The art wasnt any better I am afraid, with a lot of the frames looking unfinished. The characters looked reminiscent of 80s glam rock superstars, each with their own blow-dried hairstyle and obscene amounts of eyeliner.

However, there is also something endearing about this Issue which kept me reading right to the end. Including an incredible final scene which sets up for Issue #2 with a cliff-hanger of almost Breaking Bad quality. The book is unashamedly immature and proud of itlike a comic book version of American Pie.

All in all, while it's an interesting enough idea, Judge Dredd's foray into the Funko Universe is a massive swing and a miss.

With another 6 issues to go, I feel that this book may be a little TOO slow-burning for my tastes. The absence of Issue-1s narrator Hermans laid back, sarcastic and disdainful attitude leaves me underwhelmed by Issue #2.

I will end as I started; Im sure there is something here for someone. This may well be youre new favourite comic. Unfortunately I will not be following this title as it continues to unfold. Creator Ted McKeever has always been divisive, I guess I know where I sit now!

Overall however, this was a great introduction to some brilliant new comic characters; I will be following this title with intrigue. There was even a hint towards a love interest that has yet to be introduced

Where this issue falters slightly is in the dialogue and artwork. The artwork, especially in scenes based outside, can often look glossy with suits and skin shinning like a polished kitchen worktop. The dialogue on the whole is acceptable but not great, but the lad chat is cringeworthy at times, with the worst being you need to get your swagger on! and computers cant give you a hug, man! or a hummer!

Despite its many obvious flaws, Justin Jordan and Matteo Scalera have created some easily readable and original from what is an overused stock-plot.

The art remains strong and unchanged from Issues 1&2, there are still the bold, thick lines running throughout which gives the issue a cartoon-esque atmosphere while never transcending into childlike territory. The colours are still dipped in all shades of grey, giving purgatory the dreary atmosphere it should have.

Despite this being (apparently) the last issue in a 4-issue arc, there was plenty of unanswered questions at the end of this final issue. However, there is a significantly important cliffhanger ending, which I assume has set up for another run of this title at a later date. I would advise reading if you have read the rest of this run!

I am interested to see how this story progresses as we pass the halfway point and enter in Issue #3.

It is when this story read all together the true quality of both the writing and art in this book becomes apparent. A strong outing from IDW. It would appear the highly successful Niles/IDW relationship isnt going anywhere anytime soon! good.

The art in Issue #5 is enjoyable to follow, mixing elements of horror and supernatural beautifully. Artist Mike Norton clearly had fun with this issue and had plenty to play with between the scenes of modern day, 1870's and the realm of the dead!

While falling into the undead category, The Returning delivers a fresh take on this convoluted genre and Issue #2 delivers a stronger book than last months #1. However, there is still a slight lack of that spark to propel The Returning into something special.

The art in White Suits reminds me of an art-school project, with each panel looking crudely drawn with a range of felt tip pens. The graphic violence is highlighted even further by the restricted colour use, with only black, white and red appearing on Tony Cypresss colour palette. I look forward to following this story, to see if it can live up to the groundwork that has been laid in this issue. Big out peeps.

There are only two problems with Issue #3; the first being the art, which are so noticeably different from the graphics of the computer game that the characters can often be barely recognisable. The second problem was the way in which Jakob was written out of the story to allow a 1-2-1 discussion between the Witcher and his new Succubus love interest; declaring I cant just stand here, I must find [my wife]! before running out of the story to nowhere in particular.

The art is solid. Black and white panels reminiscent of Charlie Adlards in the Walking Dead; however, the work of artist Rahsan Ekedal is much more detailed and utilise a strong sense of shading that does not appear in The Walking Dead. The only complaint I had with the art was that there was not enough contrast between characters of a different ethnicity.

Issue #4 concentrates on the battle for X-O Manowars armour, which has been taken from him by Toyo Harada. The rest of the UNITY team believe Harada will not use this armour for the good of mankind and battle to take it back from him. The entire issue reads like a generic beat em-up from a games console, following a simple format of little dialogue, battle, little dialogue, battle"and repeat. This should not deter you from the book, as the fight scenes are well transcribed and the action is intense throughout. If you have an affinity for any of Valiants titles, this one is for you!

I recommend picking up Apocalypse Al to anyone. Give it a go.

There is nothing all that unique about the story of Apocalypse Al. However, I still highly recommend this title. J. Michael Straczynski has created what could be my favourite image title of the year so far.

C.O.W.L has made a big impression on me in the title's first two issues. Everything about this book radiates class. C.O.W.L is the Mad Men of comic books. I advise anyone gives this title a shot at this stageotherwise youll be playing catch-up later when it becomes the next comic book phenomenon.

Everything is definitely not as it seems for the CITY characters in this issue, and I am confident there are some excellent plot twists still to come. I advise you to jump on board now and enjoy this story as it is released. The jump from mediocre issue #1 to action packed issue #2 has made this book one of my most anticipated monthly reads. Enjoy.

Each story fills me with excitement at the return of these characters. I am really looking forward to seeing more cartoon adventures from these animated lunatics.

Charlie Sheen aside, this is a fantastic issue which has an ending that subtly sets up mass amounts of tension for issue #3. Ill definitely be buying it.

Issue 108 is a strong effort which continues Kirkmans fantastic run on Invincible and builds anticipation for issue 109 beautifully, let the wait begin!

I recommend this book to any gothic fiction or macabre tale fans. While it may not be destined to become a future classic, its still a brilliantly simple sugar high of a story.

What really makes this book stand out is the artwork. The gothic and often abstract artwork strikes a fantastic connection to the story. The art of Issue #2 is even stronger this that of last months #1 due to the increased use of full-page sized artwork. Both variations of the covers are also suitably beautifully disturbing.

This book will probably receive negative reviews, it is the type of story critics will love to hate. Ignore them, give it a go yourself and see what you think.

Sit back, suspend your disbelief and enjoy this title for what it ishighly enjoyable!

I enjoyed reading Pariah #1; it moved with a swift pace and kept my attention. It is not a regular occurrence for a books narrator to die in Issue #1, so I look forward to the rest of this series, intrigued as to how this book will pan out.

Unlike issue #1, this months tale has a distinct lack of seedy characters. There are no gun-toting gangster types terrorising a good neighbourhood just the family next door. In many ways, this reality based disaster leaves you feeling even bleaker. Fantastic stuff.

I will definitely follow this title throughout April though, and I strongly encourage you do the same. It is a solid piece of work with no real time or financial hardship requiring to be dedicated to it beyond the next two weeks.

My only gripe with this book is the aforementioned black and white colour choice. As I mentioned last week, I personally can see no real stylistic advantage from the book utilising this method and I find myself wondering why it was chosen. Aside from that, this is a truly terrific series with a sizeable emotional hook.