A poor attempt at reviving a classic character, with too few good ideas to make it a worthwhile read.

An exciting crossover caper let down by poor artwork and some tired tropes.

A rollicking action yarn that unfortunately retains the flaws of its source material.

Hervs and Metcalfe's artwork is still mired in a subdued palette of greys and pinks, but the oppressive tones and shadowy linework are actually completely appropriate to accompany this story of moral ambiguity and tortuous redemption. The soot and grime of the old west are splattered across the pages during Lucas' time-hopping scenes, and although Hervs' character work is a little undifferentiated, there's some genuine creepiness on display once the monster reveals itself. Lucas Stand #3 is a flawed installment, but Sutter's intriguing story ideas and the persistent atmosphere of dread mixed with faint hope make you want to read the next one right away.

As always, Jesus Hervas and Adam Metcalfe struggle to elevate the comic through sheer force of artwork, and in Lucas Stand #4 they bring the oppressive humidity of the jungle to life with stunning effect. But even they stumble a few times, as a number of panels require multiple viewings to fully understand what's happening in them. This muddling of art and narrative takes away from the gutsy attitude and bravado at the heart of Sutter's creation, qualities that would be far more winning were it not for the flaws they fail to conceal.

With just one issue to go in the series, it's hard not to feel like Sutter and Kittredge have squandered an intriguing premise and some good early character work. The last page of Lucas Stand #5 hints at a finale that may deliver on some of the series' more fantastical elements, but it might just come as too little too late.

Fantasy fans will find much to enjoy in White Sand, even if it doesn't break the mould as far as genre conventions are concerned. Sanderson's talent for compelling world-building succeeds in carrying this first volume, even as the comic is dragged down by plot contrivances and uninspiring artwork.

Lacking in character but excelling in visuals and atmosphere, there's work to be done but it's a promising start to the series.

High quality writing and lovely artwork make the first issue of this new series more than just a RPG tie-in.

An unfortunate let-down, too short on original ideas to rise above its tie-in origins.

Redeemed somewhat by the artwork and its charismatic central character, but ultimately this issue feels like a let-down.

A series that started out with some real potential staggers to a sadly laboured conclusion.

A worthy addition to the franchise, let down somewhat by poor artwork.

Great artwork salvages a story with intriguing promise but poor execution.

A major lack of originality mars what is otherwise a deeply atmospheric noir thriller.

Courtroom stereotypes, an unlikable protagonist and art issues mar a comic that still shows potential, but keeps falling short of it.

Recommended for younger readers and fans of the TV show, but readers expecting Adventure Time-esque irony and surrealism will be disappointed.

Solidly entertaining and with more than a hint of charm, Clarence's second issue is good, uncomplicated fun.

An unashamedly fun pulp adventure which doesn't take many risks, but makes for an enjoyable read.

A bold and intriguing vision of the future, with flaws that will hopefully be ironed out over subsequent issues.

The series really finds its feet with this second issue, blending corporate espionage and alien archaeology in an intriguing sci-fi mystery setting.

A smart SF adventure that reaches for the stars, but is too frequently bogged down in exposition.

A lot of great ideas, but so much wasted potential; HaloGen ultimately just tries to fit too much in.

A bleak noir tale of vigilante cops and desperate femme fatales. Cliched but knowing, and with a lot of potential.

An attempt to move away from superheroics towards something grittier provides mixed results for the Phantom.

As a series introduction, Skybourne #1 succeeds in setting up some enticing mysteries while telling an entertaining story in its own right. Mixing international espionage with superhero and fantasy elements, and introducing a kick-ass female lead, it makes for a fun read for those who like their genres shaken and stirred.

Beautiful colouring elevates the artwork, and while the story doesn't quite hit the right notes there's a lot of potential on display.

An entertaining read that's much more effective when dealing with emotional gut-punches rather than ironic laughs.

An entertaining romp featuring Ennis' famously dark sense of fun. There are hints of something truly fresh here, but the coming issues will reveal if that bears out or not.

With this second issue, Ennis' new series proves to be both engaging and surprisingly restrained. Despite displaying a few of his classic hallmarks, it suggests a real evolution for the writer.

Ennis and Dos Santos continue to wring both laughs and flinches aplenty from their bawdy comic creation.

Readers who aren't fans of the 1980s oeuvre of director John Carpenter will find a lot of Big Trouble in Little China/Escape from New York #1 goes straight over their heads, but Greg Pak succeeds in turning Carpenter's cult movie source material into an action-packed romp that's never less than entertaining. Ultimately, the issue's greatest strength is the way in which Pak satisfyingly combines the fantastic silliness of Big Trouble with the bleak dystopia of Escape, despite a somewhat weak background plot setting the scene for our heroes' first meeting.

Andrea Mutti's art seems the perfect fit for the grimly oppressive world created here by Diggle and Cruickshank, and Vladimir Popov's range of blues, blacks and greys bring a rain-drenched life to the grimy back allies of Washington D.C. after dark. Mutti's lines captures every bloody smear of the city's underbelly, and give Control #1 a feeling of bleak vitality. With such a well-paired combination of writers and artists, this series shows an awful lot of promise.

Mutti and Popov's visuals continue to convey an ominous sense of gloom without getting mired in their own grimness, and their use of shading and background colours lends the issue some astonishingly effective atmosphere, particularly in its final few pages. In a way, the artwork is what redeems Control #2, but the story is not without its merits. While those looking for truly original writing will be disappointed, there's still much to enjoy here for fans of crime comics.

Despite its story-based shortcomings, 'Iscariot' is an enchanting read and a great showcase for Vidaurri's considerable talent.

Namesake #1 is certainly visually striking, though, with Rebelka's inventive panel layouts and searing colour palette bringing life equally well to gritty street-party chaos and distant alien citadels. This first issue isn't perfect by a long shot, but it's very promising, and not many series can lay claim to that after such a concise introduction.

While the storytelling stumbles, the artwork remains magnificent, and suggests that 'Devolution' is a series with promise.

A gripping and hugely promising first issue; 'Last Sons of America' is a series to keep an eye on.

Johnson and Smith's dystopian tale of international child-snatching remains bleak but thoroughly compelling, with art and story making a satisfyingly coherent whole.

'Last Sons of America' finally delivers on its initial promise, with an issue that combines poignant characterisation with bleak dystopian politics.

'Lumberjanes' #21 shows the series continuing to hit all the right notes, making for a fun and endearing adventure story.

A hugely fun and poignant issue, and a great advertisement for a series that keeps going from strength to strength.

While Abdul-Jabbar and his co-writer Raymond Obstfeld must take a large amount of the credit for making Apocalypse Handbook #1 such a fun and engaging read, Cassara and Guerrero's artwork is also hugely impressive, and the issue's complex mixture of light, shadow, grime and steel brings an extra richness to the comic. Such an exciting blend of quality storytelling and gorgeous art makes this incarnation of Mycroft Holmes a series worth following.

This issue has bags of fun, and a charm that outstrips its lack of originality.

A thoroughly enjoyable romp through the imagination of Pat McHale, full of magic and poignancy.

Smartly combining multiple genres, and teasing out its mysteries across several issues, Spurrier's series is shaping up to be one of the highlights of 2016, and Weavers #3 doesn't show any drop-off in quality. Rather, it reinforces the impression that this comic is something special.

Weavers #4 feels very much like another chapter in a solid and well-built narrative, developing its characters at a satisfying pace and letting its mysteries unravel slowly. Bolstered further by terrific artwork, it further cements the series' place as one of this year's ‘must-read' comics.

But it isn't just the writing that's been consistently impressive over the run of this series. Weavers #5 once again demonstrates Dylan Burnett's fulsome artistic talents, as well as those of his colourist, Triona Farrell. As the conspiracy at the story's heart unravels, Burnett moves in ever closer to the characters, employing more expressive facial work than ever before in the series. His ability to blend the intimate with the explosive, accompanied by Farrell's eye-catching neon tones, continues to make this a comic as good to look at as it is to read. As we draw to the conclusion of Spurrier and Burnett's gripping horror-crime story, Weavers #5 demands that comics readers take notice of their achievements thus far.

Weavers has been a series much less concerned with the how or why of its supernatural set-up than the what and the who. This character-focused approach may have frustrated those looking for a more conventional sci-fi/horror comic, but Spurrier's use of fantasical ideas to embellish a hard-boiled crime narrative has been a resounding success, and if the series returns it'll be fascinating to see where he takes it next.

Wildly inventive science fiction that satisfies on both a cerebral and emotional level. A fascinating start to a very promising series.

Arcadia is fast becoming the most exciting science fiction comic being published right now. If you're not reading it, you need to be.

It's testament to the series' quality that the merest hint of a misstep is troubling; rest assured that Arcadia remains one of the best comics currently on the market.

Arcadia continues to impress and beguile with its fourth issue, further cementing its reputation as one of the best SF comics currently available.

With great and ominous things set in motion, everybody gets ready to meet their destiny. The issue treads water a little, but also blazes with great ideas.

'Arcadia' continues to blend big ideas with great storytelling, and the long-awaited answers to its mysteries are both satisfying and intriguing.

Paknadel and Pfeiffer continue to astound with yet another expertly-plotted issue of this imaginative sci-fi thriller.

Flawed? Yes. But this final issue cements Arcadia's place as a minor modern classic.

Way has described his run on the comic as a "spiritual successor" to Morrison's, and long-term fans will indeed find plenty to love in Doom Patrol #1, but even readers completely new to the series should enjoy this well-written and beautifully-drawn introduction, provided they've a high tolerance for weirdness! It remains to be seen whether Way's beguiling story pieces will form a satisfying whole, and if he's truly managed to avoid simply rehashing ideas from the series' iconic past, but for the time being at least this is the Doom Patrol comic we've been waiting more than twenty years for.

A gripping introduction to this hugely ambitious and imaginative science fiction series. 'Turncoat' promises to be very special indeed.

A treat for fans, and a great introduction for newcomers; 15 years after his sad death, Schulz's creations continue to delight.