A fantastically funny comic that hides a dark side. Please don't miss this.

I had fun with this comic, with the first story more than the second, but I'm not entirely sure who this print version is for when the digital version seems far superior in my eyes. Still, Ryan North writing Spider-Man is a good time regardless.

As much as I want to like 'Final Days Of Superman', this was not the send off that "Action Comics" of the New 52 deserved.

For all the bombast of the brawl between Superman and Doomsday, this is an exhausting yet middling comic that already feels played out after three issues.

This is what superhero comics is all about. Drama, suspense, emotion from earnest storytellers without compromising on fun or silliness.

So, overall, “Adventures Of Supergirl” is a fun and engaging start to the series that feels like a genuine and heartfelt continuation of what makes the show so fun to watch. Sterling Gates and Bengal have done a fantastic job capturing the magic of Supergirl while keeping the issue open and accessible to readers who haven't seen the show (kids, I'm talking about kids, this is the perfect comic to give to kids) which also makes it a great segue into the show for people who haven't checked it out. The real star here is Bengal's art which is simply beautiful throughout and perfectly captures the charm of the character. With New 52 currently nowhere to be seen or heard of, this is probably the only place you'll be able to read about the girl of steel for the time being and if this chapter is any indication, you'll definitely want to be reading this.

Of all the stories over the course of "Adventures Of Superman"'s 51 chapter run, there are no three stories more varied in their style and tone to have used for the final issue. From Niles and Smith's empathetic ghost story to DeConnick and De Landro's touching romantic adventure to Ordway and Rude's throwback to a time gone by, this issue showed that this series really did have something for everyone. It ran the gamut of Superman stories, placing him in almost every scenario and style imaginable and was a great reprieve during the times in which it seemed like the New 52 had no idea what to do with the big blue. While creators like Greg Pak and Aaron Kuder and Geoff Johns and John Romita Jr. seem to be turning the tide as to how Superman is used in the New 52, it's still bittersweet to bid farewell to a title that brought out the best in the creators that worked on it by showing a Superman that was truly timeless. Still, there's always hope, right?

If you've ever been a fan of Hayao Miyazaki's work, you owe it to yourself to check this out.

This issue was one that, despite how good the writing is and despite how great the artwork is, felt like a condensed version of a story arc that was meant to play out over multiple issues and once that feeling settled in, I couldn't shake it off. That's not to say I didn't enjoy it as, after an arc with Damion Scott whose artwork never really clicked with me, I ate Smith's artwork up from the first page. This is still a very underrated series as Felipe Smith continues to introduce interesting twists to the Ghost Rider mythos with respect to the previous incarnations of the character in order to make Robbie Reyes feel like a completely different entity. Despite my grievances, this was an enjoyable issue that dropped a few bombs on established readers and, while it isn't exactly what I'd call a jumping on point, was enjoyable overall. I only wish the story had had more room to breath.

With a story that feels like the culmination of a story arc, I cannot wait to see where the rest of this story goes.

I'm not angry, I'm just disappointed. I can only hope "Alters" will get better from here. In the meantime, please support the creative output of trans women in comics.

If you were looking for a way to experience American Gods before the TV adaptation hits, just read (or re-read) the novel instead. This isn't worth your time.

All in all, “Animosity” #5 is proof that this series is taking a journey that we all need to be a part of. Marguerite Bennett's writing is full of heart, earnest to the core and is using such a simple, speculative concept to explore the nature of relationships and how we, as humans, interact with the world around it. Rafael de Latorre and Rob Schwager, meanwhile, is realising that writing in gorgeous artwork with simple, clean storytelling and an unmatched level or earnestness that makes this comic work. It might be a little too early to give a comic this level of praise, but “Animosity” feels important. Like the kind of literature that will still be with us years from now kind of important. At least, I can only hope that's how it goes.

There are some strong elements in this issue, but not enough to make this a must read comic.

“ApocalyptiGirl” is a simple story with a lot of heart and storytelling skill and there's no reason why you shouldn't pick this up. It's a blast.

Even if you've never read “Archie” or if you're a lifelong fan, there's still something here to you to have fun with.

A genuine must read comic that will improve the quality of your life simply by existing in it.

Over, “Batgirl Annual” #3 continues to prove that DC's Annuals are some of their strongest output. With an experimental structure that breaks up one story into four parts and having it illustrated by four different artists, Brenden Fletcher and Cameron Stewart cement their take on Batgirl into the world of Gotham City by having her team up with characters from all over the city. The artists picked for each chapter are also perfect and their styles not only compliment each other, but give each chapter a unique feel from a up-close action story to a comedic team-up to a dramatic final fight and finally, an adorable epilogue. While the ending is somewhat sacrificed by the focus on letting the reader know that this story will be continued, the journey to get there is a blast and shows just how fun and varied one character can be in different settings.

There's definitely been much worse Batman stories out there and this may be a lackluster send off to Batman compared to last month's issue, but it's still an enjoyable read.

A far cry from the heights people hoped Tom King would take the Caped Crusader.

A disappointment compared to how great the annuals were during the New 52 with some gem stories that were done a complete disservice by the change in structure and format of the annual.

I don't know if there was any way to wrangle a good backstory for Jason based on Arkham Knight, but this wasn't it.

“Bizarro” #1 is a pretty mixed bag of a first issue. While most of the humour lands and the set-up of having Jimmy Olsen and Bizarro as an odd couple is pretty interesting, there's not much in the way of a story to back it up. Thankfully, the artwork by Gustavo Duarte and a pin-up worthy page by Bill Sienkiewicz makes the book look pretty gorgeous, it doesn't really help the fact that it feels a little shallow in terms of content. This new direction for DC implementing different artistic styles with a focus on more lighthearted content has definitely created a fun book, but there's a still a problem of style over substance.

“Black Canary” #7 is a comic where every creator involved is at the absolute top of their game to bring a amp-breaking, roof-exploding, face-melting finale to a killer first arc that reinvents a character in a way that allows for an entirely unique exploration of their abilities. Fletcher, Wu and Loughridge have brought Dinah Lane to the forefront of the DC Universe in a way that has never really been accomplished in the past by focusing on what makes her unique as a sound-based character in a visual medium. Teaming that take with artists that know exactly how to break the rules just enough to make a sound-based conflict visually engaging and you have, for the first time in a long time, a comic that perfectly encapsulates what it's like to be a punk rock superhero.

A strong accompaniment to one of the most engrossing runs on "Black Panther".

This is a creative team perfectly in sync. The creative bonds that were forged by their time on “Daredevil” have solidified so that they can come out of the gate guns blazing with “Black Widow” #1. This is a comic that holds no prisoners. From the word go, it takes off running and expects the reader to keep up with ever escalating chase sequence. It's a perfect showcase of the versatility of the superspy character of Black Widow, acting as the James Bond cold open to the series with the promise of a dark mystery to be unfolded. Until that time, though, you should already have this issue and you should already be spending all your time pouring over each gorgeous panel until your eyes melt so, honestly, I don't even know who's reading this right now. I'm going to stop writing now and go back to re-reading “Black Widow” #1.

Overall, “Bloodshot: Reborn” #2 continues the beginning of a story from two brilliant creators that marries a great story that examines the psyche of a man scarred by violence with the hidden depth that examines how violence is portrayed in comic book. Lemire and Suayan come out guns blazing with an issue that is measured and taut in a way that rivals a David Fincher film. They have taken a character that could have easily been written off as silly and too comic book-y and given him pathos and depth without sacrificing anything that makes him a great comic book character.

Overall, this was a really solid issue. While Bunn's deliberate pacing and patient storytelling is once again employed, that's not exactly a bad thing; it's just counter-intuitive to how we've been taught comics should be. A slow burn comic does not automatically equal a bad one, it just requires that extra patience to let it builds its momentum. Thankfully, Jones' art requires no patience as she exits the gate at break neck speed and puts her all into the issue to build a world that is not often explored in comics with her own, fantastic and brutal spin on it. Whether you read "Helheim" or not, "Brides Of Helheim" is intriguing and exciting, just don't go into it expecting instant gratification. All good things come to those who wait.

While the issue was burdened with having to move things into position for the finale, the atmosphere of the writing and artwork as well as its mature take on sex in comics make it a worthwhile read.

"Burning Fields" #1 is a comic that I am very surprised is actually a comic. It's the kind of story I'd have thought would become a screenplay for film or TV, but with the talent on display here, I am equally glad it did become a comic. Michael Moerci and Tim Daniel make an excellent writing pair and are very conscious in their writing of not only the story they are telling, but also the real world context that informs that story. What could have potentially hit insensitive pitfalls instead soars because of a tightly written script and deftly written characters from writers that are socially conscious and aware of what they are saying. Backing them up is an art team that makes creating tension in a comic look easy. Lorimer's artwork is no frills, equally brutal and simple when it needs to be and coloured hauntingly by Joana Lafuente. "Burning Fields" #1 is for anyone wanting a no holds barred examination of a complex real world situation, proving that comics rea

All in all, "Burning Fields" #8 is an immensely satisfying conclusion. For a series that married serious political writing with intense character study as well as a blend of hard military action and Eldritch horror, one would imagine that it would be a series full of tonal dissonances. Instead, the creative team of Moreci, Daniel, Lorimer and Lafuente blended all of these elements together for a series that, while it still wore its inspirations on its sleeves, felt wholly unique in its own right. "Burning Fields" was intense, violent, emotionally complex and often brilliant thanks to writers who really delved deep into the world they created and artists who infused that world with an amazing sense of atmosphere in character. This was a miniseries that, honestly, everyone should have read.

"A book whose faults have taken over the entirety of the book, leaving nothing to be desired. There may be a slight glimmer of hope somewhere in it, but it is buried extremely deep under." Yeah, this seems to fit that description.

All in all, this is a stellar debut from a creative team who aren't afraid to step into some really large boots and make their mark on such an iconic character. If anyone ever thought that Carol Danvers' stint as Captain Marvel was a fluke then this issue puts the final nail in that coffin as Michele Fazekas, Tara Butters, Kris Anka and Matthew Wilson take the character to all new places and with all new characters. This first issue is fun, exciting, dramatic and full of heart in a way that does the previous volumes proud and proves why Captain Marvel is such an engaging and exciting character.

Get in early so you can claim the title of surf noir hipster before everyone eats this book up once the trade drops. You heard it here first, folks.

Despite the unfortunately less than gripping ending, "Colder: The Bad See" #1 is still a triumphant return to horror comics from Paul Tobin and Juan Ferreyra. The two work together marvellously, balancing the domestic lives of our two main characters and giving readers more than enough reason to care about them and exploring the daunting menace that is the figure that stalks them. This is a solid start to a new chapter in the "Colder" story and I cannot wait to see where Tobin and Ferreyra take us with their exploration of the creepiest horror to exist in comics.

All in all, this is exactly the issue Constantine needed to relight the spark of the character. Ming Doyle, James Tynion IV and Riley Rossmo have breathed new life into the character and world of John Constantine by being respectful of what came before in both the New 52 and “Hellblazer” and using that as a basis to chart a new course for the character. Combining that with excellent writing and a unique, inventive art style and you have a book that you don't want to miss.

The most punk comic you'll read all year.

All in all, this is a fantastic return from Ferrier and Ramon to a world that continues to be unique even in this second helping. The charm of a world full of robots working medial jobs and having relationship problems and an asshole kid hasn't worn off at all and, in fact, continues to have material to mine as shown by this issue. This issue shows that "D4VE" was not just a one trick pony as speaks to a series that will continue to delight. And I can't wait to see where that last page reveal takes the series.

If you're a long time D4VE fan or you've never read the prior series, this issue is a must read in this existential hellhole that is 2017.

It's hard to really recommend “Dark Corridor” #1 as, while the artistry is fantastic and will probably be loved by anyone who loves Darwyn Cooke's crime comics, both stories wrap up so nicely that the issue feels like it could be a one-shot. It would take someone really dedicated to the stories being told and Tommaso's artwork to want to come back for more and, sadly, that's just not for me. Those people are out there, though, and this isn't a bad comic to dedicate yourself to, but it's one that is focusing on garnering a niche audience more than anything else. I just wish I was part of that audience so I could appreciate it more.

I'm being generous here because this could have been a great comic if it didn't have the baggage of its title to contend with. If you really want a Dark Souls comic, though, seek out "Berserk".

A fine dark fantasy anthology with two enjoyable stories, but not one that captures the magic of Dark Souls.

Overall, I would still stand by saying that if you're a fan of Dawn Of The Planet Of The Apes then there is no reason for you to miss this comic. For one thing, Dan McDaid's art is spectacular and for another, Moreci's writing captres the stark, harsh introspective humanity of the film as it looks at what must be lost for civilisation to be built. Like I said, the only real thing that brings it down as it couldn't really capture the sense of awe from watching such intricately created cgi characters communicate without dialogue, but it's really not fair to hold that against it. Still worth checking out, but if you're not a fan of the films then there might not be much here for you. It is a licensed comic, though, so you could probably work that one out for yourself.

Sit this one in front of someone you know who read the pre-'Rebirth' "Batgirl" run and introduce them to an amazing new world of comics.

“Dead Drop” is an issue that works on a good number of levels. It's a great first issue to a series that promises a story full of action, but with a lot of depth. It's a great single story that has a solid beginning, middle and end and emphasises a lot of character nuance within a limited space through their actions in a very kinetic and dangerous environment. And, finally, it's a great introduction to the Valiant Universe because instead of delving deep into the lore of the universe, it gives you just a taste of one of the major characters and whets your appetite to explore their publishing line more. At least, it did for me.

At the last possible second, Arcudi and Fejzula came out with one of the strongest debuts of the year that I hope won't fly under the radar.

This was an issue brimming with potential that squandered it after the introduction. Hannah Christenson's artwork in those first pages is gorgeous and a clear example of how solid environmental storytelling can convey so much and with so much emotion in a relatively small space. However, the writing that comes after is unwieldy, unfocused and undermines the emotion built in those first pages. There is hope that this can be rectified in the later issues, but this first issue was sadly underwhelming.

All in all, I would have to say I was surprised by how much I enjoyed "Deep State" #1. Even as a fan of Justin Jordan's, I wasn't sure what to think going in, but I was subsequently blown away by the artwork from both Ariela Kristantina and Ben Wilsonham and then immediately charmed by Jordan's writing once more. If there is a writer in comics more versatile than Justin Jordan, I would like to meet them. This is a book for anyone who is or was a fan of The X-Files and wants to see what that show would be like if set against the paranoia and murkiness of the modern day, but also wants it to keep the charm and banter that made that show so enjoyable to watch. Between that and the utterly gorgeous artwork, I would say "Deep State" is another surprise hit from BOOM! Studios, a publisher doing a lot lately to stand out in the crowd by bring enjoyable and original creator owned content to the table. This is one not to miss.

Everything here, from the writing to the art, feels so generic that I wonder if slapping the official brand of D&D on the comic didn't kill what originality could have been pulled from it.

“EI8HT” is the perfect example of a story that could only be effectively told in this manner through a comic book and uses every part of the medium to its advantage in doing so. From Rafael Albuquerque's linework to his colourwork, the storytelling on display here is simply staggering in how rich and layered it is. The use of colour to denote time and place goes hand in hand with the time travel story being told and while that may have seemed like a gimmick, it is far from it. Add to that a script by Mike Johnson that is clever, intriguing and filled with interesting characters, even if the plot is a little sparse so far, and you have simply a damn fine comic. As this series continues, I can only hope for more great things from it.

A fine, largely inoffensive issue whose biggest detractor is the fact that it is beholden to being a prequel to a video game.

Run, don't walk, to get this issue.

The writing, however, is definitely going to be something of a required taste as it will require readers to stick with the series in order to delve deeper into it as nothing is simply handed to the reader. That will make this a rewarding read from some and not for others, but due to the gorgeous nature of the art and the poetic writing, this is not a series to immediately write off. It may be challenging read and not something that clearly explains itself in the first issue, but there's definitely beauty to be found beyond that.

Overall, and I can't believe I'm saying this, this was a genuinely satisfying conclusion to this story arc. As the story comes a head, Ryan Browne reminds us all that "God Hates Astronauts" is more than just goofy references to 80s pop culture and absurdest amalgamations of LeBron James and Charles Bronson. There was an actually story happening underneath all that and this issue wraps a lot of that story up in a very satisfying way while setting the stage for more adventures to come in this world and I can't wait to read them.

“Godkiller: Walk Among Us” #1 is a harsh look at ourselves and our world in a brutal, beautiful and unflinching comic. Matt Pizzolo and Anna Wieszczyk really have created a mythology for the fuck ups by bringing that sense of anti-authoritarianism that seeds the putpouring of rage and frustration in punk music to a comic book. The artwork is gorgeous in a way that defies conventions and the writing is subtle and sparse, showcasing the lives of people in the worst situations imaginable and showing that this dystopia they have created isn't actually all that different than the world we live in now. This comic is not for everyone. If you are like me and you can connect with the passion of release of frustration at the world in Pizzolo's writing and Wieszczyk's artwork, then you will likely love it. If not, then are more than enough comics out there for you. This just isn't one of them.

There are a lot (and I mean a lot) of fantastic Godzilla comics out there that enrich the lore of the character and celebrate his legacy, telling stories that pull monsters from countless films and throw them together in fights that studios could only dream of affording. This comic isn't that. This comic is over and done with before you know with little lasting impression. A waste of the Godzilla world, a waste of two otherwise great creators and a waste of what could have been a great story.

Honestly, this series only gets better with each issue. While the first issue was charming in its writing and art and promised a lot of things to come, what we're seeing here, four issues in, is that “Gotham Academy” is delivering on it's promises. The art style is something unlike anything you're going to see in a DC comic book right now, built on charm and style, but backed up with an intricate eye for storytelling and use of panel structure to emphasise small, character building moments. The writing uses a blend of genres to build dense mysteries that flesh out the history and intrigue surrounding the setting while populating that setting with interesting, engaging characters the likes of which are rarely seen in Batman comics. This is genuinely DC's best, most underrated comic and there is no reason for anyone to not be reading “Gotham Academy”.

I didn't think it possible for a comic to phone it in, but here we are.

Overall, I want to call "Haunted Mansion" #1 a pleasant surprise of a comic. Not because I wasn't expecting much, but because Williamson, Coelho and Beaulieu really pulled out all the stops to create a horror comic that could appeal to all ages while capturing the wonder and awe of the attraction itself. Centring the emotional connection to the story around a young boy who is way more interesting than Eddie Murphy was, we see a story that proves just what can be done with the Haunted Mansion concept. With an ending that tease many more scares to come, I'd say this is definitely a comic to keep an eye on if you have the guts to do so.

A strong recommendation from me to at the very least just check out the art. It's worth the price of admission alone.

"How To Talk To Girls At Parties" was already a masterpiece, award winning short story and now it's a masterpiece of a graphic novel that, honestly, everyone should read.

“Howling Commandos Of SHIELD” #1 is something of a story of wasted potential. This team and these characters definitely had the potential to become something unique and could have been the team book to explore the dark and twister history of this new Marvel Universe. Instead, the characters are flat and very little information is given about them to the reader, the plot is generic and is built around an excuse to have these characters go after a MacGuffin object with little reasoning as to why and there is very little in the way of actual horror despite the cast being made up of vampires, manphibians, zombies and a literal embodiment of fear. Oh yeah, by the way, Man-Thing is in this book and the only scene he's utilised in is essentially an extend joke about how he's the team's Hulk. That's about as deep as this issue gets about its characters.

All in all, this is still a strong debut from Williamson and Crystal if you're looking for a series that takes a look at the criminal underbelly of the Marvel Universe while retaining a warm sense of humour. I don't want to stress this as a spiritual successor to “Superior Foes Of Spider-Man” too much, but it's a safe bet that fans of that series will likely be interested in this. However, we'll need to see in the next issue whether Williamson and Crystal will be able to transition from Titania's story, which was genuinely engaging and had a very strong human element mixed in with some humour, to the actual story of the Illuminati group while keeping that human element and, hopefully, the humour intact.

While it's still early days for this comic, I think it's safe to say that this issue will be the breaking point for some readers. While the mystery of what The Injection even is and whether the fantasy elements of the story are even real is something I'm invested in, the way the mystery is presented " with huge swaths of the comic's backstory just omitted from the reader so far and fed piecemeal, issue by issue " is something I can imagine many having trouble with. Regardless, "Injection" is one of the best looking titles on shelves right now thanks to Declan Shalvey and Jordie Bellaire, even if Warren Ellis' writing is at its most impenetrable here.

It's a pity because Bendis and Marquez work really well together and their styles both suit the character as Bendis' writing captures the roguish futurist nicely and Marquez's artwork gorgeously captures a realism to the Marvel Universe while keeping Stark's sci-fi technology feeling keeping with the world. Yet I can't help but feel that there should have been more going on in this issue. There's a lot of lip service paid to the idea of Stark being more pro-active and redefining himself as Iron Man, but Bendis and Marquez don't really do much with it. Instead, this issue feels cut short with the what little excitement there is inside feeling more like a trailer of stories to come than a story beginning in this issue. While it's still certainly a relief to feel once again settled back into the Marvel Universe, this issue needed to come out of the gate with more punch than this.

All in all, “Island” #1 is an anthology issue packed full of content. It's not the kind of issue that skimps a couple of ten-page comic stories in order to pack in some interviews or advertisements. No, for $7.99 “Island” #1 offers three, 30 page comic stories from three fantastic artists as well as a heartfelt and personal prose piece from one of the best writers in current comics. That is definitely value for money, I'd say, so all that comes down to it is whether you are a fan of the unconventional styles that these artists work in. This isn't a house style kind of book and leans more towards experimental storytelling. For those of you who are into that kind of style, you'll eat this up. For the rest of you, comic books are a vast ocean with plenty of fish and this one might not be for you. It certainly was for me, though.

Overall, this is still a pretty solid debut and a very promising start. Though having such an extended action sequence right at the start of the issue meant that there was very little space left to really set up the the story in the rest of the issue, Ellis and Masters were still able to get their hooks in through an amazing interpretation of the James Bond characters and his world in a way that feels like it's an ode to both Fleming's writing and the film adaptations. If this promising start is anything to go by, it's that Ellis and Masters know what they're doing with the character and have a definite destination in mind, you just might not have much of an inclination of where that is after just this issue.

If Dredd in “2000AD” is one lawman clinging desperately to the notion that fascist law is the only thing that will save society from the cursed Earth, then Dredd at IDW is one lawman clinging desperately to the past, to only order he knows after society has returned to the blessed Earth.

This is a DC story, through and through, with amazing heroes and in depth storytelling and it's one you should be reading.

A pretty funny book that, at times, feel like it's trying harder than it needs to do make you laugh at the expense of some depth in the story.

A genuinely funny debut issue from an immensely talented creator. Do not miss this issue.

A very unique first issue that is well worth picking up and pouring over, even if you've never read the pervious series.

It's an enjoyable read and an interesting concept, but the execution is somewhat lacking. I really hope the next issues are bit tighter and focused.

All in all, “a pleasant surprise” is definitely how I'd describe “Lantern City” #1 as a whole. Jenkins, Daley and Magno have taken a genre that could easily just coast along on the strength of its visual aesthetic alone and instead have infused it with depth and character and pathos. The world of “Lantern City” is fascinating to explore with a lot of depth that is alluded and is gorgeously represented by Carlos Magno and Chris Blythe, but at the heart of it all the story of a struggle that is all too real and the characters affected by it.

I'm morbidly curious about where this comic could go after introducing Nazis in the first issue, but it's not because of the quality of storytelling, I can assure you of that.

“Material” is not going to be for everyone, that's for certain. The zine-inspired, stripped down attitude to art that favours substance over style and raw emotional over commercial packaging means that this is an abrasive kind of comic that is not going to sit well with everyone. It's a comic with an agenda. It's a method through which Ales Kot, Will Tempest and Tom Muller can yell their frustrations with the world into the void and hope it can connect with someone. And I can say it connected with me. Despite everything that should be held against this book, I am swept up in the emotions poured into each page. The heart that went into creating this work as a way of looking at the world around us and wanting change what we see is palpable. “Material” is a gut punch of a comic book. It's a molotov cocktail smashing against a riot shield. It's tear gas on a main street. It's a riot. And not the fun kind.

Black Mask Studios is a publisher making a name for themselves on rather niche books that take a brutal and unflinching look at our world through the medium of comics and with "Mayday", they have another notch on their belt. Curt Pires continues to be a very interesting, very unique writer in comics as eschews large, plot-driven narratives for smaller, character-driven pieces that focus on the underbelly of society people rarely like to think about. "Mayday" is precisely that kind of comic book and with Chris Peterson and Pete Toms, the book is a gorgeous acid trip through the ass end of Hollywood revealing the grit and grime underneath the neon signs and spotlights.

Maybe keep an eye on this after a couple issues come out, but I wouldn't recommend rushing out to get this issue.

All in all, this issue is surprisingly impressive. Across the three stories presented here, the creators have taken all the best aspects of Power Rangers and injected them with a sense of fun, of life and brought them into the 21st Century in a way that shows haven't been able to do in years.

For Power Rangers fan, this is probably worth picking up, but there's always going to be a risk with dropping $8 on a book with no guarantee you'll even like the stories within.

A seriously fantastic book that anyone could enjoy and that everyone should seek out.

All in all, though, “Mirror” #1 is a stellar artistic debut. Emma Rios once again proves herself to be just as fantastic a writer as she is an artist, demonstrating both qualities amazingly in this issue, and has found the perfect partner in Hwei Lim. Their styles, in both art and writing, perfectly compliment one another to make a gorgeous and fascinating fantasy comic that feels like nothing you've ever read before. There's no telling just quite where Rios and Lim are going to take this story, but the amount of boundless potential shown in this issue means it's likely going to be amazing.

Still, this is a character that Wilson, Miyazawa, Alphona and Herring all know like the backs of their collective hands and it shows here. They all get back into the swing of things incredibly easily and create a fun ride of a first issue that feels like a natural starting point for new readers while keeping established fans of the character interested and engaged by taking her to new places and giving her new challenges to face. Challenges that, interestingly, will explore Kamala's moral character more than her ability to simply punch things showing that Wilson and Miyazawa are interested in exploring much more than just the physical side of Ms. Marvel, but also what it means to be a superhero. It may be a bit of an awkward ending, sure, but it's an easy thing to overlook when the rest of the issue is so strong and there's the promise of more to come.

While the art is gorgeous, it doesn't have a strong enough story to back it up in this unfulfilling finale.

It may take another issue to really iron out the kinks, but I can see a bright future for this series if people stick around.

That does mean that this book isn't for everyone, which shouldn't be surprising as Worm's artwork should have already told you that. It's a very backhanded compliment to say that the people who would like this book likely wouldn't need this review to win them over. The style of the book or even just the creators' names would have already done that. Anyone else checking out "The October Faction" best know what they are getting into as it is so far a measured look at the dysfunctions of familial relationships told through the hauntingly beautiful lens of Damien Worm's gothic artwork. If that sounds like the kind of book you would devour in a heartbeat as I did, then there is no reason for it to disappoint you. On the other hand, if this isn't your bag, then I don't think it's the kind of book to win you over. "The October Faction" is a very niche book and proud of it, waving its flag of gothic melancholy and bucking the trends to deliver a measured and beautiful l

An issue that's clearly aiming for an audience of established Transformers fans and nailing it completely.

There are a lot of things that could have been done to improve this issue, but it would likely require a top down rethink about whether this series is tying into the show or simply adapting as trying to do both so far feels cramped and unnecessary.

All in all, "Turncoat" #1 was pleasant surprise. Going into it, it was hard to see how it could remain fresh and unique in a sea of sci-fi comics on the market today, but by infusing the science fiction conventions of the backstory with the plot's noir aesthetic, Paknadel, Trakhanov and Wordie have created a story that feels genuinely engaging and while it's not something we've never seen before, it tells its story so well that doesn't matter. As the first issue in a four issue miniseries, this is a pretty strong debut of a comic that should definitely be on your radar if you like science fiction.

In conclusion, why are you still reading this? Honestly, you should have stopped reading this review halfway through to go check out “Patsy Walker, A.K.A. Hellcat!” #1. It's fun, with a unique sense of style in its humour and its art. It takes the long, storied and… kinda weird history of one of Marvel's longest-running characters and embraces it whole-heartedly and builds a story that is a tribute to the character's earliest appearances while staying true to who the character has become. Kate Leth, Brittney Williams and Megan Wilson have done a great job of creating a fun, energetic comic that anyone could enjoy while honouring the history of Patsy Walker. What are you waiting for? Go read it!

I really want to like this book, but that will only happen if Russell and Caldwell can focus on Beth Ross as a person.

Ronald Wimberly's "Prince Of Cats" is a goddamn masterpiece, there's no other way I can phrase it.

A shame because the 'Fire And Stone' story cycle from 2014 ended up being pretty good and this follow offers nothing new.

The true horrors of H.P. Lovecraft's work is in how he brought forward the idea of cosmic horrors, of unknowable rituals and ancient beings and the idea that we are but small and entirely inconsequential in the grand scheme of the universe, and presented them in the everyday normality of small towns. From Innsmouth to Dunwich to Kingsport, Lovecraft's towns were small and they were ordinary and they were often places of unspeakable horrors lurking just behind the surface. With “Providence”, Moore and Burrows bring that feeling back to the normal, everyday town that Lovecraft grew up and while this issue may be a slow burn and may only hint at the horrors to come, it is stark and meticulous and engaging. This is Moore back at what he does best and he and Jacen Burrows are set to bring a whole new era of horror to comics.

Don't go in expecting Cthulhu to show up any time soon and you may be swept up in an engrossing mystery instead.

It's a decent enough Punisher comic, but this team is capable of so much more.

Hot darn, this is a hell of a read. I'm expecting great things from this comic.

Overal, "Ringside" #1 wasn't the Wrestlemania of comics I was expecting it to be. In fact, it ended up being something all together more engaging. Eschewing the smark-pandering gimmicks or Kayfabe-shattering look behind the curtain that could have turned this comic into a one-note joke, Keatinge and Barber focused instead on building character and atmosphere and turned this comic into an engaging noir story that can be enjoyed by anyone regardless of their relationship to wrestling.

Underneath the joy of seeing an artist evolve on the page is a fantastic comic that explores the real world pain of the creative industries through fascinating characters.

"Roche Limit" is a strong debut from a creative team that really know the story they want to tell. By blending aspects of science fiction and hard boiled crime fiction with a wholly unique setting, Michael Moreci and Vic Malhotra have created a series that is sure to be interesting and compelling. The artwork from Vic Malhotra as well as the colours by Jordan Boyd really bring a unique feeling to the story as they exploit the bleak oppressive setting. This is rounded off by a design by Tim Daniel that illustrates the principle of the Roche Limit right on the cover as well as showcasing the fantastic, Kubrick-like influence on Malhotra's art here. This is for those craving good science fiction in comics; you will not be disappointed.

A strong example of surrealism in comics even if it does eschew convention so much that it's difficult to connect with emotionally.

All in all, I cannot say I was disappointed by the return of "Shutter". With #7, Keatinge and del Duca have improved on not only their personal skills as storytellers, but also upon almost every facet of the story they are telling on the page to bring even more heart and emotion to the writing and art. That's a hard feat to pull off without making your previous work seem lacking in retrospect, but there's a feeling of escalation in the series that allows for growth in the storytellers as the story grows more and more complex. And trust me when I say that it's getting complex. That last page, oof. This has every bit the potential and deserves as much praise, in my book, as "Saga" did when it first appeared. That's perhaps not the fairest comparison in the world, but in terms of comic books blending science fiction and fantasy with imaginative visuals and complex, emotional storytelling, I think "Shutter" is the new gold standard.

Overall, this was a pretty solid first issue. The lack of actual Silk action is a major bummer as we really only see Cindy suit up a couple times in the issue and it's over way too soon, but it seems that Stacey Lee is much more comfortable drawing the out of costume sequences than action scenes, anyway. Hopefully, the series will ramp up the action in coming issues, but for now this issue worked thanks to Robbie Thompson and Stacey Lee focusing their energy on creating a connection between Silk and the reader. While the last page hook wasn't quite as grabbing as perhaps it needed to be, the establishment of Cindy's quest to find her family and create a normal life for herself means that you want to keep reading in order to see her complete that as opposed to because some shocking character showed up on the last page. It's almost like good characterisation trumps cheap tricks, huh?

An incredible, character focused drama about real people and real connections and a focus on female relationships. Exactly what comics, and the world, needs right now.

The beginning of a story arc in which things are surely going to come to a head.

Becky Cloonan, Andy Belanger and Lee Loughridge have created a story that is intense and unnerving, but at it's heart is an emotional story of a girl trying to find out what happened to her sister.

A lively book that focuses on the strength of relationships that also promises a fun road trip along the way.

It's not your average superhero comic and there will be people who are not okay with that, but if you really love Spider-Gwen then you're going to really love this too.

It's the perfect blend of action and humour that makes Spider-Man such a compelling character to read about and makes this issue such a blast to read. While it may feel like material that has been covered before in the myriad of teenage Peter Parker stories that have been mentioned throughout this review, Thompson and Bradshaw breathe fresh life into the high school era of Peter Parker's life by focusing on telling a fun Spider-Man story over trying to tie it into the continuity of his life. While adult Peter Parker is off being an international superspy, now's as good a time as any to go back to basics and remind ourselves just how fun a Spider-Man story can really be.

Simply a fantastic first issue that promises the best of Star Trek in bitesized stories.

For Star Wars fans old and new, this is a whole heartedly fantastic start to a series that is determined to bring great content to the fans of this universe from creators that are not half-assing this. Even if you're lapsed fan or you've never been to that galaxy far, far away before, there's something here for you. May the Force be with you and and enjoy a great comic.

I can't stress enough how impressed I am with this issue.

A solid introduction that has me intrigued for what comes next.

Is “Chewbacca” #5 particularly deep? Is it going to change the fabric of the Star Wars universe as we know it? Not really. But it's a fun adventure that brings a new layer of depth to a fan favourite character (though that depth is obviously hampered by the inherent limitations of the character himself – namely the fact that Chewie's dialogue is all growls and barks) and introduces a new character who, while not exactly important, is a fun addition to the Star Wars universe. That's the thing about a franchise of this size: with everyone speculating over the new trilogy of films and Rogue One, everyone seems to be focused on the tent-pole, important moments and seem to forget that this whole thing is supposed to fun more than anything else.

A book that has all the elements of greatness, but can't quite decide what to do with its main character.

This issue is further proof that this series is a gold standard Star Wars comic.

Not the endcap this series deserved, but not inherently bad in and of itself. Not the lead in to the "Doctor Aphra" series that that series needed, either, because it's hard to not come away from this issue with a bad taste.

As much as I hate disliking Star Wars stories, this was just too all over the place for me.

It's not the life-changing Star Wars revelation of a comic that people seem to expect from the franchise these days, but it was a lot of fun.

It could have been very easy to overlook this book in favour of Marvel's other offerings from the galaxy far, far away, but you'd be missing out on one hell of a book.

The art is customarily fantastic and the fleshing out of the series' central antagonist is fascinating, even if the main thrust of this issue's plot seems to stall in order to make way for it.

A strong, much needed breather issue that focuses on the emotionality of the characters.

Overall, “Princess Leia” #1 is, unfortunately, a very mixed bag. While the artwork is gorgeous and elevates the book into definitely something worth simply looking at, the dialogue really hurts the issue and makes actually reading it a difficult get through. It's frustrating to me as someone who is a fan of all of the components going into this issue, from the established universe and the characters to the creators, that it comes off as so uneven. Still, there's no real reason that the series can't improve and for anyone already liking Marvel's other Star Wars, you could do a lot worse than this. Even if you are just reading it for the art.

Rucka and Checchetto did an amazing job of balancing that human element while having them interact with major Star Wars characters like Luke in this issue and Leia and Han in previous issues to show what those characters were up to in this time. Bring all that together with a gorgeous rendition of the Star Wars universe and you have a series that may not seem important in the grand scheme of things at first, but hides a very human story within that does in fact tie into The Force Awakens. Just maybe not in the way any of us were expecting.

This is the third "Suicide Squad" series in five years and not only does it just retread old material, but it feels like half an issue with some padding tacked on the back so it makes the page count to ship.

Still, after waiting over a year for a nine issue series to end, it could have turned out a lot worse. The issue is still an exciting finale to the series that makes great use of Jim Lee as an artist not just to create an insane level of scale in the action scenes, but also to slow things down and create some really poignant scenes. Dustin Nguyen, honestly, was rather misused for this series as his artwork was often relegated to backup stories and only got to create the flashback scene that finishes here in two of the issues, but still created a beautiful scene that contrasted nicely with the style of Jim Lee's artwork. The biggest disappointment of "Superman Unchained" is that fact that this issue showed the potential of the series more than any other as Scott Snyder used the world-ending threat present in the story to really dig in deep and explore how he views Superman. It's just a shame that it was buried under more subplots than a nine issue series can handle.

Overall, this is an issue that, to me, failed to live up to its potential in a lot of way. With the promise of bringing back a more classic version of Superman at the fore, I feel like I should be in love with this issue, but the decision to set the story in the New 52 universe and spend so long trying to explain the aftermath of “Convergence” really watered down the story a lot. That lead to some really spotty writing from Jurgens as you can feel the times when he wants to let loose and really tell a Superman story, but the setting constrains him to having this Superman hide out on a farm and operate in secret . Thankfully, Lee Weeks' art is fantastic throughout and is perhaps the only part of the issue where the marriage of this classic Superman and the New 52 style actually works. With this rather rocky first issue out of the way, though, I certainly have hopes that this issue will begin to live up to its potential in coming issues.

It's not a bad issue, it's not a great issue. It's just an issue. Check it out if you like Superman, I guess.

Oh, yeah, and apparently Darkseid's dad was a pharaoh who constructed the sphinx of Giza. Don't look at me. I just show you the facts and you have to make sense of them… or something. Man, I don't know. This comic's so weird.

This book is beautiful, obtuse and there is honestly nothing else like it out there on the stands right now. It won't be everyone's cup of tea, but it is a fascinating story wonderfully told.

This could have been the start of something really cool and fun, but it descends into unnecessarily sexist humour that tries and fails to disguise itself as empowering.

Overall, I'd say “Tet” #1 is a stellar debut for this series. The way Allor's writing mixes elements of war, crime, romance and loss creates this tapestry of tragedy that is Eugene's life and Tucker brings it to life spectacularly. Embodying a style that brings a harsh edge to the page, Tucker clearly shows his work with the close attention to detail he shows in the environments he creates in the issue. Sure, not everyone is going to like the way he draws people, I can already tell, but it's something I not only got over very quickly, but was able to love by the end of the issue as the style compliments the themes of the story we've seen so far.

Overall, “The Beauty” #1 is a pretty solid first issue. While it's the excellent high concept that will likely grab your attention, Jeremy Haun and Jason A. Hurley back that up with a solid crime drama that mixes an unnerving sense of horror with some solid action. Jeremy Haun is the real star of the show here as he performs as both co-writer and artist and brings a real sense of dread to both. His artwork here is grimey and grungey and paints a portrait of a run down world ravaged by this disease. “The Beauty” #1 presents a story of a darkness lingering underneath a pretty surface and it juxtaposes it with a setting where the darkness is on the surface. While I think the last page cliffhanger might not be a strong enough hook to bring everyone back for the next issue, I think “The Beauty” has enough to potential to go some incredibly interesting places.

It would be criminal to rate it any lower because of the craftmanship on display, but I would recommend waiting this one out and returning when (or even if) it finishes.

I hope this story can turn it around because there's such potential here, but this issue didn't capture it.

Overall, "The Eighth Seal" #1 is the kind of first issue that already knows it has a niche target audience " that small overlap between people who love pyschological horror, people who love character-focused drama and people who love political dramas " and so it goes after them whole hog. The focus here is entirely on Amelia and the introduction of her story and her visions and so if that's not something that's of interest to you, there's not much else here for you. If that does interest you, however, you're in good hands as James Tynion IV, Jeremy Rock and Nolan Woodward pull out all the stops to create a sense of horrific unease that'll give you chills.

This is a pretty interesting first issue and while the series may take its time to delve into the really dense, idea-driven writing that Pires has shown in the past, he excels at creating well rounded characters in this issue that you want to follow into the next. “The Fiction” #1 is well worth checking out as it comes from creators who really know their craft and know just how much to tease you and leave you wanting more while keeping you fulfilled with fantastic writing and gorgeous artwork.

All in all, "The Fix" #1 is a damn fine comic. It's not the best comic you'll ever read, but it's funny and if you've been hankering for more crime hijinks in the style of "Superior Foes Of Spider-Man" then it's definitely going to be for you. The increased page count for $3.99 does make it seem more worth it, but the longer issue makes for a more unwieldy structure and the story often gets buried under comedic diatribes. Hopefully a more reigned in scope with subsequent issues can alleviate that as Nick Spencer and Steve Lieber definitely make a good first impression with despicable characters with that are somehow still funny and perfectly crafted visual comedy.

A fantastic first issue from some of the most talented creators working today.

A must read, especially for fans of psychological horror.

Overall, if you're a fan of noir stories, you can't do much better than “The Last Contract” #1. Well, that being said, if you're a fan of noir stories you should have already bought this as soon as you saw Ed Brisson's name on the cover. He continues to do what he does best here and that's creating an engaging story with fully realised characters from concepts that seem startlingly simple at first, but open up into a world of possibilities here. Much like with “Sheltered”, Brisson's writing is elevated to new heights by the artwork and here Lisandro Estherren impresses on all levels. The storytelling is well paced and perfectly suited to the slow, creeping dread of the noir. All this is wrapped in the bow that is Niko Guardia's colours that bring a rich, deep darkness to the art. It shouldn't be surprising given the talent on show here, but this is one of the best noir comics to come out in a long time.

All this is to say is that Justin Jordan, Tradd Moore, Felipe Sobreiro have done it again with “Legacy Of Luther Strode” #1. Sure, this is the issue for the loyalists and the team wisely decides to assume that if you're not on board by now then there's not a lot they'll be able to do to change your mind. By taking that approach, they're able to begin paying off emotional threads that have been in play since the first issue of “Strange Talent” in terms of Luther's characterisation as well as dedicated the majority of this oversized issue with a fight scene that is sure to delight anyone who loves Luther Strode. “Legacy Of Luther Strode” is the beginning of the end for the big, blond lug, but it's starting off with a bang and I can't wait to see where it goes next.

Literally the only reason this issue isn't a ten out of ten for me is that this issue was actually so awesome it killed me and I am currently ghost writing this review. As in, I am a ghost who is writing a review about this comic that killed me. It's really that awesome.

Worth reading if you want to wash the taste of "Civil War II" out of your mouth, but not something that will sell you on the character if you haven't been impressed with previous offerings.

I'm often worried that Grant Morrison's reputation for outrageous, over-the-top, often incredibly metatextual stories has overshadowed his actual storytelling skills in recent years. I think perhaps the persona of Morrison himself and the reputation of series like “The Invisibles” draws this expectancy for each series to be weirder and more incomprehensible than the last. And yet, I also that, when you break them down, Morrison's stories aren't as incomprehensible as people often think they are, they just require a little more work on behalf of the reader to fully grasp the nature of the narrative. With “The Multiversity”, I found myself hoping that the expectation for Morrison to pull another “

Overall, this issue blew me away. I was already a fan of Grant Morrison and of Frank Quitely, but what they have achieved in this issue is startling in its beauty and grace as a showcase in two masters of the craft breaking a medium down to its core elements and doing something with it that few have dared to do. It's an experiment that has paid off in spades, creating a dense and artistic yet still incredibly enjoyable comic book that I can scarcely believe actually exists. Everyone involved in the creation of this comic book, from Morrison and Quitely themselves to Nathan Fairbairn bringing life to the pages to the folks at DC Comics who actually took a risk for once and let it pay off, deserves commendation for this work.It is gorgeous, groundbreaking, insightful, and, most of all, it's one hell of a good comic book.

A really strong debut issue that may poke fun at superheroes, but it clearly does it out of love.

If you somehow missed the first series of "The Paybacks", now's your chance to jump aboard. If you've been mourning its ending, then time to rejoice at it's return! It really is the comic for everyone.

A fantastic first issue that had a daunting legacy to live up to and managed to both honour a classic film and use it as a launchpad to tell a new story.

A dark and compelling mystery that holds a horrible and psychologically charged secret at its core, "The Rattler" is a fantastic effort in giving me flop sweat while I read a comic. Seriously, I've read some dark stuff in my time, but there's been nothing quite like "The Rattler" to shake me to my core. McNamara and Hinkle have done a great job in capturing that "Holy shit!" feeling when situations take a turn for the worst and you know there's nothing you can do to stop it. Greg Hinkle's art is spectacular here as the grey tones and use of a single colour throughout brings out an almost Hitchcockian aesthetic to the whole affair while Jason McNamara's writing digs into the very soul of you, exploring every horrible and dark nook and cranny you wish you didn't know about.

A grand finale to a superb book that may mark the greatest work Simon Spurrier has produced as a writer with gorgeous artwork from Jeff Stokely and Andre May from cover to cover. Do yourself a favour and read this series.

For fans of "Change", this is a must read. For everyone else, go read "Change" and then come back to this.

This issue is a fun and exciting first issue that manages to both feel fresh and new as we're introduced to these characters for the first time, but lived-in at the same time as we see conflicts that have clearly burned for a while in-universe come to a head. Curt Pires and Jason Copland have created a first issue that ably combines excellent action with an engaging story that keeps you hooked and wanting more. While Copland won't be returning to “The Tomorrows” for the time being, as each issue will be illustrated by a different artist, he was a fantastic choice to kick off this first issue.

“The Tomorrows” #3 by Curt Pires and Ian McEwan is released today, October 7, so be sure to grab your copy.

Overall, this was actually a fantastic first issue and exceeded a lot of my personal expectations. Sure, I knew it was going to be fun, I mean, look at who made the thing, but what was surprising was just how cohesive the issue was in introducing readers to each part of Doreen while starting her on the new direction for her in the series and still keeping everything fun at the end of the day. This issue could have easily felt either too focused on comedy and rather light on story or the exact opposite, but instead it managed a nice balance between the two as the story is rather simple, but enjoyable and the humour stems from the story beats and the absurdist humour that the story and the universe spawns. The creative team never feel like they're stretching to make a joke or pushing a story element just for the punchline; the humour and the story feels like it coexists and flows together really well making for an incredibly fun read. "The Unbeatable Squirrel Girl" #1 is defi

Seriously, you're missing out on all the fun if you're not reading “The Woods”.

A great jumping on point for new readers and a great epilogue to the first year for established fans all while setting up for more wild stories to come.

“They're Not Like Us” #1 from Eric Stephenson, Simon Gane and Jordie Bellaire is dropping on December 24, and for fans of “Nowhere Men” or the X-Men, I would say it is definitely worth checking out.

There's enough talent here that this title could become something genuinely good with a solid follow up, but this wasn't the debut this team deserved.

“UFOlogy” is off to a great start. Taking the best elements of James Tynion IV's writing from “The Woods” and “Memetic” and throwing them in a blender with Noah J. Yuenkel with a great balance of mystery and science fiction and layering some unbelievably fantastic art from Matthew Fox and you have an issue well worth reading. Sure, the last few pages may have been a little too obtuse for what they were trying to do, but the depth of character writing and the gorgeous artwork more than make up for it. This is another jewel in the crown for BOOM! Studios and is definitely a book not to miss.

Make no mistake, it's still one of the best comics you will read from Marvel these days, but you'll have to wait an issue or so before that real good stuff kicks in.

This may end up being one of the surprise hits of the year. You're going to want to get in on the ground floor on this one.

I don't know how they did it, but this issue was just as great as the last. Keep 'em coming.

By the Emperor, this a good comic. Don't overlook this just because it's a tie-in. There's some fantastic work in here.

Sure, it's not the most excited first issue you've ever read, but it's the introduction to a universe unlike anything else. The 40K world is big enough for anyone interested in dark, dystopic sci-fi to find something to love and this first issue is just a taster.

All in all, I can gladly say that "Weavers" #1 isn't as much about spiders as it is a love letter to gangster films filtered through a touch of Eldritch noir, using the spiders as a metaphor for the capacity for violence that our characters have. While this first issue is very much just the first act of the story, introducing the characters and world and lore of the Weavers themselves, Spurrier, Burnett, Farrell and Campbell do such a great job of making "Weavers" feel like something fresh and new despite the fusion of two otherwise well treaded genres that it continues to be a captivating read. Now that may be because I will mark out to anything that feels remotely Lovecraftian, but that doesn't take away from the craftmanship on display that promises that this will be a dark and wild six issue ride.

Stay tuned for an interview about the issue with Steve Niles and Alison Sampson.

Once again, Ales Kot does not disappoint as a writer. “Wolf” #1 is a stellar debut with some fantastic art by Matt Taylor and Lee Loughridge that captures the heart of the city of Los Angeles and plays it against an encroaching sense of otherworldliness. The book captures a realistic, grounded feeling with the focus on characters and their interactions while a sense of supernatural dread creeps into the book as the story goes on. That, along with a last page cliffhanger that blows the doors open in the ways the series could go, makes this a definite read even at the $4.99 price tag.

It's hard to know what to think about this issue as there's some fantastic writing and artwork in here buried under a convoluted story that's shackled to the weight of the New 52 despite trying to break away from it.

In the end, “Young Terrorists” #1 may be a larger investment than many are willing to make thanks to the $6.99 pricetag, but there's definitely a lot of artistry on display within and the makings of a fantastic new series. Pizzolo continues to prove himself as a writer, stretching himself with a varied cast of characters and a world in which every dark corner leads to newer, darker corners. Along with Amancay Nahuelpan's fantastic artwork that brings the brutality of the book to life, “Young Terrorists” joins Black Mask's line of counterculture comics proudly. It's challenging and unflinching and has the potentinal to go some very interesting and very dark places.

Raw and unflinching, I can only hope we'll see smaller, more frequent doses of this much needed comic in 2017.

Did this series neatly wrap up all the dangling questions and provide a cathartic send off in the way that only fiction can? No. But in the end, as the issue states: Does it matter? As long as it feels real?