In any case, this is a zombie comic for the fans. It hits all the retro marks and offers enough detail to enjoy as a stand-alone title.

All in all, fans of the first will love this. My main problem is understanding whether this is for hardcore zombie fans or for new readers looking to explore a well told story. In either case, it's certainly enjoyable, but its formulaic plot elements hold it down too much.

All in all, this feels like a re-start or new arc rather than a third issue. While it's perfectly readable, this is an issue when you remember that, with just one issue to go, there's no real sense of plot or objective.

Visually, the title does fair better. Kyle Charles is a little sketchy, but his pencils do the work in and there aren't any specific panels that stand out as poor. Throw in some soft shades from Jay Fotos and it isn't a bad issue by nature. It definately looks the part, even if the writing leaves little exciting to look at.All in all, this is a somewhat dissapointing end to the series. When you've read this, re-read the first issue and try and connect the dots.

In short, there is a fairly good issue of 2000AD. Then again, its hard to judge the issue as a whole when its combined elements are so uniquely different from each other.

Needless to say, I will definitely be looking forward to next weeks 2000AD.

Its this chapter, above all, that stands out in this issue. Partially because of its long, extensive run in 2000AD, but also because it is none the less an effective ending that captures the heart of the series, and the creativity that has graced the pages of the magazine as a whole.

In short, 2000AD #1792 is a perfectly good issue. With some new titles on display, as well as some excellent regulars, its still a very good deal for one magazine.

In short, this issue builds on a lot of new titles. Its one flagship inclusion, Dredd, certainly falters in comparison, but it all makes for a good read.

Finally, Lenny Zero continues its unique depiction of Mega City One. The story itself is very interesting, full of intrigue, espionage and various plotting. The depiction of both the criminal underworld and the social scenes in Mega City One all show aspects that don't commonly feature in Dredd unless they're being shot up. In short, its fairly impressive and insightful. The latest developments in the plot further make this title an exciting read to watch out for in the future.

Finally, there is the continuation of Lenny Zero. This sci-fi take on the crime thriller genre is coming together well, as this issue sees the team assembled. With a host of interesting characters, including Lenny's personal back story, there's enough character-driven focus here to keep the plot going. The ‘heist' itself is certainly going to be exciting, anyway.

Finally, there is the continuation of Lenny Zero. This issue isn't the most dramatic, but the suspense makes it exciting enough. This issue simply establishes the ground for the actual heist. It puts the pieces in place, without giving too much away of course, and builds up the tension. I'm still enjoying this series, watching life in Mega-City One from a view point other than Judge Dredd makes this story even better.

Finally, there is The Grievous Journey of Ichabod Azrael. This title takes a new direction here, opting for black and white art. I'm normally not a fan of this, but it suits the title. Set in the underworld, this issue starts to explore much more of the mythological side of the story. It also gives readers the confrontation between Azrael and Charon that's been at the heart of the title's run.

All in all, with three new titles, its hard to sum up 2000AD #1800. If you're not a regular reader, now is obviously a great time to get into the publication. If you're a long time reader, then you'll have plenty of new titles to sink your teeth into.

Finally, there is the continuation of Grey Area. This title is an interesting enough story, with a science fiction twist. With words like ‘diplomatic immunity' passed around a lot, this title has a strong sense of politics over its alien and science fiction themes. Still, the unique combination makes it worth while.

Finally, there is the continuation of Grey Area. This story is definitely getting interesting, providing an alien twist on typical detective themes. With the likes of “diplomatic immunity” banded around, this title has more politics involved in it then the other titles. Still, its also got a cool alien in it, and the artwork and dialogue sells it well (such as the aliens choice of human artwork).

Finally, there is also the continuation of Grey Area. This current plot is definitely shaping up. The creepy yet awesome looking alien dude is back, too. The dialogue in this issue certainly challenges many concepts, notably the idea of humanity being the equivalent of a primitive country in the galactic community. Definitely worth a read.

Finally, The Simping Detective starts a new story set in Mega City One. This one is very noir-ish. The black and white artwork helps to sell this pitch, providing moody scenic pieces. With an equally moody and atmospheric narrative, there is a lot of charm and character here. With a growing and interesting plot, this could be something to watch in future issues.

Finally, the issue ends with more The Simping Detective. This is its typically brilliant self, moody yet whimsical with a dry sense of humor. With out ruining anything, get to the end and see the pun this week ends on. Its a ‘so awful its funny' joke that suits the character and story extremely well. Also, the artwork splashes into colour for one panel; its not much, but it shows more artistic talent hiding behind the scenes, and that's always good.

Finally, we have The Simping Detective. This its usual self, providing a gritty and urban story with a dark sense of humor. This isn't the most funny issue, but the striking artwork and tense story make it a worthy read none the less.

Finally, we have The Simping Detective, also running in tandem with Dredd and Low Life. This issue puts a lot of the pieces together, as the three Mega-City One titles start to merge together. The Simping Detective has a cameo appearance from both Dredd and Low Life followed by a final page that will get many excited, promising more to come from this massive and engaging story threaded throughout three different titles.

Whilst I suspect 2000AD will be going back to its regular style for a long while (fans of Brass Sun, ABC Warriors and the other usual titles will no doubt miss their weekly slice of comic goodness), I would certainly look forward to something like this again in the future.

Finally, we have Strontium Dog. This issue is certainly action packed, with gun fights, chases and everything else you could want.

Finally, we have Strontium Dog. This can be intense at times, as it has a lot of political themes that are running in the current storyline. None the less, its a very exciting piece and not without it's fair share of action.

Finally, we also have the continuing Strontium Dog. Things certainly kick up a notch, as Strontium Dog has its fair share of tension and action as things move into a bigger scale. With its vibrant artwork and strong action-theme, this is something for anyone who wants a fast paced read.

Finally, we have Strontium Dog. Things are really starting to come to a head, and the writing and dialogue gives a heavy sense of suspense and climax. With the heavy themes and undertones, Strontium Dog may just be the one to watch for in the next few issues.

Finally, we have Strontium Dog. The current arc has been an impressive story, rife with political themes set in a unique futuristic setting. None the less, its still a personal story of Johnny Alpha, and fans get to see both this and the wider conflicts come to a conclusion, or at least begin to.

Finally there is Strontium Dog. This has some big, large scale themes in the backdrop of its action packed story, and this is no different here. Whether you want action, intrigue or some weird and wonderful futuristic depictions, Strontium Dog is as unique and exciting as it always has been.

Finally, we also ave Savage. This is a very well written segment. The war-themes, from both sides of the conflict, are expressed very well here, both on a political and personal, human level. Again, this is matched well with the gritty black and white art style that suits the themes of the story.

After this comes the end of The Red Seas. This is the end of the current tale, and in many ways is one for the long time fans. Ian Edginton rights in a few big cathartic moments, but a lot of the dialogue reflects past adventures and chapters. That said, the ending is satisfying enough, and the art work by Steve Yeowell also does its part to reward readers for sticking through what is, at times, not the easiest of lore to follow.

Finally, we have Stickleback. The most notably aspect here is definitely the art by D'Isreali. Its black and white, but its very, very bright when it wants to be. The sheer contrasts and definition gives it a strong unique appeal. Unfortunately, Ian Edington is writing a slow-roller; this opening issue doesn't spill much, and its not making complete sense straight away; definitely one to keep an eye on.

Finally, we have a new story in the form of Zombo. The writing here is definitely a selling point. Its down right strange, different and hilariously wonderful. Al Ewing captures a fantastic setting, writing in plenty of tongue in cheek moments and references. The artwork by Henry Flint offers a more striking and sinister approach, with plenty of shadows and detail. Definitely a story to keep an eye on.

Finally, things round off with the second part of the current Zombo story. Whilst its not as funny as last weeks, Al Ewing still offers a bizarre and abstract setting and universe. Whilst the previous joke and take on The Sc4rabs was enjoyable, its stretched very thinly in this issue. That said there's still plenty of development within, its just hard to pick apart the useful parts from the fantastical and crazy nonsense that Zombo throws along the way.

Finally, this issue rounds off with some more Zombo. Al Ewing continues to write an oddly humorous, yet utterly strange, tale that might not suit everyone's tastes. Its quite strong at times, but this can sometimes be part of its own charm and appeal. Alongside Henry Flint's artistic work, and you have a strange and almost sadistic world brought to life. If this sounds like your sort of thing, its definitely worth a look.

Finally, this week ends with more Zombo. At this point, whilst still funny, the plot borders somewhere in-between in depth and simply irrational and random. The setting and title aren't for everyone. Al Ewing continues to explore a weird setting that might not suit everyone's tastes. Likewise, Henry Flint's art is just as vibrant and, at points in this issue, abstract. Whilst its definitely something worth looking at, this issue caters to a more specific audience; an audience who are no doubt very happy with the current offering.

Finally, we end on more Stickleback. Ian Edginton offers plenty of action this week, including a half-man, half-dinosaur-thing, but its not without its charm and humor. Again, D'Israeli lends some striking visuals to give this piece instant appeal and notice. If you can get into the weird and fantastical setting, this is a story that has a lot to offer.

Finally, we end on more Zombo. Whilst I never truly understand what's going on, I always enjoy a little bit of Zombo. Al Ewing definitely writes with a sense of humor, which is seen more clearly here, whilst Henry Flint's art might not appeal to everyone. Its very vibrant, yet vulgar where it needs to be. Sure, it doesn't suit everyone's tastes, but it makes Zombo undoubtedly Zombo; something I don't mind seeing in small doses within 2000AD.

Finally, this issue ends with more Zombo. Whilst I'm not following the plot completely, Al Ewing offers a wacky yet funny plot within plenty of character and humor expressed through the writing and dialogue. This goes well alongside the vibrant, yet gritty, art of Henry Flint, with often wonderfully underplays the violent nature of what's going on.

Finally, we have a conclusion to the current Stickleback arc. Its been a good thrill-ride and Ian Edginton plays to the titles strengths with weird characters and weird dinosaurs all over the place. Of course, the beautiful visuals courtesy of D'Israeli help a lot. That said, I'm not too keen on the cliffhanger ending. New readers will be stumped as the last page is purely for long-time readers.

Finally, we end with a Terror Tales. David Baillie writes an interesting one-shot. Whilst the story itself is rather shallow, offering little mythos or inner working, the atmosphere itself is brilliant. The story captures a lot of the atmosphere surrounding various urban myths, especially those relating to music and musicians during the earlier years. Will Morris offers competent art work, although this story doesn't offer much to work with. If you've got to draw people sitting or standing around, there's little to demonstrate the greater themes at work.

Finally, we end with The Ten-Seconders. This title looks to hold a lot of promise, as Rob Williams offers a unique script that questions the nature of super-hero beings and alien life. The themes aren't the most original but it's told well and Edmund Bagwell offers a decent art style that helps define and ground the setting.

Finally, we end with part two of The Ten-seconders. Rob Williams further explores this unique setting which is depicted well by the beautiful art work of Edmund Bagwell; there is a strong attention to detail and, where it counts, epic vastness, that really suits the themes and style of this title.

Finally, we have The Ten-Seconders. Rob Williams offers an interesting story that gets more and more interesting as the fast-paced story jumps from point to point. It goes well with the art of Edmund Bagwell, who can offer gloomy visuals and epic scale shock-and-awe when it's needed as well.

Finally, we have The Ten-Seconders. Rob Williams offers a well paced plot and this week's sample is no different. It also comes with stunning visuals from Edmund Bagwell, which masterly jumps between the sci-fi, the bleak and fantastical elements of the story.

Finally, we end with The Ten-Seconders. This story seems to change it's tone and theme each issue and Rob Williams offers no different this time either. In many ways, it's easy to draw natural parallels with many comic examples with this issue, but the tone and style of writing is unique enough. Even when in fantastical elements, The Ten-Seconders still has it's share of bleak themes, which goes well with the vibrant, yet dark, art of Edmund Bagwell.

Finally, we end with more of The Ten-Seconders. Rob Williams continues to offer more of this interesting plot, showing everything from another perspective. This goes well with Edmund Bagwell, who provides bleak yet beautiful visuals full of color and various shades.

Finally, we end on The Ten-Seconders. Rob Williams writes a very complex story, that explores more of the setting and background. It's and in-depth read between the lines, but the artwork of Edmund Bagwell captures the grand setting alongside Abigail Ryder's colors.

Finally, we have The Ten-Seconders. Things really get to a head here as Rob Williams shows a keen understanding of characters and personal writing – even with the likes of Damage. It's surprising how well such developments work, actually. Once more we have the stunning visuals of Ben Willsher, which flow and ebb between color schemes of vibrant greens to deep blues. And orange… you know, for the explosions.

Finally, we end this week on Slaine. Honestly, I found this plot confusing and haphazard throughout the few weeks because I'm not familiar with much of the background – Pat Mill's script is definitely written for and from someone who knows the lore. This issue however is a little easier to follow. That said, the main enjoyment for me was the realistic visual treatment courtesy of Clint Langley.

Finally, we have the return of Brass Sun. While I always think new readers would appreciate a re-cap on returning stories, Ian Edginton does a good job at easing in, with enough exposition to get to grips here. Likewise, the art of Inj Culbard is more than welcome – a little flat color-wise for my tastes but the level of detail needed is here.

Finally, we have more Damnation Station. Al Ewing's script teases information and back-story little by little. Combine this with the lush neon artwork of Mark Harrison and you have something to keep an eye on for the next few weeks.

Finally we have Damnation Station. Al Ewing breaks away from the plot to offer something more akin to a one-shot, but it does tie into the setting and is entertaining in its own way, with a strong sense of character. It still retains the beautiful artwork of Mark Harrison, although here the vibrancy and neon overtones go a little cooler, which suits the cold space setting perfectly.

Finally, we close this issue out with a continuation of Damnation Station – instantly opening to the beautiful visuals of Mark Harrison. This is one of the most unique features of the series, although Al Ewing is working his way through a very interesting set-up and universe. This issue features the Host for the first time, offering well-written dialogue that leads into enough suspense to keep interest going – if you're going to promise that ‘big reveal' this is one of the much better ways to do it.

Finally, we end this week's issue with more Damnation Station. Al Ewing offers a story that is equally explanatory as it is confusing – in other words, the right balance to potentially keep this interesting. I suspect the beautiful artwork of Mark Harrison – which comes into full force with the wider shots and settings here – helps tip this in the right direction.

Finally, we have Damnation Station. As usual, this is simply beautiful thanks to the vibrant hues of Mark Harrison. Al Ewings script, however, could stand up better. It's engaging, but deals with a cast that most readers arguably aren't attached to yet and a general ‘big reveal' that is teased constantly without offering anything new.

Finally, we have more Damnation Station. Al Ewing offers plenty of action this week, which really lets the stunning visuals of Mark Harrison shine through. It's got plenty of charm, although it sometimes feels the setting is one step behind the readers, as we already know more than most the cast.

Finally we have more Damnation Station, where Al Ewing provides back-story and long awaited answers. This is a very strong issue for the story, with the visuals from Mark Harrison doing plenty of talking on its own – the second page opens with a large panel that knows how to grab attention.

This week's issue, as it has done lately, closes out with some epic Damnation Station. This might be Al Ewing's best writing yet, offering character depth and backstory all in one. Its split between two narratives but eases flawlessly – no doubt helped by Mark Harrison's artwork that switches between elegantly deep and disgustingly beautiful when it needs to.

Finally, there's more Damnation Station. This issue is as beautiful as ever, with the visuals of Mark Harrison transitioning from one color to the next in neon vibrant hues. That said, Al Ewing offers a good script as always, but this hasn't been the most engaging. The action does plenty of talking, but this is essentially part of a zombie film, only set in space (sure that's never happened before…).

Finally, we have what is basically an absolute epic issue for Damnation Station. Al Ewing pulls out all the stops for this issue, offering drama, suspense, action, tragedy and sacrifice. I really don't want to spoil it, because it is absolutely satisfying. Of course, the sheer beautiful visuals of Mark Harrison work wonders and, this week, the level of detail ensures this issue does down with a bang.

Finally, we end this week with some Strontium Dog. John Wagner offers a dialogue-heavy script, but one that plays to the strengths of the current story and provides plenty of escalation. Things, of course, tend to kick off later and, with classic artwork from Carlos Ezquerra, it feels like a prime example of Strontium Dog.

Finally, we have more Strontium Dog. John Wagner continues the action, although readers less familiar with the title might start getting bored of the back-and-forth conflict by now. Still, with the classic visual style of Carlos Ezquerra, it manages to entertain.

Finally, we have more Strontium Dog. John Wagner offers something dramatic this week and there is a strong sense of things coming to an end. Given the length of the arc, this makes for a refreshing script which reinvigorates interest into the title – just what it needed.

Finally, we have the end of the current Grey Area arc. Dan Abnett provides plenty of action, but it feels somewhat shallow. The events here happen because they need to, or want to set-up future events. In short, the whole ‘alien currency' aspect wears thin very quickly. At least Patrick Goddard's artwork is always a joy to look at.

Finally, we have more Grey Area. This is one for long term readers, as Dan Abnett explores the consequences of a previous arc, but it is nonetheless explained well enough for new readers. It's a tense issue and Mark Harrison does his best to translate this visually. For the most part he succeeds, although it might not suit everyone's tastes.

Finally, we have more Grey Area. Dan Abnett offers an interesting concept, but it only serves to fuel relationship drama – not something I would associate with Grey Area or read it for. That said, it does look to be leading into more important places and the artwork, by Mark Harrison, makes for a decent read nonetheless.

Finally, 2000AD #1847 rounds off with some Outlier. I'm assuming this is related to Rogue Trooper, since it's set on a Nu Earth… but Gordon Rennie's writing – a script that is dialogue heavy in itself – does little to offer any of this information. The set-up is slow, sluggish and uninteresting, yet Simon Coleby (with colors from Len O'Grady) offers some gritty artwork to look at along the way.

Finally, we have more Jaegir. Gordon Rennie offers more details and back-story in this week's plot, although the set-up feels very bland. Terms such as “strigoi” doesn't help hide the ‘vampires in space' theme going on here. That said, Simon Coleby's art and Len O'Grady's colors help depict a gritty, bleak landscape to set the tone better.

Finally, 2000AD #1876 closes with some more Jaegir. Gordon Rennie moves the plot along with a quick, flowing montage that sets the tone, although shuffles past most of the story at times. While the pacing is questionable, Simon Coleby provides the gory style of artwork we've come to expect from the title.

Finally, we round this issue off with the end of Jaegir. Gordon Rennie ends things on an action-packed note, but makes sure to add a sense of character and closure. Simon Coleby offers some decent art work to add weight to the script, making for an all-round satisfying ending.

Finally, we have more Outlier as T.C Eglington begins to up the ante and get into the final arc of the plot. This issue is tense, although it doesn't tell the reader anything they don't already know. Still, it's a nice buffer before the main action starts, with enough to sustain interest. Likewise, Karl Richardson gets plenty to draw and offers a colorful art style that makes Outlier a pleasure to look at.

Finally, we end this week with more Slaine. Pat Mills go a tense issue this week, but keeps it full of charm and character. Mills offers little bits of information here and there, creating a strong interest in future events. Likewise, Simon Davis has some amazing visuals. Even when a large panel doesn't hold anything important, it's a joy to simply look at.

Finally, we end this week's issue off with the end of Outlier. T.C Eglington offers a satisfying conclusion – complete with one last final twist – that brings the story to full, complete closure. It's a well thought out finish for a fun, tense romp and Karl Richardson keeps up with artwork that's easy on the eye and easy to follow.

Finally, we have more Outlier. While it's entertaining, engaging and thrilling, John Smith's latest offering only manages to confuse as it delves deeper into the rabbit hole. It's a very well thought-out setting but I'm not sure how much of this is coming across. Ah well, at least Lee Carter's artwork is a sheer joy to look at.

Finally, we have more Indigo Prime. John Smith's script is certainly well thought out but it is rather slow and issues like this offer very little, instead choosing to tease out future promises. Still, it's an interesting concept and Lee Carter's artwork single highhandedly holds up the title during dull moments like this.

Finally, we end this issue with more Outlier. John Smith continues to write twists and turns at every opportunity here and, while you might not ever know completely what is going on, the ride is fun enough it's hard to complain. Additionally, we still have the impressive artwork from Lee Carter and while this issue doesn't offer much fantastical concepts for Carter to get stuck into, it is amazing to look at nonetheless.

Finally, we have more Grey Area. Dan Abnett offers plenty of excitement, although the script is full of suspense more than action. Still, it ties into the larger story, keeps interest throughout and comes with some vibrant, stunning artwork courtesy of Mark Harrison: Harrison's style really helps to portray the epic nature of Abnett's work.

Finally, we have what could be the end for Grey Area – although it probably isn't. Still, Dan Abnett does his best to build climax and add plenty of tension to an already tense storyline. It succeeds mostly, although the Mark Harrison goes full out on the artwork with an expert use of color, especially on some of the wider panels.

Finally, we end this issue with the start of more Sinister Dexter. Dan Abnett returns with a new story that doesn't take long to enter into violence and chaos. It's full of the title's trademark charm and humor along the way as well. While it's definitely looked better, Jake Lynche's black and white visuals do an okay job at representing the world of Generica.

Finally, we have Tharg's 3rillers and the end of Guy Adams's short romp. This issue brings everything to a close and touches upon the themes explored in the past. I consider this more a thought experiment than a story, as a clear arc wasn't always established, yet it was interesting from start to finish. Visually, PJ Holden (with Steven Denton on colors) helped capture exactly what Adams was aiming for.

Finally, we have a new series with the first part of Black Shuck, written by Leah Moore and John Reppion. This series has potential but it is very, very slow. It's only near the end of this week's introduction that you're aware of its fantasy elements, as the beginning is very bleak and drama focused. That said, the artwork is impressive, with pencils from Steve Yeowell and colors from Chris Blythe.

Finally, we round this week off with a new Jaegir. Gordon Rennie makes for a more interesting approach this time round, with an explosive cold opening and some stronger ties to the original Rogue Trooper title. The main premise isn't quite clear yet but Rennie's ideas alongside the grim aesthetics of Simon Coleby's pencils and Len O'Grady's colors help sell the concept.

Finally, we have part 2 of the current Jaegir plot. Gordon Rennie writes with a better sense of pacing here and captures the political aspects of the series much more efficiently. It still feels expositional, but it's an interesting delve into the Rogue Trooper universe. Likewise, Simon Coleby offers some grim and grotesque pencils with moody color from Len O'Grady, which both help support the themes and tone of Jaegir.

Finally, we round this issue off with more Jaegir. Gordon Rennie's script is tense, dramatic and full of action. It has plenty of development, yet still ties into the wider setting and background. Overall, this is a strong issue for Jaegir and the art work from Simon Coleby – with Len O'Grady on colors – only enhances it.

Finally, we round this issue off with more Jaegir. Gordon Rennie starts off strong but, by the end, this issue feels like its building up to a climax, but somewhat padding itself along the way. It's not bad, it just doesn't feel completely natural. That said, I still enjoyed the art from Simon Coleby, with grim colors courtesy of Len O'Grady

Finally, we have the end of the current Jaegir. Gordon Rennie writes up an excellent conclusion, full of explosive action and a satisfying ending. Simon Coleby's pencils are sharp and dynamic, with Len O'Grady providing plenty of sharp colors.

Finally, we have the end of Black Shuck. By this point, I'm a little lost with Leah Moore and John Reppion's story, but it nonetheless manages to entertain. Steve Yeowell does a good job on the visual front, but Chris Blythe's colors focus too much on orange, browns and blues.

Finally, we have a new title in the form of Kingdom. Vague name aside, this title has plenty of potential, although I notice a few drawbacks too. Dan Abnett starts off with a fantastic, moody, fantasy script, only to loose the plot in Steampunky McGuffins and a setting that eschews away from the starting tone. The art is similarly mismatched, although that's nothing to do with Richard Elson's brilliant pencils and Abigail Ryder's colors (although there is a lot of orange and blue contrasts at work). The art starts off with some unique designs, only to devolve into planes and dog-people.

Finally, we round this issue off with more Kingdom. Dan Abnett continues to offer an interesting idea but gets lost in the boring bits. We know too little about this world and the story seems to be another case of dialogue and teasing exposition before moving into a big fight. It looks brilliant, thanks to Richard Elson's pencils and Abigail Ryder's fantastic use of color, but it needs more substance going forward.

Finally, we end this issue with more Kingdom. Dan Abnett's script is decent enough, but it takes a while to kick into the action. This story is taking a long time to tell, but it's enjoyable in the meanwhile, especially with the detailed pencils of Richard Elson and the colors of Abigail Ryder.

Finally, we round this issue off with further Kingdom. Dan Abnett continues to offer plenty of action, but once again stalls when it comes to providing plot detail or any sort of background information. It's interesting, but starting to feel repetitive, even if Richard Elson's pencils, alongside Abigail Ryder's colors, make for a stunny display.

Finally, we round this issue up with more Kingdom. Dan Abnett offers a tense, dialogue-heavy script that takes a while to get going but finally manages to deliver something worth noting. Alongside Richard Elson's pencils – made strikingly beautiful by the colors of Abigail Ryder – this issue manages to add a sense of urgency, important and direction into the title.

Strontium Dog brings a gritty script from John Wagner, with traditional art from Carlos Ezquerra. It looks like, feels and reads just like it should.

All in all, this isn't for Transformers collectors, but it will please Angry Birds readers. For anyone who likes both, it's a bit of fun, and a good bit of fun at that.

All in all, it's not for everyone but, for there are more than enough people out there who will enjoy this.

In short, this is a great issue and, with only one more issue to go, I am more than looking forward to it. Angry Birds / Transformers #3 is a fine example of something that's easy to pick up and read. You don't need to think too hard, but you're getting plenty of comic all the same.

In the end, this was always a bit of fun and that's exactly what this last, final issue offers.

In short, Battle Beasts #1 is a good opener. It sets up the series, offering enough exposition to understand the situation without going into detail. With decent art work to truly highlight the unique concept, this is a series for those who are willing to look past the less serious aspects of giant talking animals.

In summary, this is a good issue. It feels a little forced and uncreative, leading to an obvious set-up for the closing issues, but its an enjoyable read none the less. More than this, its simply pretty to look at.

The standout point of this issue is definitely the development of Vorin as the leader, but the rest of this issue is so obvious its almost a cliche. Its a disappointing issue, but maybe there is hope for the final installment.

However, with a unified enemy, the series has some hidden potential. Of course, the earth setting might not be the most suitable. Some of the previous issues showed some beautiful alien landscapes; given this larger playground available to writers and artists, it seems wrong to confine them to a strictly modern-earth based setting. When dealing with talking anthropomorphic beasts, realism isn't always in such demand.

In short, its not Watchmen, but Before Watchmen: Nite Owl #2 is definitely creating a style and atmosphere on its own. At the heart of the series is the relationship and contrasts in view between Nite Owl and Rorschach. Throw in a few other interesting characters, and this series is shaping up for something exciting.

In short, it's not perfect but it's a simple concept executed well. If you're looking for a quick laugh and a novel concept, Beyond Belife #1 may just be right for you.

This is unfortunate, because this crossover has a lot of potential, since it basically fills in any blanks of the shared universe the titles share. Considering the characters have a history that's already been shown, and not least of all in the original TV shows both titles are based off, the future of this short cross-over is certainly interesting.

All in all, however, its not a bad issue. If you've invested in the previous two issues, this certainly kicks things up a notch. If issue #1 and #2 were introductions and exposition, then Bionic Man vs Bionic Woman #3 is simply that awkward bridge between exposition and the ending. I have no doubt the next two issues will be more action-packed, if predictable, but a worthwhile romp none the less.

All in all, its not a bad issue. Maybe its just me, but I really wanted to see the two titular characters battle it out when the series first came out. Although that proved to be too much too expect, this issue at least makes for a some-what enjoyable conclusion.

In short, there is plenty of unrealised potential here. If the art style updates itself and the writing nails down what it wants to be, there is a lot to look forward to here. However, that may be a big thing to ask for issue #2.

Over all, given the smaller title that it is, Catalyst Comix #3 is rather successful. It has a strong identity and delivers on it, offering a gentle and easy read that still manages to remain entertaining throughout.

Over all, it's not a bad issue and there's a decent level of variety for three stories with similar themes. Definitely worth picking up if you see it.

In short, this is a great issue of Cobra, and one that does very well to introduce a new contender. Its not made clear whether they are specifically villains or potential allies, but Cobra #18 definitely knows how to make an introduction.

Throw in the usual amounts of drama and a cliffhanger, and Cobra #20 wraps up as a very satisfying issue.

In short, if you can let go of your sense of realism, there is a lot to enjoy in this series, with Danger Girl G.I Joe #2 serving as a great example.

In short, Danger Girl/G.I Joe #3 is a great example of a cross over done right. Not just because they share similar themes, but because the differences in each allow readers of one title to experience something slightly different. Combined, this is a well thought out piece of story telling that makes the best of all that's available.

In short, there is a lot to take in in this issue. I'm also loving the art style, seeing a more Danger Girl-esque take on various Joe's. With action, dialogue and everything in between, the next issue is certainly looking to be an explosive finale.

All in all, this is an excellent issue, and a fantastic ending to a great series. Danger Girl / G.I Joe is a cross over that just works; it takes what makes both so popular and runs with it.

This is issue is, finally, rounded off with Masks. Gillian Flynn writes a dark, but satisfying script that quickly wraps itself up. Combined with Dave Gibbons' pencils and Angus McKie's colors, this is hard to ignore and a good way to round off a decent line-up.

All in all, this isn't a bad second issue but it doesn't look good for the future. If it embraces its own elements and tries something different, there is hope, but it's not in this issue.

Like I said, it's not a bad issue, but it has areas to improve. Still, it's showing some signs and the title could be one to keep an eye on.

In short, it's not a bad issue, but it's not the best either. Fans will likely love it a lot, but it spends more time building up future potential than delivering on it.

In short, this is an enjoyable enough issue if you've made it this far, although it feels very much like a set-up for future adventures now the concept has been established.

All in all, it's not a bad issue and, while I appreciate it trying to do a few things, I'm not sure this one will go down that well in the title's longer run.

All in all, this is a good issue for the series. Deadly Class #10 opens up well and ends on a decent enough cliffhanger " what more does it need to do?

All in all, however, this is a very strong entry for the series. As it closes its second arc, I think there's a strong immediate future ahead for Deadly Class.

In short, its classic Doctor Who. If this is something that interests you, the new colouring makes an old favourite much more distinct and clear; well worth adding to your collection.

As for the artwork, its so far so good. The art style is interesting, looking almost water-color based at times. Still, you can make out who's meant to be who, and it certainly doesn't get in the way of anything. A little more definition is welcome here and there however the TARDIS may just be a blue box, but it does have panels on the front at least.

As long as you still don't mind reading about Rory and Amy, now ex-companions in the main continuity, then this all in all is a good issue. Whilst the art style might not please some, with certain panels and close-ups being slightly too plain or lacking detail, the issue itself manages to capture some of the Doctor Who charm.

In short, this is a quick and easy read, but its worth picking up. From start to finish, its highly engaging if, like most things Doctor Who, you suspend your disbelief for a little while.

The dialogue itself also teases information that hints at older issues, too, including a certain vault in Utah that may or may not have been visited by the 9th Doctor. The inclusion of previous settings, plots and associates combined with the New Doctor is something seldom explored in this series, but it certainly shows its full potential here.

Over all, however, there is an effective conclusion. There's not much to tie it into any over-all season arcs, but its an enjoyable read from start to finish. The art alone provides some unique views of the Doctor Who Universe, whilst the use of older characters definitely brings new life in unexpected ways. Hopefully, more of this should appear in the future.

In short however, the few faults here fail to chalk up to what Doctor Who #7 does right. From start to finish, there isn't really a dull moment, even when nothing is happening.

All in all, I'm impressed with this issue. Sure it lacks the depth and plot twists of other issues, but this is more of a writing exercise on character than on repeating the same ‘monster of the week' plots found elsewhere. In that approach, it succeeds immensely.

All in all, this issue has plenty of promise. Sky Jacks looks to be a potentially amazing four-part story and I can't wait for more.

All in all, it's still a highly enjoyable issue. It moves fluidly and has that quirky nature that Doctor Who fans have come to expect. The cliffhanger is certainly one of the better I've seen. No doubt some would have guessed it, but Doctor Who #10 certainly isn't afraid to go with what it wants.

However, the art has it's downsides. For the most part, it's very good, with Andy Kuhn on pencils and Charlie Kirchoff on colors. My problem is the little details. The Doctor's posture is often exaggerated; he's nearly always pointing at something. One panel in particular just throws me off, though many probably won't mind. Secondly, as cool as the intro is, I think it's hard to capture Gallifrey during the war. The TV show is very careful on this area, it's talked about poetically and lyrically throughout, but it's something that's very hard to match the expectations of fans. Still, it does do a decent job; although the writing helps as it very much reflects and ties into certain revelations from the last TV season.

In other words, I still like this issue. It has enough charm to keep things going and, while shying away from the Wild West roots, the plot is going in a direction that holds plenty of potential.

All in all, it's not a bad entry. Of course, nothing is going to match the 50th Anniversary epic we saw on the TV, but this is an excellent way to pass the time.

In short, this is a decent issue with a lot of potential. Whether you want an interesting story arc, featuring all 11 Doctors, or you want some nostalgia, this issue does its best to give you both, and certainly shows a lot of promise for future issues.

Finally, this issue doesn't have much to do with the overlapping arc. Issue one opened up with some strong hints. This issue has very little besides an abrupt ending. This ties it in, sure, but I'm sure many readers would like a little extra detail or clues for their efforts.

In short, this captures the essence of the Doctor very well. Whilst the over-all story is lacking, the celebration of Doctor Who‘s many forms is still highly enjoyable.

In short, this is one of the better issues for Prisoners Of Time. This does, of course, depend on your preferences for each Doctor, but this issue does a good job of capturing everything well.

All in all, this could be one of the better issues for Prisoners Of Time, As a stand alone issue, its not very deep, yet its fun to read and suits a one-shot. As part of the series, it teases more of the actual story whilst providing plenty of fun in-between. Which ever way you look at it, its hard to not come out being rather happy about it.

Over all, this is a good issue of Prisoner Of Time. It mixes the old and new and shows where the series is going, by celebrating as much Doctor Who as possible, something that's difficult to argue against.

All in all, this is a good issue for Prisoner Of Time. Granted, it might not be the best, but it certainly offers a lot. Of course, it also helps if you're a fan of the seventh Doctor.

In short, this is an issue that may split fans. At the end of the day, the lack of canon on the eight Doctor gave the creative team plenty of room yet, with only one issue, there was never going to be much to sink into. At the very least, the cliffhanger ending ties into the overall arc more.

In short.. I like it. Things are getting close to the end for this 12-issue series and, as we head into the final quarter, it's good to see the whole title has upped its game.

All in all, this is a strong issue for the mini-series and, with only two issues to go, it does a great job at ensuring things leave on a high. Allons-y!

At its heart, however, this issue delivers well enough. We came here for one thing, to see the Doctor, and the writing holds that up well. The real proof of the pudding, however, is going to be the last and final issue – can it really fit eleven Doctors into one issue?

All in all, this isn't a story for the ages – but as a quick flick through 12 issues celebrating such a beloved series it's a fantastic effort.

All in all, this is a very strong opening for what could be a very interesting mini-series. Sure, it's not perfect, but it's come out with a strong show of force.

In short, this is an excellent stand alone issue, bar the questionable artwork. Whether you're a regular reader or not, the self-wrapped plot in Elephantmen #41 is a great starting point for new readers, whilst giving older readers new insight into old themes.

In closing, this is an excellent issue of Elephantmen. It might not be the most accessible for new readers, but the start of a new arc is the best chance you might get in a long time. With drama, suspense and emotion, I'm always impressed by this titles ability to create emotion in a world full of talking animals.

Near the end, however, the title does pick up a bit. Its definitely clear the writers are holding back, rather than unloading streams of information to a confused audience. The ending to Elephantmen #43 focuses on one of the human characters, and definitely shows a lot of character. In a title that crosses the lines between human and animal, the actions near the end might seem like an obvious metaphor, but it works.

Despite sounding very serious, there are some moments of humor admit all the tension. In particular, there's a scene regarding an older Elephant and his long winded speech. Its funny, full of charm and yet somehow makes a few serious points along the way. As for art, it certainly provides a little shock. Whilst the likes of Trench have eye patches and occasional cuts and bruises, seeing a fully wounded and sick Elephant to compare and contrast too certainly reminds readers of the Elephantmen's origins.

All in all, I would say this is one of the better issues. Whether new or old, any reader can pick this up and get stuck in.

In short, I'm very happy with Elephantmen #50. Whilst it doesn't highlight much of the current plot, it's a great issue for regular readers and new readers alike.

All in all, this issue gives a good opening to the series. Any bugs can hopefully be forgotten, but I'll still be looking to the next issue to see how things develop.

All in all, this is a well-rounded issue, a great conclusion and an excellent example of why Elephantmen just works. Not a great point for new readers, being the end of an arc, but it's certainly taking the title to new places and keeping things fresh.

All in all, I feel this issue could be a lot, lot more. It's clear what the creative team was going for, but this ultimately feels like an experimental filler issue between larger pieces of work.

All in all, I like this issue better than the last. While I would rather get back to the main storyline, Elephantmen #57 is a welcome pause and helps flesh out some of the back story lying behind all the sci-fi goodness..

All of this does, of course, come at the expense of a plot – despite a few updates it doesn't really advance anything too far. This might annoy regular readers, but it wouldn't be the first time the title has had stalling tactics. At least this time we get something more fascinating in the interim.

In short, this isn't a bad issue, but there's nothing special about being issue 60. It finally manages to bring the plot to the fore again, yet it does tease more than it delivers.

All in all, I still enjoyed this issue but it's not one I'll be reading again in a hurry. It's enjoyable and serves as a quick flick, but some more progression might be needed.

All in all, I think fans of the series are going to be interested with this. While the title never has been open to new readers, I think this one isn't too bad of a point to latch onto, either.

All in all, this is a nice little break and a welcome one at that, but I'm more than happy to jump right back in to the main developments.

In short, this is a reasonable issue. G.I Joe #16 wraps up an excellent arc, and suggests a more interesting future for the series.

In short, this is a great issue for readers. If you're not familiar with the title, this issue also serves as good exposition, helping you get up to date.

Finally, as much as I like a new series, I hate feeling shoe-horned or pressured into buying sister titles. Next month and the month after see similar titles from IDW. I'm fine with sister titles, in some ways I look forward to reading Special Missions and The Cobra Files, its already clear that both may need to be read to understand the plot better. This is great for big G.I Joe fans, but sometimes you just want to pick up one title and not need to do any research to understand what happened.

Cheesy dialogue aside, this is still a good issue. The art holds up and handles the action well, giving readers plenty to sink their teeth into. If you're a new reader, this is still a great time to jump aboard.

All in all, this is an issue worth picking up. Its not full of fighting and explosive action, but its a refreshing breather, and definitely shows a more personalized and sensitive direction for the series; its important to have a sense of character, after, to differ the Joes from the Cobras.

Does it cover the holes? No, but its a good save. G.I Joe: Special Missions #4 has a principle of action first and insignificant plot holes last. Its not a thinking man's title, but G.I Joe never has been.

All in all, I'm definitely happy with this issue. It has shown some good, insightful understanding of G.I Joe and doesn't overburden the reader with complicated history and back story. The next few issues should tease in the new arc and, with the same team aboard, I see no reason why this high quality product can't continue.

That's about all I can say without spoiling the plot or contents of the issue. Is it the most unique story in the world? no, but it's very complex, told well and works well with the current small-scale cast of G.I Joe, as well as the larger setting.

And that's not even to mention the cliffhanger ending – you know it's coming, but the delivery is more than good enough. So, yeah, I'm impressed.

All in all, this is a strong issue in the series and suggests an effective direction to take the series.

All in all, this is a strong issue from the series and definitely something the creative team should be proud of. If this is the direction G.I Joe is going in, I'm all for it.

Over all, this is exactly what most one-shots should do. Rather than looking for shock revelations or retconning half a universe, this back story simply adds weight and meaning to a characters actions, something that will always prove useful in future issues.

All in all, it's not amazing, but it isn't bad either. While the series may be stalling after its last big arc,, here's to hoping G.I Joe picks up the pace a bit more in 2014.

In short, this isn't something people will re-read for years to come. As a one-off read it is interesting, but I'm sure many people are looking forward to an actual story with depth and development.

All in all, it's not a bad issue, but it's still early days. So far the set-up seems rather small in scale, which can be a bit confusing as I would associate that more with Special Missions.

All in all, while it is early days, an issue like this should look to set an example, not promise one in the future. I appreciate what they're doing, but this issue jumps straight into the deep end of boring. If it took time to re-cap events, or set the situation up, I might enjoy it more but, as it is, I feel it was rushed and poorly thought out.

All in all, it's not a bad issue – it's just not G.I Joe. Not yet, anyway.

All in all, I really do like this story, but issues like this are where I wish I could enjoy it as a stand alone title.

Over all, this certainly isn't a bad issue and I still found myself enjoying it by the end. Maybe it's still taking its time to find its place, but its certainly getting there.

Overall, it's an odd dialemma. I want to enjoy G.I Joe #5 and, for the most part, I do. On second readings, however, the developments appear small and the actual pay-off is continually promised over the horizon.

All in all, this isn't strictly a bad issue, but it does mark half a year of not-a-lot happening. Reading this, than reading 2 or 3 issues previously, its hard to pick up any sense of progression.

Still, in all honesty I think it was a good run that was never given a chance to go anywhere. The creative team did something different and this issue feels very abruptly forced to a halt; it's glaringly obvious.

Until now, its been easy enough to read one title without out an intimate knowledge of the other. Yet the recent focus on Snake Eyes, which only seems to be focused on more with this new arc, suggests that the two may become more blurred very soon.

Despite this, the issue is a good read. The dialogue might not be perfect, with a focus on Scarlett over any other Joe, but the action should generally speak for itself.

In short, this is one of the better issues of G.I Joe. Its a satisfying read, offering various conclusions whilst leaving enough to lead into new threats and dangers, giving a sense of a constantly moving plot.

As for characters and long time readers, this does feature a large cast of generally faceless characters. There are few, if any, massively outstanding characters to attach on to, besides General Hawk himself. As a one-shot, this is understandable, but it arguably makes its standing in the longer plots and series less important.

To summarise, G.I Joe: ARMH is decent issue for G.I. Joe. However, the inclusion of Comic-Con does slightly ruin a good storyline. Between the beginning of the issue and the end, there seems to be too much of an obvious shift in plot, to quickly establish the Joes in San Diego. Despite this, regular Joe fans will still find plenty to like.

What is interesting, however, is that both sides seem to be in on it. Darklon and his associates seem content on escaping, and the Joe's seem content to let them. The second half of the issue explores this theme. It flips between either side, showing twist after twist through the dialogue. It starts off effectively, but after hinting at so much and showing so little, it makes for a lot of unrewarding reading. Regular Joe fans probably won't mind this, as it certainly adds interesting developments on the situation none the less.

Despite this, A Real American Hero #182 does a good job of setting up pieces. It doesn't end on the best cliffhanger, but the main story is more than enough to keep you satisfied.

In short, if you've been reading this up until now, your no doubt aware that something big is being set up. Of course, if you're new to the title, this is one of the better chances to get on board, before things start to get more complicated.

That being said, the rest of the issue is full of plot twists and revelations. Its very exciting and full of character, making the most of what the series can offer. All, in all, this is a fair read with plenty going for it.

All in all, its still worth a read, but fans shouldn't get excited for any action, revelations or overall surprises. This seems to be a 'filler' issue, something put in place to pad the pacing rather than delivering any resolution or tension.

That said, this isn't a one-issue plot. There is enough left over for what has the potential to be a more than satisfying follow up issue. That being said, with nuclear bombs and various bad guys running around, I'll be disappointed if everyone magically gets out of this alive; the writing thus far has shown a better understanding than that.

As for the ending, the final revelations might split readers on whether they like it or not. It changes the outcome and meaning of the previous escalations, but it none the less fits into the general character of G.I Joe. As with anything in this series, there's always something left for next issue, but A Real American Hero #187 plays its cards close to its chest for now.

Of course, this isn't a one-off or self-contained issue. As the fighting escalates, so does the suspense for the next issue. I'm not sure if this ‘cliffhanger' is the best G.I Joe can offer, since its not that surprising, but it none the less makes the next issue a tempting read.

All in all, this isn't that bad an issue. Its not perfect, and definitely serves to, less than subtly, segue into a new part of the story, but it can be forgiven for its faults.

All in all, I'd say this is one of the more satisfying issues for A Real American Hero. I'm disappointed Bludd didn't do much ( I feel he's being held back from a writing stand point) but maybe that's just the art of good storytelling and timing.

In short, this issue confuses me. I'm sure it's teasing a lot, but why this is entwined with a pointless story about a walk in the countryside is beyond me.

All in all, not a bad issue. It's action heavy but still serves as plenty of build up. Yet, with the larger scale, it does manage to break away from recent smaller arcs.

In short, this is far from a bad issue. It reads well and looks as good as A Real American Hero tends to do. Whether or not it leads into anything worthwhile will depend on next month's G.I Joe: A Real American Hero #200.

All in all, this is a good issue for the series – it has plenty to read into and has enough character development and significant plot elements that it's something long time readers will want to pay attention to. That said, for a 200th issue, it could've been a bit more special.

All in all, this isn't a bad issue and the slower pace generally works in its favor. If this is a sign of things to come, I think it could add more weight and credibility to the title in the long run.

All in all, this issue is definitely for regular G.I Joe readers looking for more of the same, in which case they will be pleasantly satisfied.

Over all, I'm sure regular readers will be happy, but this is very much a rank and file issue of Real American Hero, rather than a stand out example.

All in all, this is a good issue and I'm relatively happy with it. Only future issues will tell if this works but, for now, I'm invested.

All in all, I'm sure fans will love this but, for a series 208 issues in, I'm not sure how far ahead it's actually looking.

Don't get me wrong, I still enjoyed this issue, but that's where it ends. I don't love it and neither do I have an urge to re-read it anytime soon.

All in all, regular fans will likely appreciate this issue, although I'm sure many will want the plot to get somewhere interesting, at least in one of it's current narrative splinters.

At the end of the day, I guess this is a problem for something as long running as Real American Hero #211. How do you keep things fresh? Eventually you run out of ideas, or start to think far outside the box.

Over all, I'd say this is one of the more impactful issues of G.I Joe in a long time, and demonstrates what can be done when the action shrinks in scope but grows in other scales.

All in all, though, this is the 214th issue and you have to admire what its done. How many titles can get away with releasing a blank title?

Still, at its heart, this is a tale of G.I Joe vs Cobra. Whilst it is certainly interesting, it can often feel like an never ending dance; the basic premise has been told in various titles and plot lines. The title certainly makes it engaging where it can, but it might need to pull some stronger punches to get the message across.

As for the end of the title, it does what G.I Joe Cobra usually does. It develops the plot, wraps up other segments and offers a few cliffhangers or nuggets of information to keep you waiting for the next issue.

Of course, near the end of the issue, things tend to go a little wrong. G.I Joe Cobra can end on a cliffhanger when it wants to, and G.I Joe Cobra #17 is no different.

In short, there is quite a lot on offer in this issue. Whether you want action, plot development or want to read more on the Oktober Guard, which is providing a surprising relief between the two opposing factions, Cobra #19 has a lot to offer, and teases enough for the next issue as well.

All in all, this is a strong opening issue. Sure, it is definately for G.I Joe fans with a recent understanding of the story, but I think just about anyone could still enjoy this for what it is.

All in all, it's a little rough around the edges, but that's to be expected. This title isn't too sure of itself, but it's going in the right direction for now.

All in all, this is a strong continuation for the series. Like I said, if these plots were interesting enough, why where they pushed aside to begin with?

All in all, this is a very impressive issue and anyone reading this far in is going to be happy with the final product. Is the cliffhanger subtle? No, its pretty damn obvious, but that's always been the point here unfortunately.

So, all in all, everything expressed in this title is wrapped up nicely. Yet, this series started by bringing up older, forgotten threads and, well, what it ultimately does with them may split the readership.

Finally, you can't ignore the full-art on each page. There is little to no white-space. With tight frames and decent paneling, you certainly get your money's worth of art on each and every page. If this continues, G.I Joe: Special Missions could prove a very rewarding series.

All in all, this is an impressive and worth-while follow up to the opening issue. Whilst its pacing is slow, this seems to be in Special Missions favor so far.

In short, I'm more than happy with this issue. Next issue should see how this title fairs for large scale action (maybe not so Special Missions, but still) but this issue does a good job of easing in smoothly.

Over all, this is a good opener for the new story, if a little slow. Still, what it doesn't deliver now, it is certainly teasing around the corner.

In short, this issue is a good read, although I suspect it proves more satisfying as an arc finisher. For new readers picking it up, it shows off Special Missions‘s potential, but it's not the best stand alone example.

In short, this is a stable entry for the series. It doesn't build on anything much, but its useful to have breaks in-between bigger arcs.

All in all, there are plenty of people I suspect will like this title. It has its merits… it just doesn't fit in among the rest of Special Missions. Back to the regular plot, please.

All in all, it's not a bad read and, for what it's worth, the end result suggests a good direction for the series. If these few hiccups are ironed out Special Missions could become a lot, lot better.

All in all, this issue is shaping the current story well, despite its hiccups. Special Missions has always struggled a little to define itself, but stories like this are definitely a push forward in the right direction.

All in all, this is a fairly good example of Special Missions. It promises small scale and big action, which is much better than the opposite. Its fluid, dynamic and – above all else – entertaining.

All in all, it's not a bad issue but it's a little lackluster for a concluding issue. While it does leave a few back doors for the next few issues, it won't be one of the most well remembered in Special Missions run.

All in all, nearly everyone would/should be disappointed by this – fans should be sad its ending while others should be upset over the poorly executed finale.

In short, this is a good issue, but the real proof will be in the next issue. This is more exposition than excitement, but it certainly holds a lot of potential.

In closing, this is an impressive follow up. Some readers might not appreciate the slower pace, but this is a welcome change from other G.I Joe titles, offering personal stories and unique plot-lines (look! a bad guy that isn't instantly Cobra!). Worth picking up.

All in all, however, these are minor complaints for a strong issue. This issue resolves a lot whilst providing new threads fluently. Cobra Files #4 doesn't feel forced or pushing in one direction, making for a very solid read.

In short, I'm highly impressed with this issue. It's not foreshadowing for the sake of foreshadowing; it's personal conflict, dilemma and character development told well. Of course, it's the potential consequences that will likely get most G.I Joe fans.

When it comes down to it, part of me wants to like this issue. Cobra Files has shown much promise of late and this unfortunately doesn't meet the high bar it set itself previously.

All in all this has an interesting premise, some solid writing and some artwork that could be better. Two out of three isn't bad " readers already invested in this title are going to want to read this one through.

All in all, it has a few flaws but G.I Joe: Cobra Files #8 emerges out okay. It's a decent read but it's over very quickly, which may or may not be a bad thing depending what you want out of your G.I Joe.

All in all, this is a dissapointment. Maybe it was axed for poor sales or because the stagnant plot was going nowhere. Either way, it's the end of something that wasn't that important, so how satisfying was the conclusion ever going to be?

In short, Glory #28 shows all the strengths of the title, taking its rich, unique setting and making the most through stunning visuals. If you don't mind being a little confused, new readers are sure to find lots to love.

As for the actual writing, Glory has always had a difficult plot to deal with. As much as Nanaja seems critical to the story, her introduction feels a little 'forced'. I'm not entirely sure at what point her presence was noted by Glory and co, or how they know anything in this issue. Its a minor hiccup, but its certainly great to see Glory getting back into action.

That said, this is an excellent read over all. Whilst I do think Glory #30 is sometimes better to simply look at then to read, the plot itself is still gripping and engaging.

Finally, Glory ends on a typically explosive cliff hanger. Whilst the confrontation with Silverfall isn't what readers would expect, yet none the less surprising, the cliffhanger suggests there will be much more action in the next issue; I for one can't wait.

All in all, this is an excellent issue of Glory. It foreshadows a lot, and builds on a lot of previous issues, so its clearly something for the fans, but at this late a stage into the stories conclusion this is the best way to go. its certainly proving very rewarding so far.

The artwork itself is also stunning, the final pages contrasting between bright reds, whites and blacks to add extra emotion and depth to a very, very satisfying issue.

In short, this isn't for everyone but those it is aimed at will love it. It's fun, humorous and very, very original. Here's looking to issue #2.

In short, I still enjoy this issue, but it feels as if its lost some of the momentum the first had. I don't know whether this is a deliberate emphasis on creating a bigger world or jumping from point-to-point, but I can't help feel it's gone off track a little bit. Still, don't let that stop you picking it up and giving it a go.

All in all, this is a fantastic third outing for the series. There's definately some grander plan at work but, for now, I'm happy with the combination of charm, humor and artistic talent that's being offered here.

All in all, it's not a bad entry but I'm really looking forward to the next issue. The fifth installment looks like it could offer something more substantial in the way of plot, with hopefully the same amount of laughs.

All in all, when the minor faults can be forgiven, you know you're onto a winner. Fun is very much the key focus here and this issue ensures plenty of that, without making any sacrifices.

In short, this series is still going strong. Sure, it likes to distract itself in various corners, but there are so many jokes and ideas being thrown around that its hard not to like the final product.

All in all, this is a very good issue, but very much more of the same. Again, I imagine this won't bother the vast majority of readers, as thats what we've come to expect.

In closing, I am highly impressed by Harvest #1. Not just because of its themes and bravery, but because it looks to also be telling a decent story and narrative in between. This isn't shocking for the sake of being shocking; its shocking because its pulled off with a disturbing sense of reality.

The ending is also highly effective. It brings together many of my points regarding Harvest. Its emotional, tied to both the story and the themes. Its something that's known to various characters throughout the issue, but denied to the kid (and thus the reader) right until the end. If you're looking for drama, suspense and a tiny bit of gore, then Harvest #2 has you covered.

With the addition of the “freaky kid” who, lets face it, was obvious right from the start, still providing a little colour and humor into the title, Harvest #3 still has a lot going for it.

All of this, and I haven't even mentioned the creepy kid. Funny and disturbing all at once, he exemplifies many of the titles greatest strengths. With only one issue to go, I'm certainly interested to see how everything is wrapped up; Harvest doesn't strike me as a world full of happy endings.

As a whole, however, the series has been a success. Its dark and gritty, both in plots and consistent artwork. That said, I could happily read issues #1 through #4 as a semi-conclusive story. The idea of Ben dying on the bathroom floor seems a more fitting ending, as it certainly added suspense, drama and a cathartic impact. Yet its quick resolution and new ending in issue #5 doesn't do the series the justice it deserves at times.

Like I said, this issue is somewhere between execution and unrealized potential. I still have hopes for Hoax Hunters, but this issue isn't the proof.

In short, if you're a fan of the series you will like this. If you're just picking it up on a whim, it's going to feel like a generic TV drama " a bunch of young, good-looking people with mysterious pasts being all mysterious save for occasional one-liners and hooking up. It's got other stuff too, if you can find it.

All in all, it's not bad but it needs to push it self further. There's plenty of potential in Hoax Hunters, but dancing the same dance over and over isn't going to sustain interest on the way there.

In short, there's a lot of tidying up to do. The script has potential and the lines and inks are solid. If the team improves the color and tightens up the writing, this could be a fun series but, for now, I have reservations.

All in all, this is an improvement on the last issue and holds potential for this little mini-series. At this point, it's very open in its direction and I would recommend people give it a go.

All in all, this is a great part three and I, for one, can't wait for part 4. This is a series that works well in the short-term format and Imperial #3 is a testament to that.

In short, I love it. I wasn't too keen going into this title but Imperial is something that won me over and proved me wrong – this last issue easily proves that.

Finally, we have Insurrection III. Dan Abnett is an old hand at writing for 2000AD and Judge Dredd Megazine, so it should be no surprise that Insurrection III has a very promising script. It starts off slow, but the interesting grey scale visuals courtesy of Colin Macneil make for an interesting read none the less. That said, things seldom stay dull and this title is shaping up to be rather exciting.

Whilst it is certainly readable, its lack of development into the next issue leaves the title feeling a little too constructed.

As for the plot itself, this issue is less than subtle. It quickly reintroduces Canler, giving the villain another reason to be after Tarzan. Its a big world, yet Lord Of The Jungle seems to juggle between a small handful of the same characters. Whether this works or not is yet to be seen.

The only problem with this issue is the future. This arc dealt a lot with bringing Tarzan into the civilized world. If he goes back, it might undo a lot of what has been done; does Tarzan really belong in the jungle when he can now speak fluent French and English? Likewise, the closing chapter has also cut off a lot of Tarzan's ties to the civilized world. If he stays, there isn't much of a supporting cast to warrant any importance. Whilst the closing page strongly suggests one over the other, only time will tell.

In summary, however, it is a good read and the artwork maintains its decent standards. Whilst it may not be the most original piece of writing, it is interesting and fluid enough to warrant a decent read through.

On a similar note, there is also the use of Jane Porter and the less than subtle shifting of pieces. With so many characters heading to Africa, the future plots seem pretty obvious. Whilst most fans would definitely like to see this happen; Porter is a key character in Tarzan's personal story, for instance, the writing may just risk repeating the first arc all over again.

That said, the jungle setting is showing more promise and potential when explored in different areas. Hopefully the next few issues should explore this even further.

All in all, this is a good issue. If not entirely original, its something readers of the series will want. That said, what the next issue can offer remains to be seen.

All in all, its hard to rate a comic that looks fantastic, but lacks substance. Whilst some may love this new direction, Lord Of The Jungle (and Tarzan in general) has always had certain themes and motifs that go against this in various ways. Only future issues can tell what will actually happen, however.

All in all, this could be a fun little mini series if Nightworld #1 is anything to go by. Be sure to keep an eye out for the next few issues if this is your thing.

All in all, it might not be the simplest or the prettiest, but Nightworld #2 definitely has its own charm. It's not the cute and cuddly type, but it does like to have fun and entertain along the way, which is what counts.

All in all, I'm impressed with this issue. While it isn't perfect, it keeps up the consistency shown previously and, at the same time, pushes things forward for a fourth and final issue.

In closing, I do enjoy this issue quite a lot but I feel future stories need to keep it short and offer a more substantial conclusion. This issue merely gives the main cast their own goals and, while this is good for driving future arcs, what does it offer readers in the mean time?

All in all, this is a very strong third issue. The plot moves at a decent enough pace, the title is visually appealing and there's a lot to soak in from start to finish. In other words, I'm highly awaiting the fourth issue.

All in all, Pariah #4 could very well mark a step up for a series that continues to go from strength to strength. It it keeps it up, Pariah could be one of the best examples of hard science fiction in today's comics.

All in all, I'm very happy with this issue. While it's not the most exciting in terms of action, that's never been Pariah‘s style and this issue very much proves that it's not needed.

Finally, alot of credit and respect has to go to Ken Garing. After two great opening issues, its impressive the amount of work that's done by one person on a monthly title. Garing is the artist, story writer and letterer. In short, Planetoid is his work, and the benefits of a unified, single vision can easily be seen in Planetoid #2.

In short, its still too early to tell, but Planetoid is beginning to certainly make a name for itself. It looks beautiful, reads very well and never patronizes or bores the reader.

As is common with Planetoid, the end certainly leaves you wanting more, yet feeling thoroughly satisfied at the same time. The pacing moves well, with a lengthy enough passage of time that the world doesn't feel bogged down in minor details, and the over all plot gets plenty of room to breath and grow. Throw in Ken Garing's usual artistic flair for a rusty sci-fi look, and its easy to see this is a title that's still going strong.

In closing, I'd say this is a fairly impressive finish. In only 5 issues, Planetoid has been a fun, yet deep enough, adventure in a hostile, gritty science fiction setting. Also, there's a robot dinosaur at various points. Does it need to make sense? Not really; its just awesome.

In short, this will very depending on what each reader is looking for out of a comic. However, if you've ever enjoyed Popeye in any of its forms, there's plenty of charm to be found within Popeye #3.

In short, Popeye #4 is a great example of Popeye. It tells a reasonable story, even if it does take its time to get going.

In short, this is a very well rounded issue; probably one of the best of the new Popeye issues.

All in all, this is a decent Popeye issue. Depending on how familiar you are with Popeye, the inclusion of Bluto might mean different things for you, but it is a good read none the less.

All in all, this is an interesting tale with a few unique twists, something that Popeye has shown to be good at. With simple humor to please audiences of all ages, from its simple messages to its funny action and comedy, there's something for everyone with this issue.

All in all, this is an excellent issue. Whilst its still very much Popeye and appealing to that specific audience, it does such a good job that it might be able to push past its usual readership as well.

In short, there's not a lot else to say about this issue. The side-plot involving Wimpy adds a touch more humor to an otherwise dry issue, but its none the less a charming tale from front to back.

That said, it does somehow suit the character of the story. Popeye and Toar aren't intelligent characters, speaking academically, but the appeal has always been through the motifs, themes and messages expressed through their personality (and by generally winning a lot of fights). Popeye #10 doesn't lecture the reader. Like the best of the series, the story is plain and simple, giving a happy ending and message without patronization.

In short, this is one of the better examples of Popeye. Whilst trying to mimic and continue an older title will always be limiting, Popeye #11 shows there's plenty of life left yet, and is well worth a read.

All in all, this is another strong issue for Popeye. Sure, its not the best this title has offered, but this is a decent issue that's easy to pick up and read, offering a quick yet entertaining flick through its pages.

That said, each issue feels like a self contained story in itself, and that reflects the writing skills on display. There are cliffhangers and endings that demonstrate the larger plot workings as a whole, but each issue reads well as a stand alone narrative (if you don't mind the ambiguity). Prophet #27 is no exception to this.

All this being said, there is definitely some improvement. more than the varied colors, the focus on specific characters is beginning to give Prophet something to root its story in. If this continues, I may very well find myself deeply enjoying Prophet in the future.

All in all, this is one of the best samples of Prophet I've seen. Both new and old readers have a similar starting point, and it highlights many of the title's strengths. Of course, this will all now depend on how this issue is followed up. If this standard persists, and the title doesn't wildly swing between various arcs too much, I may begin to enjoy Prophet a lot more.

In short, this seems to be a big improvement or turning point for the series, where new followers will have a greater grasp on what is going on.

This gives the title much more depth, even if this is contrasted against a repetitive plot; I still long for a longer yet understandable plot where these characters can develop greatly. Prophet has a great universe, but it jumps through so much its hard to focus or feel anything for the locations that, from what the title tells us at least, Old Man Prophet is so keen to protect.

Finally, Prophet #33 also ends on a surprisingly satisfactory cliffhanger. There's just enough suspense to keep you interested, the narration itself teasing more information than the artwork. All in all, it shows progression for the title, and a coherent follow-up in the next issue is something to keep an eye out for.

In short, this is well worth a read, but don't expect much. Whilst there is some action, a lot of Prophet #34 is a further insight into the setting, rather than the plot or characters.

Over all, I'm impressed with this issue. Prophet #36 has the right sense of balance. There's developments without an over reliance on action, and there's a unique setting without having to jump around and discard previous characters and plot-lines at a time. This is definitely the right way to take Prophet, as it shows much potential.

Over all, I really like Prophet #37, although it's difficult to say why. For a singular issue it offers satisfying value, despite some of its other flaws and faults.

All in all, Prophet #38 is very enjoyable. It still explores it's unique setting, concepts and characters, despite a few minor faults. With a promising storyline, Prophet is offering more and more potential for the future.

There's really not much else to say. Great story, great art and a big talent pool working to make something a little different – and it works, too. That doesn't always happen.

To put it in other words, this is a pretty good issue. It's full of the estrange and bizarre readers have come to expect, whilst also offering a sense of progress and substance.

In short, it's not a bad issue and while long time readers might want it for their collection, it's one of those issues you can easily skip over when going back through the collection. It's certainly pleasant, but it just doesn't add anything to the ongoing title.

All in all, I found this issue is far more influential than it looks. It hits on all the right notes and oozes with character, all while building up for the next issue.

In short, this series is showing a lot of promise. As I said, its early days and the title's taking its time to ramp up the main plot, but its not letting this get in the way of good storytelling as it goes.

All in all, this is a steady and decent second issue. With the right focus, this could be a very intelligent series or, at the very least, prove to be a fun little romp with plenty of meta-references to the current state of superheroes. Either way, there's definitely an audience.

All in all it's not a bad issue, but it is very obviously getting from point A to B. Many readers won't mind this, so long as the ride is fun, in which case this is worth a read.

In short, this is an improvement, but there are ways to go. I am enjoying it, but you can't help feeling a title like this could be much more.

The religious undertones, however, can not be so easily hidden. The plot revolves around a small town being closed off thanks to “revivers”; people who come back from the dead. As such the nature of an afterlife, and thus religion, is heavily involved. This certainly makes for deeper meaning, and Revival is careful not to overstep on any boundaries. The ending is a nice touch; most readers will appreciate the symbolic use of the scythe. As both a farming tool and as a metaphor in a comic that focuses heavily on life and death, its a subtle touch that shows the dedication and thought processes into making this narrative work.

This is a great follow up issue. It does a lot to establish the story and scene; whilst it might not show too much of the supernatural and spooky side, there's nothing wrong with biding your time occasionally.

In short, Revival #3 is a great issue. It gets things going properly, building on a lot of the plots and themes established. At any rate, the next few issues look to be intriguing; although Revival is a series that currently likes to set the questions, not answer them.

Despite all this, the plot is still running thick in Revival. Nothing is given away easily, and the creepy alien/ghost/monster makes another appearance, something the talented artists keep to a minimum to ensure the maximum effect. With things looking to kick off, it seems the next few issues might just start delivering some answers; yet if there is one thing Revival is good at, its teasing as much as possible to keep the reader invested; something its definitely achieved.

In short, whilst it is a bit of a mixed bag, Revival #5 is still worth a read. The main story gets more and more interesting as the puzzle slowly unravels.

The issue also ends on one of the most interesting cliffhangers so far in the series. That said, after reading the issue, its hard not to remember some of the sub-plots that are left in the open. Blaine Abel, for instance, is a remarkable character with lots of promise who hasn't been seen in a while. Despite having lots of potential, it appears such developments become lost in the larger picture.

In short, this is still a good issue. Whilst plenty of content is never a truly bad thing, its something should perhaps be explored or broken down more effectively in the future; sometimes Revival just feels like one of these titles or settings where no-one seems to be the good guy.

All in all, this is a pretty good issue for Revival. Whilst not everyone gets some attention in this issue, due to the surprisingly large (and growing) cast of the title, the ones that do are certainly enough to interest any reader.

All in all, this is still a good issue of Revival. It looks great and reads well. Still, I can't help feeling that, as a stand alone example, it doesn't contribute much to the series.

All in all, this isn't a bad issue. It's certainly not groundbreaking, nor the best the series can offer, but focusing on the main cast and keeping character development in focus is never a bad thing for a small-town setting such as Revival.

In short, it's safe to say I'm not a fan. It has a few elements that are likable, but for an entire issue this seems like a waste of a month. It's more a side project than anything else; maybe it would be more enjoyable sold as such.

In short, this is the kind of focus I've been waiting for with Revival. One warning though, not everyone will like the final page. It's a little shocking for some but it does fit the adult themes that Revival more than dips its toes into.

All in all, this is a pretty good example of Revival #16. It underplays the supernatural parts but adds plenty of mystery and depth to the small scale setting which helps make it so gripping in the first place. Still, I sometimes wonder if its getting too big, as like a lot of issues, you may be left thinking about a certain plot thread that got ignored, or something that wasn't mentioned.

All in all, this isn't a bad issue for Revival. In fact, it's quite a good one but, in the long run, it just isn't important to the longer story.

In short, this is another case of ‘not bad, but not great either'. The elements are there, yet this is very much the same old song and dance we're all use to by now.

All in all this issue had a lot of potential but fell short. It has many strong points going for it but the series often likes to branch out and forget about things. It's done this in the past and the early signs aren't good here either.

Over all it's not a bad issue – in fact I enjoyed it – but it leaves this lingering feeling of going deeper into the rabbit hole without any end in sight.

All in all, this issue suggests a slight improvement for the series. If it manages to build on all these promises there is great potential, but Revival as a title has had it's peaks and falls before.

All in all, regular readers will probably like this issue. It teases just enough to keep peeople interested and it definately introduces a new element or two that will please many. That said, it depends very much on what you want from this series; some people may walk away empty handed.

This is a good read, but the areas it lacks in will bug certain people. Still, I'll look the other way for now, since the ending is something I enjoyed and am looking forward to.

All in all, this is how I think Revival should be; a focus on small town drama with a looming storyline threaded throughout. Revival #27 doesn't drop the ball and, in many ways, I think a break from the major developments makes them more crucial in the few pages they do appear in.

All in all, this is a substantial issue for regular readers. It also suggests a lot about the overall narrative and mystery too so, if you're keeping an eye on Revival, this one isn't to be missed.

All in all, I guess time will tell what the next issue holds, but its worth keeping an eye on, just to see how much time Revival has left.

In short, whether you're familiar with the character or not, Rocketeer Adventures 2 #4 makes for some excellent light reading.

All in all, this is an impressive opening issue for the series. Time will tell how far this new series diverges from the original classic, but the creative team looks to offer an impressive product which ever direction they go. More please!

All in all, it's a very solid product and shows plenty of hope for the series ahead. It keeps to all the hall marks that make Rogue Trooper great, but it always makes sure to be interesting and gripping at all times.

All in all, this is a good third issue. Rogue Trooper #3 sticks to the heart of the original but provides a pace and sense of action that will keep modern readers more than satisfied.

If you can't tell, this issue impressed me very much. It wraps up by itself but it's a sheer joy to read from start to finish.

Whilst it further helps to set up further narratives and interactions between the various characters, many of whom haven't met yet, the shock of the moment adds a sense of realism to the dire situations depicted on the screen. Once again, I'm hungrily craving the next issue.

As with previous issues, Saga #6 also leaves on a cliffhanger of sorts. Its not exactly dramatic, but it does leave you eagerly awaiting for the next issue. The pacing in this title feels right; it can take its time in areas, but it always gives you something in the mean time.

Finally, it just wouldn't be Saga without leaving on a cliffhanger. Like any good monthly title, it makes sure you want to come back for more. That being said, there are plenty of plot hooks and revelations throughout the issue as well.

All in all, this is an excellent issue of Saga. It does feel ‘in between' things at the moment, but thanks to the wonderful artwork and careful writing, it doesn't drop the ball on anything.

The Will also makes a stronger appearance in this issue, teasing a confrontation with the titles main cast. He's arguably one of the strong side-characters in the series, and the writing has demonstrated keen ability to flesh the character out. He's the typical anti-hero, sitting somewhere in between good and bad. Case in point for Saga #10 would be the chapters ending; Saga is one of the few titles that makes you care about such a minimal character…

This, of course, is always helped by the art of Fiona Staples. Saga #11 is as bright and as vibrant as ever. The larger panels and splash pages give way to some excellent colors. Even the large areas focusing on space (the bits without said giant evil cosmic space baby) have subtle, yet vibrant, washes of color. The final page in particular is a perfect example. The only downside is that there aren't any new settings to explore in this issue; the majority of it is aboard familiar ships with familiar settings and style. Its still amazing to look at, but Saga is at its best exploring new fantastical environments that let's the art go crazy.

All in all, this is an excellent issue of Saga. I could even argue its good for new readers, as it serves as a good stand-alone sampling. In any case, it offers a fresh look at the Saga universe, and shows plenty more depth and versatility.

In short, I'm glad to see Saga back. It's not the most surprising or shocking of the series, but it's a welcome return. However, I kinda want to get back to the situation that the previous issue left off on. Saga #13 definitely teases it's readers.

In short, this is the kind of focus I've been waiting for with Revival. One warning though, not everyone will like the final page. It's a little shocking for some but it does fit the adult themes that Revival more than dips its toes into.

All in all, this is about as much as I think can be said without spoiling anything or explaining the entire story. This issue, admittedly, might not be the best for new readers – who won't have a strong attachment to a cast that talk a lot in this issue – but it is definitely one that belongs in the wider series.4/5

So, in other words it is safe to say I'm an impressed. Saga #16 smoothly gets back into things, brings everyone up to speed (mostly through plot but, when it needs to ensure new readers are up to date, a post-narrative baby always helps) and hooks audiences in for the next issue. Or maybe it's just me. I'm giving this the highest score I can because it emphasizes so many things that are right about the comic industry and how creative the format can be with the right talent.Now, does anyone know where I can get my own lying cat?

All in all, Saga #17 pulls it out of the proverbial bag. Equal parts tense, engaging and satisfying, the story continues to go from strength to strength without resulting to cheap gimmicks or ideas along the way. I'll admit, at 17 issues in I thought it might have lost some of its steam by now, but the performance is just as solid as its ever been, if not more so.

All in all, it's a welcome return for Saga but I don't know if the new direction is the right one. The last few issues were some action packed pieces and, while I'm eager to explore the consequences, I want to see more of the aftermath before jumping in this new direction.

That being said, this is a Dragon-heavy issue, and the most of the comic takes place away from Earth. This is great for focusing on the main character and the current events regarding his race, but it does enough to make sure the events on Earth aren't forgotten just because the war is over.

All in all, this is a great read and a good start to a new arc. With what promises to a much more localized storyline, this change in pace may just be what Savage Dragon needs right now.

As for any actual action, there are a few brief panels (and I mean panels) of action. It seems like a decent amount of plot-threading or foreshadowing; especially when thrown in with the cliffhanger ending. Speaking of the ending, it certainly opens up various possibilities, but seems to go against the current, small scale and personal storyline that's currently running.

As for the side arcs and developments. These are also heavily drama-based. Whether its relationship troubles or other dynamics from the younger cast of Dragon, the over all feel of this issue is one soaked in drama. Again, this arguably suffers from art at times. The small panels work well with the pacing, but it only makes things even harder to see. Whilst this is definitely a decent read, be aware that it is definitely reading, not simply looking, that is Savage Dragon #185‘s strong point.

In short, this is something worth picking up if you're aware of Savage Dragon, including a decent cliff hanger ending. Someone else less knowledgeable, however, may only walk away with more unintended questions than answers.

All in all, this issue feels a little like filler, but it's good filler. At the very least its an enjoyable read that seems to be going somewhere.

Over all this isn't a bad issue, but it certainly promises more for future issues than it offers.

In short, this is a typical issue of Savage Dragon. The few minor changes don't make much of a difference, and the difference doesn't necessarily mean an improvement.

Over all, fans of the series are going to love this, while new readers have something to climb aboard with. Only time will tell if the creative team keep this up or go back to their familiar habits.

All in all, this is a poor issue for the title, although there isn't any one feature that majorly went wrong. Perhaps it feels ‘more of the same' than specifically bad.

All in all, this seems like a step in the right direction. While we still have a fast moving plot that jumps from point to point, everything is improving slowly.

All in all, I admire the choice to make something different. However, if you cut too many corners and don't bother to add depth or detail, you get something like this.

Everything in this issue reads, looks and feels like fan fiction. The bad kind of fan fiction. It's poorly slapped together in places and the sudden urge to bring more adult themes into the mix is simply out of the blue

All in all, regular readers will know doubt love this issue, but it very much follows in the footsteps of some of the changes seen in the 200th issue. For everyone it pleases, I imagine others will not feel so engaged.

The action is good and has the kind of consequences Savage Dragon needs once in a while, but it's wrapped in pointless, overhyped erotica that you can't see the forest for the trees.

All in all, despite it's few flaws, I quite like this concept. The idea, combined with the superhero genre, gives it plenty of potential and the creative team looks to be exploiting this as much as possible.

In the end, these are some small drawbacks for a title that's still being ambitious and confident in its range. I certainly look forward to more.

All in all, I get what it's trying to do, but it doesn't feel right. There is potential, but right now it comes as an abrupt change of pace for what can only be argued is a niche audience.

All in all, it's still early days for this title but its starting to show promise. I'm still not entirely sure if this will hold major appeal to those unaware of the original show's run, but its so far enjoyable and engaging without drowning in back-story or nostalgia.

In short, this issue has a lot going for it. It may need a second read-through, if only because it dances with so many plot points at the same time – if I had to choose, however, more is better than less.

All in all, this is very much an issue for the fans. That may be good, considering the title in question, but if it goes too wide in its scope it won't do itself any favors trying to get in new readers.

All in all, fans will definitely stay interested but newer readers may not appreciate being dragged deeper into the rabbits maze. Sometimes adding new things for the sake of it just isn't the way to go.

All in all, it's not a bad package. As for as a first arc goes, it was slow but it got to a point in the end. Hopefully with a little tighter writing, the next few arcs have plenty to offer.

In short, Skullkickers #16 is both an excellent example of storytelling and a prime source of humor in comic book form. With riffs on pirates, fantasy tropes and everything in between, Skullkickers #16 is worth a read for anyone who appreciates a laugh.

In summary, this is an excellent issue of Skullkickers. Its also a great starting point for new reader's too, since the next release sees a new arc in full swing.

Finally, the last story (which seems devoid of a title) is probably one of the best. Its hilarious, drawing on more fantasy staples and developing them in a humorous way. Of course, there's a fair amount of fighting and drinking involved too. Its very funny, and very Skullkickers.

In summary, this is a welcome return to form. Equal parts lore, story and fun, Skullkickers #31 is a well-rounded stable issue that eagerly kicks back into the swing of things.

Likewise, the plot gives regular readers plenty to read into. The history of the soft master certainly leaves the title on a mysterious note, and the true motives of several characters is always left unclear, but that's to be expected in a title where everyone is technically the ‘bad guy'.

None the less, this is definitely an action packed issue. It doesn't go overboard, as things are fairly easy to read if you're up to date with the story. Whilst there is, as usual, a much greater focus on Snake Eyes instead of Storm Shadow, its none the less a decent read that builds up the current exciting story arc.

In short, this is one of the better issues of Snake Eyes & Storm Shadow I've read. It builds on the last issue and ends in a thrilling cliff hanger that will certainly keep any fans of the series waiting for the next issue.

All in all, however, its an issue that delivers a very strong impact. More than the fight itself, the issue teases out some of the implications near the end of the issue. Things certainly feel shaken up. Snake Eyes & Storm Shadow is a very tight issue, focusing on one key conflict. Given some of the international locations and wide plot lines of the franchise, this narrow storyline and small cast certainly benefits from the added attention.

In short, this is an excellent issue, and the perfect way to finish a series. Even if you're not a fan of G.I Joe or the featured characters, this is an issue worth picking up.

Overall, however, I'm sure there's an audience for this, even if it's not me. There are a few good tidbits of writing and the style is vibrant, to say the least.

All in all, this isn't a bad issue. Sparks Nevada: Marshall on Mars #2 isn't going to stand out among this weeks releases, but its likely going to have a specific audience in mind, anyway, and they'll enjoy it.

Finally, this segment also features Captain Kirk and the Fourth Doctor " this isn't a spoiler, its on the front cover. Depending on how you feel about the older material from these shows, this might further sway your final opinion.

All in all, however, Star Trek Doctor Who Assimilation #4 is highly enjoyable. The last moments of this issue certainly make the next look tense, and show an insightful perspective into the two distinct settings and histories.

In short, this is a great issue that gives readers plenty to look into, whilst providing a lull moment to build up suspense and tension.

If there is one thing this series has always managed to do, its end on a cliff hanger of sorts. This issue is no different. Drawing on previously mentioned backgrounds, the time-travel nature of Doctor Who merges with Star Trek to explore some of the greater background of Star Trek. This is no doubt familiar to Trekkies, but its exciting new ground for those unfamiliar.

Of course, this is only in one more issue, which might lead to quick pacing. This issue does take its time, providing a slow 'calm before the storm' moments, but this hopefully won't be at the sacrifice of the next issues timing.

That said, the final twists at the end offer a final treat for readers. It doesn't feel that threatening and overwhelming – its the last issue, so you can figure out that things will get wrapped up quickly – but it gives you a little something extra when the CyberBorg is dealt with.

Daniel Cray"a samurai mercenary"stumbles upon the legendary city of ZenZion, a mysterious desert outpost under siege from a vicious warlord. The peace-loving citizenry beg Cray to defend them" forcing Cray to reluctantly draw his deadly "Malathane" sword one last time to battle a relentless army of robots and their savage masters. Science Fiction meets Samurai in an epic new adventure from John Raffo (Dragon: The Bruce Lee Story).

All in all, this is a very weak follow up. I can't find the unique angle in this comic and, if it has lost it's sense of direction, it'll need to regain it fast.

In short, this issue is a big disappointment. Words like generic often come to mind and I really hope the creative team finds a way to bring new life into the series or it may disappear sooner than expected.

In short, there's some good artwork, terrible writing and a storyline that will impress or inspire nobody. Very disappointing. Given the pattern set so far, I don't expect much from the next issue either.

All in all, this issue seems to go out of its way to dissapoint. It's a very quick read and instantly leaves you feeling dissapointed. At least it won't be around for much longer.

If you haven't guessed, this issue isn't very impressive. The writing is almost phoned in and the art team have to pick up the slack. Unfortuantely, there's only so much that can be done at this stage.

In closing, I have mostly praise for this title. Some might find it unrealistic, but Bionic Man #10 plays its cards well and never truly goes over the top. Well.. despite the gun hand, but that's pretty cool anyway.

Still, it can be forgiven for its faults, as all characters need a break between large action-extensive developments. It gives the title more realism, even if it does risk boring certain readers.

This comes to its height near the end. Steve Austin is a character who is often seen as ‘unbeatable' due to his bionic enhancements. Needless to say, the confrontation with Big Foot doesn't exactly go to plan. Bionic Man #12 doesn't end on a high note, and will definitely leave fans waiting for the next issue.

Ultimately, however, not everything goes to plan. Without spoiling the story, again, there is a certain cliffhanger near the end that certainly changes the scope of things, making for an interesting plot. The political and ethical aspects of Bionic Man are often overlooked (is Steve Austin a man or government property, for example) , but its good to see they might not have been forgotten.

That said, the developments between Austin and Bigfoot are at the core of this issue, and it helps keep the story afloat despite its faults. The next issue looks like it may be over the top, but if its anything like this one, it may still hold its ground.

All in all, this is a decent issue for the Bionic Man. Its not the most realistic; with bionic people, dogs and even cybernetic, Russian bigfoots (or should that be bigfeet? ) a suspension of disbelief is more than recommended. That said, it has shown potential for the series. With no relatively obvious plot threads left unexplored, I'm certainly looking forward to the next issue, especially if it follows in the wake of any developments already made in this issue.

As for the end of this issue, there's certainly a small amount to read into. This is mainly because of any personal development; whilst the plot so far establishes that Austin shouldn't get involved in foreign affairs, that's exactly where this issue strongly hints the story is heading.

All in all, Bionic Man #18 isn't a bad issue. A little lost in its identity, sure, but there's still something worth a look.

All in all, this issue delivers. Its not the best issue, but its a very good example of Bionic Man. Whilst it teases a lot about the next issue, that's for Bionic Man #20 to follow up with. This issue offers a very Austin-centric story that suits Bionic Man well.

All in all, its hard to find any major faults with this issue, aside from the blunt ‘surprise' ending. Its a fun issue that's equal parts personal, political and enjoyable, without being over the top or bordering on ridiculous (Ala the Big Foot saga).

Honestly, I don't hate Bionic Man #22. The main point still works, even if it is overplayed far, far too much. There is potential for the future issues but, as introductions go, there are better ways to reference real-word stuff than this.

But good art won't save an overall poor execution. I like where Bionic Man is going, but this current issue is pandering too much to modern culture, internet references and a younger audience. Bionic Man should be about the future (such as cyborg technology – a little way off from when the show first aired) and the dangerous places this could lead to. I was happier with the big foots.

In short – I'm happy with this issue. It gets so many things right that the few flaws are easily forgivable. Not an issue for Steve Austin fans, however, he's not in this issue for more than a handful of panels.

All in all, this is an interesting read for those who appreciate more Bionic Man. I'm still not sold on releasing this every year however, as it doesn't add enough to make it worth the wait.

That said, the title is still successful in creating drama and tension. The latter scenes show more of Sommer's psyche, as well as setting up the scene for future issues. In short, this is a great issue if you can get past the main character's portrayal.

In short, despite its minor faults, Bionic Woman #4 is still a worthy read. It can be a little tedious at times, but it does its best to try and have a unique style.

In short, this isn't a bad issue for Bionic Woman, but there are enough changes to make it a more daunting read. The art and style changes get in the way of an issue that would otherwise be building on the previous issue's successes.

So, whilst the depiction and portrayal of Jaime has finally reached a point where it can work past the simple sexual portrayal, the rest of the series doesn't seem to be keeping up. With this in mind, the next few issues will certainly be interesting.

As I said, I want to like Bionic Woman #10. It's ideas are in the right place but it overdoes it far too much. After such a long break this just isn't the best welcome back for the title.

All in all, this is a good second issue – not perfect, but easy to pick up, read and enjoy. So far, so good then.

All in all, this is an improvement for the series, but it's got a fair few more steps to go to truly make itself it's own. Still, it's showing progress, so its bearable for now.

In short, this is an improvement. It tries some unique ideas and, for the most part, it succeeds. However, it leaves few hints for the future, so who knows where this issue is going next.

As for the art and everything else, there isn't anything overtly special. Its typical quality of The Boys, and fits the darker imagery and violence of the title well. In its closing moments, this is still a high quality example of the title. I for one will be sure to miss it in 4 issues time.

Without giving away any spoilers, the current issue sets up the last three for an interesting read. A lot of focus has been put on Wee Hughie and the next few issues look set to really explore the character that, to an extent, has always sat on the fence in a lot of the bigger issues. In short, bring on the next issue.

Wrapping up with a surprising cliffhanger, which definitely highlights Butchers less stable personality, the next two issues are certainly going to be something special.

Considering there is only one issue to go, I for one am certainly looking forward to it. Given the current events, its not entirely clear how everything will pan out. If there's one thing The Boys has proven over time, its that the odd spanner in the works is never out of the question. In short, bring on issue 72.

All in all, The Boys has been an excellent run and I'll be sorry to see it go. But it was fun whilst it lasted, and it made the impact it wanted too. Very few titles can say they've done that as well as The Boys.

All in all, it's not the worst start in the world but, when bringing two characters together, there just aren't that many ways to do it in such a short amount of space and, at the same time, develop a story.

All in all it's not bad, but it is not great either. Its an enjoyable read but, after the long wait, its hard to dive in and get motivated over such a short series again.

All in all, however, its hard to find any major fault worth complaining about. The potential for future cross-over events is always there but, as a one-off, this is more than enough for now.

Yet despite its faults, Cargo of Doom #1 feels like a good example of Rocketeer at its best. It captures the time and setting, as well as getting to grips with the heart of the title's appeal. The next issue will certainly look promising at least.

As for me, I'm willing to give the idea a go so far. Its silly and outright bizarre, but if you embrace it fully it also quite cool. Depending on how they treat this in the next issues, it might be able to save itself.

Still, the sheer size of them is used to set up the final issue, as they're a bit too big for the Rocketeer to simply beat down. That said, this issue also provides him with what looks to be an easy answer. Too easy, perhaps, but only the final issue will tell.

As for the ending itself, the series leaves a possibility for a return, making full use of the new characters. If the series was to return, the potential story lines vaguely hinted and suggested at would make for an excellent start. With a longer run in the future, there is definitely potential should The Rocketeer return once more.

Overall, this is definitely a great start to a new Rocketeer. Whilst it seems to tread the typical themes of “something happens, Betty gets annoyed, insert random monster”, it none the less does it in a fast paced and well written manner.

In all honesty, this is a good example of the Rocketeer done right. Its not perfect, but it does its best to get through the plot, deliver some action and keep anyone entertained.

In short, that's about as much as can be said without getting into too many details or spoiling the issue. As the penultimate issue, its not exactly trying to attract new followers, but its still a fun and easy read in its own right.

In short, this is something I would recommend to anyone looking for something different. At the very least it's worth a try, as it may surprise many.

Visually, McKeever's art style is one of its stronger points. It might put off many – I for one thing a little color would help make the title more attractive – but the grim yet quirkly style plays well with the script. It doesn't take itself too seriously and each panel aims to impress. Looking at the comic, rather than reading it, shows how McKeever wants to build a world and amaze readers rather than bunker down on story telling.

All in all, this is a fantastic issue, even if I can't put my finger on exactly why. From start to finish it is very entertaining but if you were to ask someone the exact plot, there simply isn't one.

All in all, this is another fine entry for a series that continues to impress and intrigue. With only 2 issues left, I'm interested to see where it's going, as this issue teases a little, but perhaps not enough.

All in all, this is a fantastic issue for the series. While it might serve as a bridging issue in the long run, it's still very easy to enjoy it for what it is; a well thought-out comic that explores its own setting just enough to satisfy the reader's thirst.

All in all, could it be better? yes. Does that matter? Not really, The Superannuated Man has had a good run for a mini-series and this last issue gives it a good enough round-off that I won't loose any sleep.

In short, while I do enjoy this title, its message or direction is exceptionally muddled. Somewhere between a comic book and an essay, this definitely has a cult readership ahead of it.

In summary, this is a strong follow-up to a bonkers opening issue. Does it make sense? No, not completely, but that is very much part of the point.

Whether this ruins any of the fun depends on your personal tastes, but Thief of Thieves #6 certainly keeps things going rather smoothley.