends quite a bit of time with the source of the problem, Ulysses.

The artwork continues to impress, and suits this bunch of mercenaries perfectly. This comic is allover the place in terms of dialogue and the art manages to hold it all together so we can still understand what's going on, and let's be honest; it's easy to get lost in a comic featuring Deadpool when he's really on a roll.

This issue does a good job at developing Deadpool's character as he's given a point to prove and essentially he now has a purpose behind his actions. This results in a more relatable character who you root for.

Deadpool's hunt for Madcap is no closer to being over, but at least we know he loves his daughter. He even enlists Rogue's help in looking out for her. Apart from that, there's not much to take away from the story at this point.

While Deadpool #19 isn't the most linear and straight forward instalments, it sets up the next arc well and really surprised us with the inclusion of Iron Fist. This changed our mindset towards the next 6 issues in a matter of seconds, and we're already ready for #20.

This is a fun and compelling read that isn't afraid to allude to the underlying tones of depression and sadness.

This comic actually has a second story attached to it, and it's Shakespearean in style. It's a tad strange, of course, but it's another funny instalment. It's a tad hard to read as it's in the sophisticated style of writing those times required, but it's a fun contrast on the unsophisticated nature of Deadpool.

Annoyed with the fact they've lost a bunch of money, they encounter the thief. He proposes to them that if they help him out, they can have their loot back and even more of it" Commence Issue #2. So it's calledDeadpool Vs. Gambit and mainly focuses on Daredevil Vs. Spider-Man, it works really well even if it's a tad messy. Even the art work compliments the hectic storytelling well, with a surprising amount of detail and rather unique take on the appearance of the characters.

The artwork is impressively descriptive and expressive, suiting the narrative of the issue perfectly. There's never a dull moment as the artist captures the expressions and actions of Mr. Pool perfectly " even his bare face sporting a pornstar 'tache manages to look bloody cool.

If you're a fan of comics and you like to laugh, then pick this book up from your local comic shop! We'll happily recommend it, and we guarantee Wade Wilson will give you your money back if you're not satisfied.

Hopefully we get more of the titular heroes as we do read this comic for them, afterall. But the story was captivating enough to help us read through Issue #4 effortlessly. The Scrambler is a fascinating character who flits between hero and villain almost-routinely, and his story makes way for an ever better one for the future.

Overall,Deadpool Vs. Gambit has been a hilarious and adventurous series. It's ended rather quickly and we'd happily join this duo on new ventures, but it's making way forDeadpool: Back in Black and that's shaping up to be a good one!

It's a good, sensible start to a new series and things are bound to get ridiculously crazy soon enough – it's a Deadpool comic, so it's inevitable. That's why we love the Merc with the Mouth anyway, so bring it on!

This is another great story for Deadpool. He's still himself, but he's seemingly doing things for the sake of being good, instead of the sake of earning money. He's got a new set of skills and shiny new suit, so the things we get to see throughout are sheer mental and purely enjoyable.

The artwork is great. It really shows the suit is a different entity to Wade, and he always look great. Each villain has a distinct feel and tone, and it really separates them – which is obviously needed since there's so many being introduced into this story. From what started as an innocent and somewhat emotional look at the symbiote, this taken has taken a crazy turn and we're a fan, definitely.

The artwork displays a great level of expression when it comes to Deadpool and Howard, utilizing impressive detail to bring their feelings to life. The background detail is missing at times, but you barely notice since it's such a character driven display.

Overall, any kind of impact this story would normally make is diminished because we know how a lot of it will play out. The art is cool and the build-up of tension would work in a normal situation, but it's not enough. This is the only first issue in Marvel NOW! that we've been disappointed with so far. It's definitely not bad, though.

This story is half way through now, and the war is shaping up well. This story is, of course, a flashback/retelling of what kickstarted the current shite between the two groups. We're looking forward to everything start to kick off, and it's likely to happen in Issue #3.

This is the strongest instalment in the four-part series, but that's not necessarily a huge feat. We're interested to see how the series transitions into the Inhumans Vs. X-Men story, and finding out if it was worth reading.

One thing we've learned from this “event”: these races can co-exist. Marvel can deliver on both X-Men and Inhumans if they're willing to try, and they don't have to fight each other. They can both deliver storylines that work independently from each other. Hopefully Marvel realise this and rejuvenate both of the franchises as they start to struggle.

The doom-and-gloom atmosphere in the background of scenes look great and set the tone just right for the grim storyline. Nothing's as you'd expect, and the artwork reflects as such. Bloodshot looks incredible with a long beard and overall Russian overhaul, and he's just as bad-ass as always. Give Divinity III a chance if you're a fan of any Valiant property: there's probably something in here for you!

The team consists of people such as the Ancient One (much younger, though,) Wiccan, Sir Isaac Newton, and female sorcerers Nina and Kushala. This squad is an entertaining spin-off that feels at home in the current Marvel NOW! lineup.

Wiccan shines in this issue. He's been marked and is dying, but there's a way he can save himself – but only if he goes with somebody who claims to be Merlin. He's dead though, so we're not sure what's going on. This has been used as the bait to hook us onto the third issue in December. It's worked anyway, because we'll return to this series.

There's a few moments that allow the artist Javier Rodriquez to do something special, and he provided the goods when the time came. The widespread page that showed Merlin's basement was incredible, and felt like something out of the Doctor Strange movie! Overall, this comic makes me want to keep reading this series to see what happens, so it's done its job.

Boone's adventures are already tonnes of fun after the debut issue, so we're looking forward to seeing him unravel this mysterious case and how he manages to do so.

That's the tag for the issue, where hilarity is sure to ensue. Faith is a warm-hearted comic series and that's solely down to the title character. She's a refreshing character, and it's lovely to see a person of size perform moves and take down bad guys instead of the usual muscly men and stick-thin females who are popping out of their costume.

The artwork brings the characters to life pretty well, though lacks in detail and consistency at times. It's not terrible by any means, but definitely noticeable. Either way, they managed to differentiate between two versions of the same character exceedingly well – even if it was by simple means.

The artwork was a tad inconsistent for us, and it was highlighted the most when Faith and Clinton posed for a photo. In one panel Clinton looks very accurate, but in the next it looks like a drawing of somebody wearing a mask of her face. It's not like this throughout but it's just proof that there's room for improvement, though that's the case with all artwork in comics and books, so we can't really complain too much.

Overall, this is yet another hit in Faith's new ongoing series. Things are getting tense leading into Issue #8, and we're always left wanting more.

The artwork is as goofy and entertainment as the writing, and brings it to life really bloody well. We have no real clue as to where this book will go, and it's exciting. We were apprehensive going into Foolkiller #1, but we're on board now!

The art is decent once you get past the cover, and the dialogue is quite good too, but it's just the Dire Wraiths. They don't fit in this comic at all, and their inclusion just ruins it all. We're not certain this is a one-shot, but other tie-ins have been so we're hoping this remains a single issue.

We really became invested in Gamora and her story, and it's purely spawned from the way she's written. She's a complex soul who does things to keep Thanos happy, but is she happy? Definitely not. It's a compelling read and the perfect start for her solo venture. This comic is a back door into the world of the most lethal guardian of the galaxy.

The artwork is as sketchy and gritty as the title character, and the pages really light up whenever Robbie gets into his fiery alter-ego. The colours liven up the page wonderfully and show a huge contrast between the two sides of him.

The little arc within the car garage where Robbie works could prove more than it first appears, especially since a new employee receives quite a lot of attention – perhaps too much to just be a minor character. We're interested to see where this goes.

Star-Lord's struggling to decide what to do, he doesn't think things will end well if he tells Gamora about the whereabouts of her adopted father, but how long can he hide things from the Galaxy's best warrior? That's where this issue finishes, in hopes to get readers back next month to see Gamora lose her shit!

If you're after the full Civil War II experience then by all means, read this. But if you're after a good Guardians comic, we advise you to be wary going into this one.

We're very happy with this first issue of Hawkeye. It's witty, action-packed, tackling real issues, and guides the reader through the story without treating us like we're thick. Bravo, Thompson and co!

Even though this issue went on and on, we were engaged at all times. We're not sure how it was achieved but we'd welcome it in every issue. Thompson did a great job on A-Force and she's quickly proven that Marvel need to keep her around.

The artwork is a tad basic for us at times, bordering on lazy. The lack of detail is purposeful, we think, but it just seems undeserved and random. The fluid layouts help the flow of the story, but we can't help look past the clear absense of focus. This is a great debut issue for a fascinating concept, and we'll definitely be back to follow Zhia on her Earthly mission.

Overall, Horizon isn't the next break-through comic book. It's a sci-fi story that recognises its strengths and plays on them.

This comic is building towards the bigger picture one exciting instalment at a time, and we honestly think Horizon will work better as a graphic novel with a bunch of issues combined. Either way, this singular issue was an action-packed, unique piece of awesomeness.

If you're expecting more of the material seen in previous She-Hulk titles or classic Hulk titles featuring Bruce, then you're out of look. It's hard to say where this series will go, but there's no hulking out and Jen's certainly only a fraction of the person she used to be. Perhaps she'll grow into herself once more and branch out into heroics, either way, we're pleasantly surprised with this first issue.

Bendis has a signature writing style – and while he removed a lot of the grandeur from Doom's character – he strayed away from his usual format. This is definitely to the benefit of the book and the character, we're pleasantly surprised. We knew this book had potential, but were admittedly pessimistic going into it. Our worries are no longer!

The comic feels very similar to the Invincible Iron Man, which is understandable when you consider the fact they share the same creative team. We're more excited about Infamous than Invincible, but things need to start happening soon.

The artwork is rough and gritty, just like The Thing and Doom himself, so it all feels very uniformed and thought out. The world of Doom is bleak, even when he's practicing heroism, and we feel fully immersed in it through every page. Issue #3 gave an insight into Doom's change of heart, and even though it may have suffered from a lack of action, we really enjoyed it.

The artwork for us was just plain alright – there's no particular terrible aspects but it doesn't quite suit the theme and tone of the comic. It's heavily computer orientated, which is fine, but when any action occurs the characters just seem a bit flat and static.

This book is just coasting along waiting forCivil War II to be over so it can introduce new takes on the character. It's setting up some interesting stories but it's taking a long, long time to do it.

Hopefully Issue #14 picks up the pieces left in Issue #12 and pushes the plot forward. This issue did evoke some emotion but we fear it's a little too late, the impact of Rhodey's death has been lessened by the long period of time we've known about it.

In summary, we're enjoying getting into the nitty gritty of Stark's problems and Civil War II, but perhaps it's time to truly add Riri to the mix to shake things up.

The artwork is fairly standard for a Marvel comic, but the standard is high. The style is great, almost popping off of each page. The technology, the characteristics, and the action all look spot on. It's nothing new, but we can live with that.

This series could be a slow burn that focuses on Riri's rise into heroism, but we quite like the idea of it. If Bendis can keep up with the emotional beats and not-over-done-humour then we have no reason not to return to this series.

The mutants receive a lot more attention in this comic and they're in more danger than the Inhumans, so we're naturally swaying towards Team X-Men, but we'd love for the comic to find the balance between the two, much like the original Civil War event achieved.

Yes, this is another big Marvel event that features a ton of action, but there's so much more to get your teeth dug into this time round. We're looking forward to seeing where Lemire takes the story in the upcoming issues.

We're just at the point where the real fighting should take place, and we feel as if we're a long way off a resolution to this battle. Will a resolution be met or will a side truly win? We suspect the former, but we're enjoying the journey to find out.

Dynamite delivered an action-packed, typically unpredictable issue. Bond is great at what he does, but things are never straight forward for the chap – and that's where the fun comes from. There's plenty of the expected Bond charm and gift of the tongue, so we've got pretty much all we could want from the comic.

We're very happy with James Bond: Hammerhead so far, and we're itching for more.

If you're a fan of the Netflix show, read this. If you're a fan of Alias, read this. If you're looking for your typical, run-of-the-mill Marvel comic? Read this, then realise it's completely different – and better for the most part.

The artwork is non-descript at times but not in a way that suggests the art isn't very good. It's hard to explain, but the style is so different and unique that it feels perfectly at home with these set of characters. We can't get enough of Jessica, no matter how pessimistic she is, and we're just chuffed she's got her own solo series again.

Want to read a comic that takes the piss out of other comics? Jessica Jones is the one for you. There's a wide range of characters for Jessica to roast, and she takes every opportunity to do it. From superhero names to superpowers, nothing's left unscathed. It's this awkward and playful charm that keeps us firmly in love with Jessica, she's truly Bendis' best creation. This comic leads us on, and we're completely fine with it.

The gripes we have this with issue are minuscule, it's still a very solid first issue for Archie Comics and we're sure the inconsistencies and problems will be ironed out early on. Josie and the Pussycats are a very welcome addition to the huge range of comics we read.

The panels layouts are impressive and the artwork is neat. The colours bounce off of each page and the characters manage to look cool at all times. It's a simple review, for a relatively simple comic. It's definitely a fun one.

We definitely don't regret jumping into this series, and we're so ready for the Riverdale series that's on the way to The CW!

Jughead is genuinely one of the comics we look forward to coming around each month, and this storyline is doing great in keeping that excitement around. It could all be over in an instant – which is essence sounds shallow, but it's as spontaneous and exciting as the characters.

The opening of the issue focuses on the past of Hutch and an encounter with his dad, which turns into quite the turning point. Hopefully this comic can learn from it's slightly weaker points and produce a truly great series.

We won't go into the nitty gritty of the story as it doesn't particularly deviate too much from what you'd expect after reading Issue #1. It's still a good read, and there's a couple of small twists, but it's nothing for us to rant or rave about. This issue is a solid instalment in Volume 2 ofJupiter's Legacy, and we look forward to seeing how the story progresses over the next couple of months.

Strong pacing and relatable societal messages helpsJupiter's Legacy Vol. 2 remain amongst the top few ongoing comic series in 2016.

You get a feeling that Mark Millar is setting the story up for a few twists and real emotional gut-punches for the final issue, while having plenty go on in this one. There's plenty of characters to get invested in, but it's not worth doing so as they'll probably get killed off. Millar's made it his mission to not give anybody a glimmer of hope.

To say we expected a cheesy 80's throwback, M.A.S.K.: Revolution #1 was a bold and surprising read.

Overall, this isn't a bad issue. Bunn has written a good story, but we felt there was more to be desired when it comes to the “tie-in” part of the narrative.

Overall, we're a bit lost but we feel nostalgic – and that's good enough. We'll tune in monthly just to see a bunch of action involving the Rangers and the Zords, and now they're fighting another Ranger, we'll be hooked before we know it.

Overall, this is an important issue but only in terms of messaging. It doesn't add or take away from the ongoing storyline and acts as a nice break after a huge revelation in last month's instalment, and it works wonderfully.

The artwork in Mockingbird #6 is fairly good, proving to be consistently detailed and emphasizing the femininity of the comic while remaining kick-ass. The comic starts out as a Hawkeye rendezvous mission and quickly fabricates into something so much more than that. The cruise has set sail towards the Bermuda Triangle as things promise to get much more interesting.

If you want to laugh, want to stay on your toes and kept guessing, or both, then read Mockingbird issue #7. This is a non-stop thrill with plenty of mystery and just enough murder. Unfortunately, the Civil War II tie-in is more of a link to men in Bobbi's life – but we can look past this.

This comic is obviously undervalued and fell upon deaf ears with Marvel fans. This comic deserves room amongst the best Marvel comics, but instead it's being cancelled. This is perhaps the most important comics for women alongside A-Force, and they've both been discontinued. It's poor.

The bright and vibrant artwork goes someway towards our feelings regards this issue being like a cartoon. It compliments Lunella well as she develops in life, building her own definition of who she is as she discovers who she really is. She's a flawed character who could be easily seen as a reflection of any young girl out there, and that's why she's so important.

Kid Kree looked into reversing her Inhuman state, and seems set to reveal something to her by the end of the issue. Overall, it's a dialogue-heavy intrinsic comic that focuses on the strengths of the characters to really make the reader think. It's hard not to root for Moon Girl at this point, and it's even harder waiting until the next issue.

We strongly recommend you give this comic a shot, there's a good chance you'll like it!

If you're looking for a new comic to read, Moon Knight is the one. Trust us.

If you're not caught up with Moon Knight yet, stop reading this, turn your computer off, run to your local comic book store and purchase all six issues immediately. That's an order.

The two ongoing events are crazy. One's a galactic fight, and the other is a taxi ride at night. Whichever one you focus on, shit goes down. This issue lacks the grit and meat of other issues, but Lemire has very safe hands when it comes to Moon Knight. We're excited to see how this fits in with the other parts of the story.

We can't do this comic justice, so please just go and experience it for yourself – and keep hope that we'll see Moon Knight brought to life in Netflix in the future.

The character progression is very real in this series: Moon Knight is now equipped to take on the God that's been toying with him so so long, and we cannot wait.

Overall, this issue fits inline with earlier issues of this run. There's mystery, struggle, and shit tonnes of character development. We're purposefully not given much away, it's really a comic you need to witness for yourself – check it out.

We're sold on this character, but not just yet sold on the fact he has his own solo series, especially in a world of team comics. There are plenty of interesting characters in the Marvel universe, and we can't quite say why Mosaic deserves his own just yet. It's early, but promising, days.

We understand the importance of correctly establishing and developing a character, so we'll wait it out and hope things pick up in the next couple of issues. The dialogue between Morris and the minds of others – much like when he meets Cap – is great. We think the potential for Morris, and his heroic persona Mosaic, is insane. This is a creative writer's dream as he can literally tap into the mind (and body) of any hero they'd like, if done correctly.

All is bad for Kamala at the moment, but we feel like she'll pull it together and sort it all out – she's a hero after all! We hate the fact we have to wait a month to find out what she'll do next.

If Issue #10 has taught us a lesson, it's that Kamala can't save anyone – no matter how hard she tries. We feel like this is a lesson most superheroes put themselves through unwillingly, so Kamala's on the right path.

Kamala is forced to take a step back and look at how her actions affects those whom she loves, and it forces Kamala down a path of emotion that she's not too familiar with. The artwork blends a bunch of action and emotion in one comic, and it suits the story wonderfully. Civil War II has been shaky, but Kamala's perspective makes it all seem worth it

This will be the last huge plot point for this comic before it's rebranded into theU.S. Avengers in October.This issue tees up a huge finale, with A.I.M. taking on both S.H.I.E.L.D. and the New Revenger, lead by Richards. Hawkeye is out of the picture until further notice, and Songbird is in grave danger. We're looking forward toNew Avengers#14 in a couple of weeks!

The action sequences we do see, such as Bobby navigating around a laser-filled room, are outstanding and build up the story well. The characters involved are great and the storyline helps to highlight them in their own ways. Bobby really flourishes in this comic, making us sad that Ulysses' foresaw his death in a month's time. Hopefully the team can help to steer him on a less deadly course.

This issue saw two White Tigers, Squirrel Girl, Wiccan, and Hulkling getting involved in the huge situation – promising a bigger conflict later in the story. Hopefully we see them in action next month, not that we want to wait that long!

The undying action in this issue renders it over in no time at all, the story doesn't really go anywhere but it's OK when they're plenty of brawling taking place – especially between some obscure and strange characters. The Civil War II tie-in is minuscule at the moment and it's disappointing, to the point where we feel like it doesn't deserve the label.

They find Fakir in the depths of the Nevada desert, and from there on it's plot-twist-galore just as they seem to get the upper hand. Cleverly, the future and present are tied together and it works perfectly. The series is heading to a great place and we're hugely engrossed in both timelines, so it's a good time to be a Ninjak fan.

The ending of this issue proves just how mentally advanced Ninjak is. He's put himself in a comatosed state to slow down the parasitical bug in his brain, and he's living in the future. Mentally though. Not physically. It's a crazy story that we're looking forward to seeing how it all comes together.

This story is great, if not confusing at times due to the multiple timelines at play. Ninjak's actions in both timelines affects the other, so we're constantly on our toes and thinking about how his actions could change things. The artwork is detailed when it comes to the characters – and they're what really matter – so we're fine with the near-neglect the background receives most of the time.

The artwork is glorious, with smooth linework and incredible detail – even in the surroundings and backgrounds when you'd least expect it. The colours are toned down at the same rate as Nova's determination and spirit, and it sets a solemn tone for the proceeding comics.

Even if you're not a Nova fan, give this issue a chance. It's obviously an ideal jumping on point for the series and it may even convert you. The first issue alone warrants investment of time and money into reading later instalments.

You can't go wrong with immaculate visuals and a complex dynamic between two interesting characters, and that's what Nova #2 brings to the table.

Clint's basically aiming to clear his conscience and relieve his guilt – this trip he's on is his way of doing such a thing. We look forward to seeing how it works out!

In summary, we're glad Clint and Red Wolf will be teaming up on the road to redemption and kicking arse along the way

This story doesn't deal directly withCivil War II, so it could operate fine without it being exclusive part of the event, but it's not a big deal. There's an immediate link to the story, even if the events did happen a couple of months ago. We're hoping Patsy will find her feet again and grow back into the strong character we all know and love, though it was intriguing to explore her mindset in this horrible situation.

From start to finish, Issue #9 is a fun instalment with plenty of heart and realism. Things aren't easy, but Patsy still manages to have a good time.

The artwork is impeccable. It manages to be big and bold, just like Power Man, yet energetic and somewhat allover the place, just like Iron Fist. Details and plentiful and in all of the right places, and you really get a sense of where the story is at the exact moment – so much so that you'd probably be able to tell how the characters feel without any dialogue.

The artwork and the use of tonal colours really elevate this comic on another level. They're used to signify the feelings and spirits of the two main characters in interesting ways. Danny's in jail but his spirit is high, and his artwork is met with lots of bright shades. Whereas Cage is stressed, so he's seen around plenty of shadows and spends time in a dark room. It's a clever contrast between best friends in different situations who are on opposite ends of the spectrum in terms of emotion.

The cameos in Power Man and Iron Fist are only brought in when they help push the plot forward or when it'll improve the story, and it's awesome. This book feels like its own connected world in a way, and that's down to intelligent storytelling. This issue goes a long way to proving this series is one of Marvel's best.

The next arc for this duo is not going to involve Marvel's huge event, and we can only imagine this series will benefit from it. Good riddance.

Luke and Danny round up the Avengers to inform them of Agnitus, and there's new developments in terms of who's running it. This arc is shaping up to be a good one, especially when The New Pride could clash with the Heroes for Hire AND Black Cat. Or perhaps the villains will team up? Either way, Luke and Danny have a lot on their plates, and we're going to enjoy it.

It's a simple comic book so far, but it works. There's a big battle setup by the end of the issue, and we cannot wait to see it unfold!

There's no fighting as of yet between the big three characters, but there's plenty of time for that. We'd rather the scene was set and the story was solid before going into the comic purely for violence. Though, the thought of that doesn't sound all that bad. Either way, this comic is a must-read for comic book fans in general. If you're a fan of Predator, Aliens, or Judge Dredd then you're in for a treat.

This book has a surprising human element to it – even though two of the title characters aren't understandable to us. It's a tricky task for the writer, and he's pulled it off to near perfection.

After a few months away, Frank Castle returns wonderfully. Don't go into this comic expecting anything drastically different, but if you're already a fan of the character then this story will definitely have you gripped. This could well be a memorable run for The Punisher.

The fast-paced action through-out is the highlight of the book, never really slowing down as you experience sheer maniacal violence. This book gets to the point in no time at all with no dancing around the point, much like The Punisher himself. The story can only get more interesting as the police find themselves further involved, and we can't wait.

Overall, this story isn't moving as quickly as we'd like. Yes, we're only on the third issue of the series but it seems a tad aimless. We know he's after “The Face” and wants to stop the organisation CONDOR, but it's going unexpectedly slow. We're craving a gritty and brutal storyline that doesn't hold back, and maybeThe Punisher will fulfill this once all of the issues have been released.

The risk of Frank keeping Juniper round is high, and it just makes everything much more tense. At the moment she's the single source of humour, though you don't readThe Punisher to laugh out loud, but she's welcome to stay in the series as far as we're concerned.

This is a captivating and vintage issue the The Punisher doing what he does best: kill.

The artwork, tonally, feels very samey. You could sugarcoat this with the title “consistent”, but we're not sure it's the exact same. Sure, the colour palette should have plenty of similar colours for it to feel cohesive, but everything is very dull and bland. The characters don't express all too much, either. The dialogue is relied upon quite heavily to know what's going on – and that's fine – but that's what separates good art from great art.

The very premise means the smallest details matter, and makes it a very personal story – which is perhaps where our desire to this story in a movie format comes from. We could relate to plenty of what goes on – maybe not what happens after death – but we can see ourselves in some of these situations.

Greg Capullo's art – as always – is incredibly solid. The good people look great, and the bad people look hellish and demonic. Detail is present in every inch of the page and this new world we're exploring looks incredible.

Overall, this issue is still worth a read, but be aware that this comic could just keep playing safe. There's a very distinctive feel surrounding this comic and it definitely doesn't blend in alongside the other sci-fi books out there, but we're not sure you'll ever get a shock or huge twist. If you're just after a solid, consistent read, Reborn could be for you.

Overall, we feel IDW were brave and playing it safe at the same time. Some of the standalone properties are receiving mixed reviews at the moment, so merging them with thriving characters is sure to help with that. Maybe there's more than meets the eye with this bunch of odd-shots.

There's more than nostalgia that makes this comic appealing – it's the character development and the world-building. It explores morality (think back to our mention of torture), and provides point-blank action to keep us entertained. There's plenty going on in Revolution, and it's all good fun.

There's a big battle overshadowing the smaller, personal touches that this issue presented, though. It's only a matter of time before shit goes down, and the Micronauts getting involved only makes things more tense.

The artist had a huge task when it came to bringing these characters together. When you think about proportion alone; Ossio has to make sure the Micronauts and Transformers work on the same page, and we can't imagine that's an easy task. Fortunately, he's done a good job. The complex fight scenes were dealt with ideal detail and each set of characters from their respective franchise were pulled off well.

We expected a jovial adventure much like we're used to seeing Rocket go on with Groot, but this comic is nothing of the sort. It's a dark take on Rocket and proves he's perhaps at his best behaved when he's guarding the galaxy.

That's right, Gwenpool gets involved with a mission that's underway involving a raccoon and a talking tree. Things don't seem to get any better for the thief, who manages to get away after scuffling occurs between Gwen and the duo. He's in communication with a guy via a station in his bathroom, and nothing is quite as it seems. All we know is he's in for a big shock in Issue #9. Which, in case it's not obvious, has shaped up to be a must-read after this entertaining instalment.

The whole Civil War II tie-in label on the cover? Pointless. Besides a brief phone call with a sweary Captain Marvel, there's no connective tissue. It seems as if Rocket is going to help her out with whatever is going on in New York, until Chammy attempts to recruit the help of the threesome. It seems as if they'll be teaming up for more issues going forward, and we have no complaints. Gwen is the right level of wacky to fit in with these two, and we hope the partnership grows stronger as the series continues.

Gwenpool remains one of our favourite characters in recent Marvel comics. Her refreshing honesty and enthusiasm livens up any story, and literally reflects what us as readers are thinking. The story doesn't particularly link in to Civil War II too much, and Gwen's happy enough to admit it. She even takes a few jacks at Brian Michael Bendis. This is a comic book jam-packed with light-hearted fun and an alien whose power is to turn into a puddle. True story.

If you're after the fullRevolution experience then we'd recommend readingROM: Revolution, but that's the only circumstance in which we'll wholeheartedly recommend it.

So far, this plot feels similar besides the huge prehistoric creatures. We've seen in many mediums " such as movies, television shows, other comics " this scenario go down, so we're anxious as to what'll set this story apart from the rest. It's a fairly standard script, though Kevin's a lovable idiot, and the artwork is solid. It really emphasis on the fear that dinosaurs emit, and the island looks really damn cool.

In case you can't tell already, this book is bloody outstand and we heavily recommend it. Whether you're familiar with this series orCivil War II, youdo not want to miss this. We don't know where Pietro and Wandra will go from here, and that only adds to the excitement for Issue #10.

Overall, this comic book is not a good adaptation of characters every kid loves. The source material has been adapted into a serious style, going against the very style of their world and turning into a ridiculously farfetched post-apocalyptic story. They say you shouldn't judge a book by its cover, but in this instance I'd recommend doing so.

This was a deep cut with intriguing underlying tones of an existential crisis; something that's touched on in plenty of comics but never delved in to in such detail and fleshed out as much asSilver Surfer#5. The artwork is quite good, though there's nothing that makes it stand out from any other comic from Marvel (or DC, to be honest.) The standard of drawing and colouring is very high, and this issue meets it well.

Overall, Issue #1 of Solo's solo run establishes the character and the story well enough, but it doesn't really feel like it deserves a spot in Marvel's schedule. There's plenty of awesome characters who deserve their own comic, and at the moment we don't have the answer to this question: Why Solo?

The artwork is beyond that of the 90's though, opting for a detailed approach that displays motion quite well. That can't redeem this particular issue, though.

The issue ends in a cliffhanger when Miles' mother visits Jessica Jones at her office. She arrives to cancel her services, and stays to here what she's found out about her son – and that's where it ends. Either way, things are getting increasingly hard for our friendly neighbourhood Spider-Man.

Despite enjoyable dialogue, the plot doesn't really go anywhere throughout the issue. We're expecting Miles to get even more involved inCivil War II in the next issue, and we're wishful that tensions will rise too.

It seems like there's a Venom battle on the way, so we're looking toward to a more Spidey-feeling issue. Getting involved in Civil War II causes Bendis to bend some of the usual elements to fit the event, so we're hoping for it to get back to basics. Overall it's a good issue and ties in quite well to the big event, which we can't say for a lot of the tie-in issues.

This comic is full of everything you'd expect from a series based on these two characters; there's hilarity, craziness, and face-palmingly stupid comments. There's even not-so-subtle Batman v Superman shade too; "Nighthawk v Hyperion: Yawn of Boredom" is found on a poster, with the tagline of "You won't believe their mothers share a first name."

We're disappointed that the writer of the current run is behind on this story, meaning they've had to resort to showing us this. The story in the past few issues has been great and we've grown to become excited each month, so we're hoping this month break is worth it and the series comes back better than ever!

We never expected this depth and emotion from Spider-Man/Deadpool, and we couldn't be any more impressed.

Seeing Deadpool devilishly handsome again is strange, but the artist has done a great job with it. Not just with Wade, but with the whole story. The genetically-manipulated team of villains are hilariously accurate to what we'd imagine an animal/human hybrid would look like, and seeing them in epic action sequences against Spidey and Pooley is great.

The resolution to the assault from Itsy was ridiculous: they blow up Deadpool's man cave. It's as if the writer, unfortunately, ran out of ideas and just went for the most simple option. We won't be too harsh as we're sure writing exciting comics that connect 100% must be near impossible, but we really do feel like something better could've happened.

We're not going to sit here and moan any more, just know that you can easily avoid this issue and carry on reading from Issue #12.

Ultimately, the Punisher calls upon Power Pack to stop the heroes for good. TheCivil War II tie-in is slim, it's more of an extension of a storyline spawned by Ulysses who's the divisive party in the event. Either way, it's an entertaining issue that's jam-packed with plenty of your favourite Marvel heroes.

The pacing of the story is perfect: the story doesn't plod along, and it's not rushed either. This issue features an ideal mix of dialogue and kick-ass action, which work together to craft an outstanding instalment in the current arc. This seems to be the last in the arc too, with the cover of #17 featuring Elektra.

If you're a fan ofSpider-Woman,Captain Marvel, orCivil War II,Spider-Woman #9 is a must-read issue. We wondered where Jessica would fit into the crossover event, and we're definitely satisfied now. She's taken the middle-ground, and we hope she manages to stay out of trouble and danger now she's involved.

The end of this issue seesCivil War II come into play even more significantly as her relationship with Clint Barton is explored. So now Jessica's massively involved with Captain Marvel and Hawkeye, two controversial figures inthe huge event.Spider-Woman doesn't rely on drama and tragedy to make for an interesting read, it's the adventurous and comedic tones that really sell the comic.

Even if you're not into Civil War II, there's plenty to get your teeth stuck into in this issue. Jess is one of Marvel's most human superheroes, and we can't wait for her to return.

The story isn't the easiest to follow when you enter it at this point, which is fully understandable – and it's not particularly the writers fault, though you'd think they'd make it accessible as possible. The backstory of Warrior Woman provides some insight into the story, though it admittedly took a while to catch on. The art fits the comic book though it doesn't tread any new ground, nor does it blow you away in amazement. Nothing aboutSquadron Supreme #9 has the “wow-factor”.

It's great to have another comic that is actually influenced byCivil War II instead of just being labelled up with it in a bid to increase the readership. Whether this comic influences the main comic is yet to be seen, though it seems rather unlikely.

We feel like the whole resurrection of Namor is inevitable but it'll be dragged out for two or three more issues, so his actions need to be huge or this part of the story will feel like a waste of time and utterly underwhelming. Nevertheless, it's still quite interesting and the conflict between Warrior Woman and the Squadron remains entertaining.

The team behind the book have an entire universe at their disposal, and we're dying to find out where Han Solo and and his furry friend will find themselves next.

This comic book does a great job at juggling storylines too. There's the Dragon Void race, Han and Chewie's mission to rescue Rebel operatives, and the Empire have shown up. There's enough for any reader to sink their teeth into, and Marvel have done the right thing by giving this majorly popular character his own series. We're intrigued as to where the story will go next month, and we'll be getting stuck into issue #3 as soon as it's available!

We have no doubt that Marvel have struck a goldmine by acquiring the rights to base a comic off of this character and his supporting crew – if you're a fan of Star Wars then this comic is a must-read.

Keep it up, Marvel. We'll be back for Issue #5 without a doubt.

Overall, we just plainly don't see the point in this comic existing. It brings nothing to the table that we haven't seen already and it feels rushed a lot of the time " if you're a fan of Star Wars you'd have already watched the movie, so we actively recommendnot reading this.

Some of the best moments from the movie, including "Chewie, we're home," is boring and lacks any sort of impact. We really hope nobody reads this comic before watching the movie, because the contrast between the two is tremendous.

Basically we'd not recommend this comic in any circumstances. If you watchedStar Wars: The Force Awakens then you'd experienced a better version of the story. If you likeStar Wars but you're not up to date, watch the movie. If you're not aStar Wars fan, this isn't acomic you need to be reading.

If you want to get to know this story, it's fleshed out much better in the movie. If you didn't like the movie, you won't like this comic. It's basically a lose-lose situation if you're after something new. At least the artwork is quite cool, we guess.

We've had enough of thinking about this book for this month. Sorry to be so negative, but we don't know why Marvel continue with this series. Perhaps it's because losers like us keep returning to just complain about it.

The art has improved, the story still loses all emotion, and we just plainly don't recommend it as a read. If you want to know the story, watch the movie. It's that simple.

We're not entirely impressed and sold as of yet, we're sure Star-Lord would be more fun in space causing havoc. Being stuck on Earth is a twist for the character, but it's yet to bring out the best in him.

This issue is rounded off wonderfully with the shocking revelation that Thanos himself is dying. Will he be weak and vulnerable enough for Tryco to kill him? Will he even last that long? What is it that's killing him since he's practically a God? These are pressing questions that we'll see get the answers for as the series go on, and we're excited.

Overall, this comic gifts Thanos with profound gravitas and makes him seem indestructible – it's hard to believe that he'll die from an illness. He's such a grand and powerful being that it'd be underwhelming for him to die from such a cause, though he's ruined one of his best chances of finding a cure. The artwork is incredible from start to finish, giving off the feeling of a doom-and-gloom space adventure perfectly.

The dialogue is a bit different from what we are used to, and what we were expecting, but it grew on us substantially. These characters aren't ordinary; they're wacky, crazy, and love a bit of banter – basically, it's extraordinarily energetic for a comic book. The action sequences found us getting a bit lost though, having to re-read panels to fully comprehend what's occurring, this of course takes you away from the narrative and interrupts your flow of reading. There were some points where we wasn't even sure what was happening, though that could just be us!

We understand the story focuses on two bounty hunters, but we're holding out on more happening than mischief with bounty and their inevitable escape. It's fine for the moment, but we can't see it holding in a long run.

Overall, this issue keeps to the standard set by the previous instalments (which is pretty damn good.)

There's something endearing about a group of losers who want to try and save their country. They're not the best heroes around, but you can't help but cheer them on. We're ready for Issue #2 to ramp up the plot and give us something to really follow, beyond the assembly of this team.

The artwork by Will Robson is genuinely some of the best art we've seen in an ongoing book by any publisher in quite some time. The characters are impressively expressive and the cartoon-esque feel compliments the silly nature of the book and the team. Good Boy looks so bloody awesome, too.

Whilst reading this issue, we thought to ourselves “how has it taken this long for the Great Lakes Avengers to return?”, but really we think it's a good thing. The team working on the comic now obviously understand the strengths of the characters and feel like a perfect fit for the series, we can't really pick any major faults with the material we're reading.

In summary, you should read this comic if you're up to date with the story. If you're not, it won't take you long to catch up and we assure you that you'll want to keep reading on. If not, we'll give you your money back (not!).

The arc where we follow Carol's mental state and journey to self-acceptance is currently more entertaining and interesting than the bounty hunter plot, as there's just a lot more to chew on. The artwork brings a solid mix of realism and grounded character work to a spacey and ethereal setting.

Overall, the story is progressing well and the art brings it to life expertly. The action is well-paced and the panels flow nicely into each other, so we have no real complaints at all. Bring on Issue #10! Will Jane's superheroic identity be revealed?

We can't think of anything in particular that the team behind this comic could do to improve this story at the moment. It's another of Marvel's gems and doesn't need to be involved withCivil War II to make us feel compelled to read it, it's just that good. The pacing is on point, there's an awesome big bad, and the art is impeccable. What else could we want?

Issue #9 seems as if the Avengers are going to get involved, we're not too happy with this but as always – we'll give it a shot before judging.

The artwork shows Amadeus in all of his emotional glory and does a great job in displaying his change in personality as soon as he hulks out. The art does a great job in translating Amadeus' sadness, focusing on small details to build up a bigger picture – it compliments this touching storyline really, really well.

This story is a simple one, but it works well. Amadeus doesn't know how to deal after the death of Bruce, and it could well lead him down a dark path. Black Panther getting involved only made this run stronger, and that wasn't an easy task.

Squirrel Girl finds out sometimes the best way to win, is to lose. In an series of extraordinary events, she manages to stop Mole Man's crusade as he shacks up with a “Mole Monster”. It's a story that could only work in a comic based on this character, and boy oh boy does it work well. The artwork is really up our street, it spares no detail and it picks up on each character's personality impressively. We look forward to seeing where the story goes in Issue #11 and onwards!

If you haven't read this comic yet, then this isn't the place to start. Go back to the first issue and start from there to get the full picture and we assure you that you won't be disappointed.

The artwork is detailed in places and makes action a lot of fun. The expression, admittedly, isn't always evident in the art but the script does such a good job that it's not necessarily required. The Wasp suit is perhaps our favourite version of the costume we've ever seen, and we're so, so ready to join Nadia on her quest to reinvent the list of the smartest people in the world.

The Thor we see in this comic is distant from takes we've seen in other comics: he's not as Godlike in this one. He's broken, weak, violent – even the pages have blood splatters. It's awesome. The colours are subdued for the most part but it fits in with the tone rather well.

The storyline is more complex than it first appears, so when you find out why The Collector is stealing Asgard it's shocking – though it allows us to really learn about Thor and why he's worthy. Even though he's stripped of everything that we associate with him, his honour and values remain.

The next issue seems like it'll contain the big battle, and the final issue will likely result in Odinson becoming Thor once more. This all sounds bloody good to us!

We almost feel like the title of this comic,Throwaways, is what should be done with this issue. There's no basis for us to recommend this book to you, besides possibly the artwork and the potentially interesting storyline. We're massively into conspiracies, but there's just something missing – we'll grab issue #2 to see where it goes from there, it's hard to judge an entire series from one standalone installment.

Our verdict? This comic would function better as a Winter Soldier run, we hope the rest of the team will come into their own as the series continues. We don't enjoy the artwork, it feels lazy with a huge amount of gradient backgrounds.

Overall, the story is alright though the majority of the characters are expendable. Besides Winter Solider and Kobik, none of the characters have any substance; they could be swapped out for other bad guys quite easily and it'd make literally next to no difference to the barely existent plotline. The artwork forThunderbolts is still massively underwhelming and disappointing, too.

The artwork was decent in this comic, we haven't spoken to kindly of it in the past but there's less to moan about this time around. This could be down to the sheer amount of fighting sequences, and the fact that Medusa looks majestic. The Inhumans and Nuhumans look cooler than theThunderbolts, to be honest. Hopefully the comic continues on this upward trend of improvement!

The next issue is a tie-in to Civil War II, which sucks as it'll halt this storyline, but we're looking forward to seeing where things go from here. Nothing in terms of plot progression really happened in this issue to be fair, so it's only right the writer starts to move things along before it all gets a bit stale.

The Civil War II connection may be a slim one so far, but it gave us a solo Bucky issue and for that, we're grateful.

This comic doesn't explore new corners of the Hasbro universe, but it's a satisfactory little story that stems from the entertaining Revolution event from IDW Publishing. The characters go a long way to make it worth a read.

The artwork lives up to the complex and enlightened storytelling, and imprints it own unique style onto the characters while bringing them inline with each other (look at the Micronauts, for example).

We expect this to be an extremely patriotic series, perhaps overly so to the point where it's ridiculous, but hopefully that's a source of fun. We're fine with tuning in every month if they give us a reason to, hopefully there's plenty of them. The action we've seen so far has been limited but the core roster promises plenty.

The artwork is incredibly detailed when it matters the most: with the characters. The difference between Blue Marvel's appearance over the years is evident, and he looks like a battle-worn version of his old self. The linework is intentionally “sketchy” at times, but the characters still look great. Especially Black Panther, his costume is just too cool. The colours also go a long way to making this comic as cool as it is, they're expressive and used effectively to help set the scene. Also, the Infinaut looks otherwordly, so the artist definitely has done a great job.

Basically, the stakes are raising for the team and the comic is continuing on a great path. If you want more of the storyline then you'll need to go out, buy Issue #10, and read it for yourself. We don't want to spoil it for you because it's extremely interesting – we recommend this run thoroughly.

This storyline is eventually swept away for the Civil War II crap, and it drags the rest of the comic down. The Thanos storyline, as per any Thanos storyline, as awesome and intense – we want more, please Marvel? Miss America stands up to Captain Marvel yet again, and it doesn't go down well. The end of the issue suggests an “endgame”, which is something we can stand behind for sure.

The artwork is insane in terms of quality. There's moments of extreme detail and there's moments of blatant disregard for backgrounds and detail to keep the focus where it needs to be: on the characters. We're insanely impressed and can't wait to see what this new team gets up to, and how they act whilst doing it.

This series, so far, has taken the first Ultimates story and improved upon it tenfold in terms of scale and delight. This is reflected in the script and the artwork. The visual side of the comic is beautiful and elegant at times, and the colours couldn't look any more realistic. The things we see are surreal, but the colours ground them to a certain extent. We're very pleased with Issue #2.

The artwork is glorious. Honestly, Gwenpool looks stupid and amazing at the same time. The drawing style is quite unique and the detail that the artist goes into is immense. Not only that, but the range of colours (and the amazing choice of them) makes this comic book a great pleasure to read. The maniacal story is complimented perfectly by the artwork, so there's not really much else you could wish for.

Gwen and Miles work well together, mainly because they're young and like to have fun. Teaming up didn't happen all that often, but it's the interactions that make this a deserved duo. We're looking forward to seeing them both in action in later issues.

And that Civil War II banner on the cover? Pointless. It's getting stupid at this point; it's as if they line up each comic for the next month, blindfold themselves, then randomly pick which issues to brand as a Civil War II tie-in.

Really, not too much went on in this issue but it didn't feel wasted or like a filler. Still, we're looking forward to an action-packed Issue #8.

Ulysses seems to be right, again. Cable and Rogue go on an unsanctioned mission to hunt down a cure for the Terrigen poisoning that's been affecting mutants – and this is enough to ignite the war. This issue works wonderfully in the context ofCivil War II and we'd recommend it thoroughly if you're looking for the full experience of the event.

One shocking and great aspect of this story is the inclusion of The Hand, as it spells disaster and doom for pretty much every member in the Unity Squad; so that's something for readers to get excited about! Artwork is a tad consistent at times, but when it's done well – it's done really bloody well.

The artwork is beautiful all the way through; with detail being found in every corner of every page. You can easily sense the very emotion each character is feeling at that moment, and the limited action sequences are great. Maximus the Mad has been recruited, but is it him whom attacked Stark Tower? We'll have to wait and see, unfortunately.

The Inhumans have taken center-stage inCivil War II in a sense, so it's good to see what they're getting up to when the Avengers and superhero community aren't involved. If you miss out on this comic, then you're missing out on some of the finer storylines in the entire event – there's no chance you'll even consider not reading Issue #13, we promise.

It's refreshing to see conflicting characters actually stop to talk to each other, which is something that's rarely happened in the Civil War II tie-in issues. The artwork leaves nothing to be desired, and we won't comment on it besides the fact that we love it.

Overall, this is a good issue. There was plenty of action, plenty of think-pieces, and tonnes of excitement. Tension was at a high, and the artwork was pretty spot on too. We don't know what'll happen next, and that's a good thing.

The artwork for Venom is nearly always spot on since he can make and take different shapes, and this issue is no different. The comic's in a dark and gritty style that doesn't heavily rely on detail to paint the picture thanks to the potent and effective script. This is a very good start from Venom, and Lee's a promising new host.

Overall, we're enjoying this new twist on Venom, but there's only so long this kind of storytelling can work before we're craving something more. Hopefully we get a character-driven third issue that really gets us into the series.

Seeing these two old-timers battling it out again in a comic is amazing and the artwork does it justice wonderfully. We were sold by the Issue cover alone.

Overall this is another strong issue and seeing Venom with Spidey again is amazing for fanboys. Give this series a chance if you haven't already, you won't regret it.

We're looking forward to seeing the Vision spiral out of a healthy mental state and displaying his monstrous levels of power, could we see him kill a popular Marvel character? It's unlikely but it should happen, he's just that good.

The emotional gravity is intense in this series, it's undoubtedly Marvel's strongest book in terms of character-driven storytelling. Each issue bleeds into the next effortlessly and we leap into each instalment with great excitement and anxiety as to what will happen next.

We can't recommend this comic, from Issue #1 up until now, enough. It's the best comic Marvel has produced in a long time, and it's literally masterful. At this point, Tom King can do no wrong and we are already impatiently waiting for Issue #12.

Overall, this is an outstanding final issue for an almost flawless comic series. From start to finish, we've loved each character and each sub-plot. It's a shame that it's come to an end, but we'd rather it end on a high note than the story be strung out and drop in quality.

Vote Loki #1 is a fascinating and clever concept, but it's not executed right. There's definitely enjoyable moments but there's also something missing that we can't quite put our finger on.

The storyline overall is a tad strange though Issue #2 is infinitely more interesting than #1; fleshing out the plot well and steering it in an interesting direction. The artwork for the comic is rather impressive really, there are moments of beautiful detail and you really get a sense of Loki's larger-than-life persona. Whether he's prancingabout in the air or mischievously grinning to his supporters, you know he's up to no good.

If you want a break from theCivil War II titles that are ongoing at Marvel, this could be the comic for you – especially if you want something more lighthearted. It focuses on two compelling characters, and is just plain bonkers.

This series ends well, with Loki rightfully losing out. He still manages to find solace in the result though, as he feels like he's made a change on a smaller scale, and that's what was meant to happen. It proves his ego hasn't deflated over the course of the four issues, and we're glad.

It's fascinating to brainstorm as to where Weird Detective will go, it's been proven in just one issue that it's a breath of fresh air. Please, please, please check out this issue – even if it doesn't sound like your cup of tea, it's definitely worth a shot.

The artwork has grown on us, we liked it before but now we've fascinated by it. It's an awesome combination of abstract and smooth are, that always feel in place. No matter where the story goes, the art remains beautiful! The paneling is wicked, and this is highly evident when multiple floors inside a building are explored. Don't think we're slaggingWeird Detectiveoff, it's still great – it just suffers from the same fate as most other comics, the second issue isnearly always weaker than the first.

This comic is doused in nostalgia and vintage tones, it's dull at times and stupendously bright at times too. The spectrum and range of colours are a spectacle to look at and match theweird storyline seamlessly. It's a police procedural story mixed with horror, monsters, and aliens. If you're into those things, then readWeird Detective. You won't be disappointed.

The artwork is stunning and strange, and required a lot more character to work than we've seen in the first three issues – and it allows for some of the best art we've seen from Guiu Vilanova. The backgrounds in particular panels are ridiculously amazing and capture the moment of the story incredibly well. The colours are what sets this apart from other comics though, it's a weird pallete that sets a peculiar tone: something that fits the story and characters like a glove.

The artwork that brings the outlandish colours and tentacles to life has never faultered throughout the series – as far as we can remember – and this issue keeps up with the high standard. Even without knowing the story, Weird Detective is an impressive book that stands out visually.

Instead of making things back to normal at the end of the comic, Valiant make a strong move by allowing changes going forward – each of which will affect characters going forward. We're treated to a number of subplots in this issue to accompany the big story, and each one adds a great amount of context to X-O while suggesting where the story could pick up from at a later date. We won't ruin things, but we will admit that there will probably be a return next year.