Mark Pritchard Comic Reviews

There was a lack of humour throughout, and no sense of fun. I remember one joke about Superman having wind, but apart from that it was all very po-faced. In the end it becomes one of those books that you end up laughing at, and not for the right reasons. You laugh because it's bad, and if you didn't laugh you wouldn't bother to read it at all. It's naff, very naff, out of date and lost in some strange era of a forgotten 1970's childhood. It has no relevance to anything, fails in the nostalgia department and ultimately just reads like a very bad comic that is a bit embarrassing for all concerned.

But for me personally this is just another disappointing Marvel comic book. Nothing about it says 2014. The character of Jim Hammond is a whiny bloke who has decided to hide away in a small town and stop engaging with the world around him. The villain is straight out of Fear Itself, both in terms of motivations and even the look, which is alien bad girl with big hammer. Will the aliens get their weapons, or will the good guys stop them? What do you reckon? As for me, frankly my dear Marvel, I really couldn't give a damn.

I'll enjoy seeing Animal Man again in the new Justice League United book, and I'm sure he'll bring his family along with him. Hopefully readers will be tempted by the 'Justice League' title, and perhaps after reading the continued adventures of Buddy 'Animal Man' Baker they'll look back at these old issues of Animal Man and see what they were missing all along.

Goodbye Aquaman, it was fun. I hope to meet you again some other day, but as for now I feel we need to take a break in our relationship. To see other people, and to explore what else there is to find in the wonderful world of comics. Will we meet again someday? Yes, I think so, but not for a while.

Ultimately though, this was always going to be a bit of a stinker. Gail Simone has wisely jumped off whilst Zero Year is in town and Bennett does about as well as you she can do with an awful concept and storyline brief. But as I finish this review my final thoughts return to the awful, amateurish art of Fernando Pasarin. He needs to be replaced immediately, and when this Zero year nonsense is over and Simone returns, hopefully it's with a new and far better artist who will give this title the artwork it properly and rightfully deserves.

I enjoyed seeing Conan in his prime, refusing to be used as a political pawn and taking things into his own hands. I enjoyed some of Ariel Olivetti's deliciously illustrated panels of art as well; it's just that the sum of the parts didn't quite combine to make it the delicious meal that a Conan book often can be. So not bad, but too many white backgrounds, too many confusing political nonsense and too much time spent yapping and not enough time spent hacking for my liking.

This is the making of a man, and the making of a legend, and I'm finding it all to be a heck of a lot of fun. So to fans of Conan old and new, and to those not yet familiar with this ultimate symbol of alpha male supremacy, jump on board now. Sure the water's a bit choppy, a blood red moon is in the sky, and do I hear the sound of rapidly approaching leathery wings? But trust Mr Brian Wood to safely guide you on the voyage. It might be a tad dangerous, but it's guaranteed to be a Hell of a trip, and Conan the Barbarian is flexing his youthful, yet rapidly expanding muscles and more than welcomes you join him for the battles yet to come

I found Conan the Barbarian #23 to be an extremely enjoyable, clever book that resonates on both an emotional, as well as a visceral, adrenaline fuelled level. This isn't just another book for Conan fans. This is a book that all comic book fans should be checking out. Go on, pick up a copy, you don't know what you're missing.

If you have ever liked Conan then you need to buy this issue. This is as good as a Conan book will ever get. A young man no more, this is the beginning of what defines him as a fully formed grown man. The action is disgustingly intense and captured perfectly by the art and colouring of Riccardo Burchielli and Dave Stewart. The script by Brian Wood is action intensive and frantic, yet when the calm after the storm comes there is great sadness and poetry there. This book left an impression on me, and I'm happy to give it top marks and my full recommendation.

The book is about the passing of innocence and the beginning of a long and difficult manhood. Conan has grown into a man who will forever be haunted by loss. The love of his life died when he was still a young man. He will never get over it, and all of the violence and adventure that is to follow is nothing more than a lost man shouting into the void. Brian Wood has got to the heart of who Conan is, and why he is what he is. What else could any reader possibly want? Life goes on, but loss is everywhere we look. That's it, the end of my review. What else is there to say?

The second half of this book has Conan waking from his drink induced slumber, realising that some strangers have mistaken his misery for weakness and are intent on using him as a pawn in their larger game. How do you think that will work out for them? The art is gritty and atmospheric, and this issue concludes with a violent war cry coming from the defiant lips of our Cimmerian hero. I loved it, and can't wait to get my hands on issue #2 in thirty day's time.

Constantine #8 is a swirling dervish of magical intrigue, battles and betrayals. It's a good, honest, spooky, silly, exhilarating and entertaining way to spend ten minutes of your time. Not exactly revolutionary, original or earth shattering, but I enjoyed it, and I'll be coming back again next month for some more John Constantine magic time action.

Raw Fawkes captures the essence of Constantine extremely well, but a lack of creative story-telling, unimpressive artwork, and a conclusion that leaves the story pretty much where it all started, you are left with the feeling that this issue was just a whole lot of nothing, unfortunately.

This is a Godless comic, yet it's a comic about God. How clever is that? Constantine is all of us, and that's why he's the most vital character in contemporary comics. Raw Fawkes understands this, and his writing in this issue is top notch, demonstrating just how philosophically deep you can get whilst writing what is ostensibly just a childish book about superheroes. It really isn't, there's so much more going on here, and I for one really appreciate what he is doing.

We already knew that Nick Necro hated Constantine, and we already knew that Constantine wanted to rescue Zatanna and escape from Nanda Parbat. So what was achieved here? No new insights, limited plot development, average art, and a final panel that doesn't exactly thrill me with anticipation for what is going to happen next. This is starting to really drag now. The creativity is running dry, and as a reviewer I'm starting to find it difficult to say anything positive or negative about it all. It's a cross over event unit shifter, that's all there is to say.

Wrapping things up, I'll return to my opening paragraph. Three stories, one bad, one good, one excellent. There's some great art in this book, and that one ending that really stands out. Don't let the first story put you off, there's a lot of fun to be had in this month's Creepy. If you're not picking it up, then why not give it a go? It's very different to what you get in your typical Marvel or DC superhero book, and 'Second Childhood' by Bruce Jones and Ramon Torrents is excellent old school horror that is certainly worth checking out.

Creepy #16 almost fell off the cliff, but a nice old-fashioned horror comic tale by Bill Warren saved the day, and that front cover by Julian Totino Tedesco is absolutely gorgeous. It would be nice if all three stories were strong, but that is rarely the case in Creepy. Some readers will be unhappy with this, but as a regular reader of Creepy I know what to expect. That's good enough to keep me reading, and that beautiful cover is getting framed and going on my wall. I can't give this book a high rating, but weighing things up I'd suggest you check it out for the cover art and that one superior story from Bill Warren.

I guess I just found it all too dark and too gruesome, and when I read my comics I want a little light with my darkness. This book was all darkness to me. I know that some readers will find the anti-hero Dead Killer to be a super cool, bad ass character, but to me he's just a psychopath who enjoys killing things, and that's not really a hero in my eyes. He's just a well-drawn lunatic with an interesting back-story. I guess the zombie genre is just a bit too bleak, a bit too depressing and a bit too confusing for this newbee to the world of zombies. The artwork was great, but I'll leave this one to the zombie fan-boys. It's all just a little too sick for my tastes, and not really my cup of tea.

So let's wrap up this review. Doc Savage #1 is the tale of a bloke and his mates. They all look pretty much the same, although one has a nicer suit than the rest, and one of them talks in an unconvincing intellectual manner that doesn't quite work and quickly grates. The art is uniformly dull, but at least that's in keeping with the rest of the book. The highlight is the front cover, but as soon as you open the book it all goes quickly downhill from there. Going back to the question in my opening paragraph. Just what is the point in Doc Savage? Errrrrrrr, nope, I'm done here. If you have the answer then please, please, please let me know.

'Shadowplay' is a lesson in how to do a good old fashioned horror short properly. It has everything you need. A clever script, a creepy protagonist, fantastic artwork and a splendidly gruesome ending. It has that moment as the story concludes that reminded me the time when I first began reading horror comics. That moment when you 'get it,' and you sit back on your chair with a big smile of recognition and satisfaction on your face. Perfect, that's what a good horror comic should be doing.If you were thinking about getting this issue of Eerie, then I'd recommend you check it out for that one story alone. The other two tales are relatively weak, but ShadowPlay by Al Ewing and Kelley Jones is well worth the price of admission this month.

It's not terrible, and I'm sure it will get more interesting as it goes on, but a first issue is supposed to grab you. This book didn't grab me at all. It's not horribly written and it's not horribly drawn either. It's just another comic, not that much fun really, but it didn't offend me. So putting a positive spin on it all, I'll say that it's competent, it has potential and who knows? It might get a lot more interesting as it progresses.

Issue number One of Evil Empire reads like the beginning of a detective story. The characters have been introduced, a crime has been committed and a huge revelation is dropped that will have your mind scrambling around, trying to make sense of it all. It's an intriguing start, well written and featuring well drawn, interesting and believable characters. This could be a good one, so get a copy whilst you still can.

Check out Evil Empire if you want to read some 2014 left leaning anxiety on what could happen if a good liberal like Hillary Clinton doesn't win the next US election. I personally found it to be a bit nave. It completely misses the recent exposure of the left/right political paradigm, and it's depictions of a hellish future where right wing totalitarianism meets moral collapse and anarchy gave me the very strong message that writer Max Bemis might not be too happy with the current collectivist agenda in the US, but he's happy to support it because he can't envisage a happier alternative. I found this to be very illustrative of how the Rockefeller funded indoctrination of young writers and artists still persists, even though all evidence around them should probably be waking them up a bit by now. However, if anxiety is freedom, then this book is as free as you can get.

Should you check out this book for yourself? Yes, I think so. I'm not a big fan of Steve Trevor as a character, and I had a few issues with the portrayal of the US President as a benevolent symbol of peace and freedom, but the book is going into the realm of magic now. It's giving writer Sterling Gates the opportunity to further explore the character of Killer Frost, and the magical realm that is revealed in the later stages of this issue looks very interesting indeed. Taken as a whole, that's more than enough to keep me on this title and eagerly awaiting next months issue.

Wrapping this review up, I'll return to my opening paragraph. This tie-in is no cash in, and is well worth picking up. There's a lot going on, it's very well written, it's exciting and leaves you feeling well satisfied and looking forward to what happens next in the Forever Evil story line arc.

Now stick me back in my bubble. I want to read some comics, and please, please, please keep the real criminals out of them, unless you want to be like Edward Snowden and tell the truth about what is really going on in the world around us.

I have major issues with the population of Gotham being portrayed as a victimised mass dependent upon the protection of the corporate state, but for the time being I'm enjoying this book quite a bit more than I thought that I would.

And that's all I have to say about this book really. The art is decent, and the writing unremarkable, though I don't blame Peter J. Tomasi for a workman like performance in a comic that is ultimately not that important in the grand scheme of things, and probably doesn't really deserve his full creative talents to be wasted on it anyway. Get it if you want to see villains fighting each other, but don't expect anything other than that.

How can a book so long-delayed be so worthy of the wait? The next issue can be delayed for another year if they like. I don't mind. If it's anywhere near as good as this issue then I'll be happy to wait. Frankenstein Alive, Alive #3 is a work of heartbreaking, melancholic art. Dripping with emotion, gorgeously illustrated and lovingly created from beginning to end, this is the very definition of a must buy book. Forget everything else this week. King Bernie has returned. Comic books simply don't get any better than this.

So that was a bit of a downer wasn't it? I was looking forward to reading this comic, but I didn't enjoy it half as much as I'd anticipated I'd would. Anachronistic, not that funny and with too much dismembered body parts thrown at me page after page, this is one I'll quickly forget about.And it all started off so well.

I thoroughly enjoyed the book, and although I'm not exactly proud of myself for doing so, I fully recommend it to all (over the age of 18) readers, and will be eagerly awaiting the next instalment of DarkHorse's Grindhouse series.

This is a book for people who know what they are getting into. This is not for children, and it's not for somebody who thinks that comic book violence is cool and sexy. This is a book for the kind of person who wallows in 1970's exploitation genre film making fiction. It is to be enjoyed as a good example of the revenge genre, and although it's a bit depressing to think that our society has degenerated so much now that this kind of comic book violence is not even a big deal any more, I can at least enjoy it as a very good example of the genre that it's paying homage to.

If you really want to shock somebody then take an issue of this comic, jump in a time machine and set it to sometime in the 1970's. The people there probably won't find it that shocking, but at least they might have a discussion about it. In 2014 the only person talking about it will be me, in this review. Now I have finished, and that's all that will be said about it.

We have one issue left. What will it say? What will it conclude? Is it going to be a cop-out, or will it shine a searing spotlight on what is happening in the west, as well as the middle east? That's how this book will ultimately be judged. Not by the artwork (which is good), not by the dialogue (which is littered with moments of enjoyable humour) and not by the pace of the action, or moments of tension that are constructed for the enjoyment of the readers. No, this book will be judged on what it says about America itself. We won't know until next month, but at the moment this book is very different to your average comic book. Why is it different? Because it is trying to say something about the state of the world that we are all living in. It is trying to get to the truth, and just by attempting to do so it's the most revolutionary comic book on the market today.

The highlight of this book is the artwork. Like I said before, it's very creative and I love some of the individual panel layouts, but what do we have here at the heart of the story? Not much, not much at all. It's been done many, many, many times before, and the lasting impression I have of this book is of a lack of core, a lack of a story that needs to be told. Put simply, this is a book that has nothing to say. Iron Fist #1 looks great, but a spiritual emptiness pervades everything about it. In many ways it's a lot like the character of Daniel Rand himself. Bored, empty, with nothing to say and unable to connect with any of the real issues of our times.

Forever Evil is still as strong as it ever was, and that's rare in these long running comic book events. This is un-missable stuff, a combination of intelligent, witty story telling with gorgeous art and I for one am enjoying every second of it.

To conclude, what we get here in JLD #26 is a team player of a comic. A comic that fits one piece of the puzzle into place, adds a few more pieces, then hands off to the next team member. It's very unselfish in that regard, but as a single-issue comic I really enjoyed it as well, and have no hesitation in giving it my full recommendation. If you enjoy Constantine, comic book magic and the Forever Evil story arc as a whole, I'm sure you'll get just as much enjoyment out of this book as I myself did.

This is a great book, and everybody concerned deserves a hearty pat on their backs for the efforts they put in here. Great stuff really, the end of something, but the beginning of something as well. That's how you write comics, and this one has been written extremely well.

I cannot recommend Justice League Dark this month. The art is rushed and the story is very thin. There are some character insights gained into the emotional traumas that drive one of the main villain's, but little else. When Constantine finally pours out his heart and soul to Zatanna he comes across like a suburban husband who works for an office supplies company, and she reacts like he's telling her he's just about to mow the lawn before picking the kids up from school. Not exactly thrilling, JLD is a magical hop, step and jump away from being an essential purchase this month.

How to rate this book? I think it might be impossible. Some of the art was great, and some of it was awful. The script was as heavy with exposition as any dull, thick, long-winded and boring 1000 page novel. When you have to explain something in so much detail you know that something has gone wrong earlier in the story. The more you write the more you dig, until you end up in a big hole shouting, 'This all makes sense, right?' Does it make sense? Not really, but a reset was needed, so that is what has happened. At least Constantine will be Constantine again, and from that new starting point lets move on and forget this whole Nanda Parbat nonsense ever happened, okay? Deal? Yeah, deal.

Justice League Dark #30 is a book written with respect to its long-term readers, and that's all I want from my comic books. The party is over, but there are consequences to what has happened during that wild drunken night. Those consequences are explored here, and the next stage of story development is almost an add-on at the end of the issue, something that is needed to keep the narrative moving along. I really appreciate that approach, rather than immediately moving onto a new direction without stopping to pause and think about what has just happened, and what effect it's going to have on the individuals involved. I enjoyed this issue and have confidence that writer J.M DeMatteis has the creative ability and respect for his readership to continue making Justice League Dark a must read book that I always look forward to reading each and every month.

Wrapping up this review I have to conclude that of course I had a huge problem with this book, but that problem wasn't enough to take all of the enjoyment away from me. I had fun playing in the imaginary prison that is lurking within the head of each super-hero. It's a great concept, and Matt Kindt does some pretty decent stuff with it. As for teenage girls being unaffected by emotions like fear and pride though? Oh dear, Mr Kindt. Time to leave the house for a bit mate, you've obviously been spending far too much time typing away on your lonesome.

This really is a must read comic. Not only for the huge implications that it has on the larger Forever Evil picture, but the story telling device used by Matt Kindt, and the excellent artwork throughout make it all a fantastic reading experience. What an amazing package it all is. Justice League of America #10 is not to be missed. This is a superior comic book in every conceivable way, and this reviewer enjoyed absolutely every single second spent reading it.

Overall then, a very enjoyable book, not by any means essential, but a welcome addition to the Forever Evil arc, moving the plot on, further developing the character of StarGirl and nicely setting up what is to happen next in this consistently rewarding long-term story arc.

So JLA was a bit weak this month. It's a shame, but sometimes a writer has to tread water before the big stuff happens, and whilst he treads water he tries to throw up a few things to keep us all entertained. It doesn't quite work this time. The book doesn't really give any new insight into it's two main characters, and in trying to do so actually makes them appear less realistic, or believable than before. It ends with a scene that's supposed to conjure emotion, but just falls flat. Such a shame, lets hope it's a bit better next month.

King Conan the Conqueror #1 is a book that will probably only be enjoyed by those who are already big fans of the character Conan the Barbarian. It's such a shame as this book deserves an audience as large as the big name Marvel and DC comics that in all honesty are nowhere near as good, both in terms of character portrayals, artwork, story and the raw, visceral impact that this book is delivering. This is a book that roars. It's roaring now at all of the inferior books out there. It's roaring at all of the comic book readers as well, but how many of them will hear the roar and decide to investigate what is going on for themselves?

I cannot tear myself away from this book, and even as I finish up this review I'm looking at an Axe wielding Conan, screaming "Kill them all," a ferocious look on his face, as the seagulls await their meal of fresh human slavers flesh. The blood flies, a chant begins and the man that will become King shows us what the force of iron will can, and must achieve. Get this book, get this book now.

What really makes this issue something special is the wonderful job done on coloring by Jose Villarrubia. That's the highlight, but it wouldn't be as effective without the consistently excellent work of artist Tomas Giorello. These two elements combine with a creatively structured script by writer Timothy Truman, making something old brand new again, and what you have here is another wonderfully entertaining and enjoyable edition of King Conan the Conqueror. Every month it surprises me. I know it will be good, and then it's even better than I thought it would be. I can't say enough good things about this book, I really can't.

Here's hoping that issue #3 starts to see real story-line progression, rather than the embellishment and romance that has already been added to the legend that is Red Sonja. This is a good start to a series, but it's missing the classic cliff hangers that are the trademark of the genre, and the very reason that keep readers coming back for more and more swords and sorcery Red Sonja action. Taken as a whole it's pretty good so far, but I'm hoping for better things from this title next month.

Manifest Destiny hit its stride immediately in issue #1. Issue #2 expands the story further by answering a couple of questions, yet posing some more. It's clever storytelling, giving you just enough to feel satisfied, and just enough to keep you wanting to come back for more. There is a palpable sense of tension throughout, with the large panels working like explosions of action in a Hollywood movie to keep the excitement moving at a consistently fast pace. It's a lot of fun as well, and the last panel has that more questions than answers balance just about right, making me eagerly await next month's issue.

This book is a drunken bender in darkness, a vomiting Edgar Allan Poe as he stumbles from tavern to tavern, searching, hoping, pleading for the desired bliss of eternal sleep. This stuff will give you nightmares. This is not Halloween Scooby Doo scary. This is real horror, psychological horror that takes it's time, creeps around, stalks you, leering, stumbling, limping in shadow, enveloped in black, yellow skinned and mad. Mad with the realisation that this is life. The horror of humanity is real, all too real. It will make you insane, gloriously, stupidly, incoherently, violently, pathetically INSANE.

Artist Damien Worm is a sick man indeed. Sick, and extremely talented. What a fantastic job he has done here, creating an atmosphere of gothic gloom that's perfect suited for the story that is being told. That story has been fully established now, and the only complaint I have is that this book is going to be concluded next month. How can that possibly be? I want more, a lot more. There's so much pathos here, so much more angles to explore. My hope is that this book will be recognised as the triumph that it is, and that writer Steve Niles and the wonderful Mr. Worm will team up again on a regular basis and give us more of the wonderfully depressing, awfully melancholic, gorgeously gothic world that they have created. How can you create something so fascinating and then just leave it be? I demand more. Please sirs, can I have some more?

Will I check out issue #3 of Moon Knight to see if our hero actually starts to act like the hero I'm guessing he's supposed to be? Yes, I will. Warren Ellis has intrigued me here. But if the next issue of Moon Knight follows the same trajectory of insisting that we are all helpless slaves, and there's no point in even trying to fight for what is right over what is wrong, then what's the point of continuing to read Moon Knight? I'll read the next issue to see if our hero starts to fight for the real-world good guys, but if he's happy to just stay in the shadows and fight Marvel's tired old cast of anachronistic and ill-defined bad guys, then this is a book that I'll no longer have any interest in reading.

Moon Knight #3 takes a colossal backwards step, leaving the entire future of the series in doubt. The art and colouring is extremely distinctive, and it works very well to create an atmosphere unlike many of the other superhero comics out there today. Unfortunately though, the writing from Warren Ellis has hit a creative dead end this month. It was shockingly bad, very brief, unsatisfying and referencing tired old comic book clichs that are at least three decades out of date. A good book has gone bad. It has fallen, and I'm not sure if it can get back up.

I get it every month, and it's always good. It's one of those books that I always look forward to reading, and I always come back to it again and again after I've finished with my other comics. The covers are always beautiful, the storyline within the book is enthralling and never lets up, and the character of Sonja herself is a joy to read. Yeah, that sums it all up quite nicely really. Red Sonja #5 is just like the other four issues of this title. A joy to read, from beginning to end.

The character of Red Sonja herself is Gail Simone in comic book form. Strong, clever, funny and defiantly in charge of her own destiny. And those covers by Jenny Frison, beautiful, absolutely beautiful. 2013 has been a great year for Gail Simone's Red Sonja, and here's hoping that 2014 will be just as much fun. As long as Simone is on the title though, I know this is a cast Iron guarantee. Raise your glasses to Red Sonja, all hail Red Sonja.

Red Sonja is a lot of fun this month. It's funny, silly and very enjoyable. The previous arc had moments of great peril and emotional pain for Red Sonja, but this issue is just fun. Gail Simone is obviously having a great time with it, so why not join her and have some fun with it yourself? It has a tremendously entertaining main protagonist, fantastic writing, lovely art and that sense of humour throughout makes it a pleasure to both read and review.

Okay, this isn't going to be one of those deep, complex books that is going to shake up the comic book reading world, or change anything. It doesn't offer anything revolutionary creative, or new and if you just treat it as a five minute chuckle then I can't see anybody hating, or even being bored by the book. However, if you want involved, long term, serious storytelling with depth, subtlety and complexity, then don't bother to get this book. It's not going to be for you, and after reading it you might feel like you have wasted your time with something that is a bit shallow, throwaway, silly and inconsequential.

I usually get a lot of pleasure from my monthly dose of Red Sonja, and this month was no exception. The art and colouring were a bit weak for my liking, but the story itself was enough for me. Gail Simone has a very humorous writing style, but it can occasionally slip into silliness where you don't care about what is happening, especially when her characters are just messing around, engaging in (feminist friendly) action movie quips and puns. But when Simone gets the balance between humour and proper storytelling right she's one of the most enjoyable writers working in comics today. Issue #9 of Red Sonja was cleverly written and structured. That balance between humour and serious character based storytelling was just about right, and although the art was a bit weak, this is still a good book, and still worth keeping, or adding to your pull-list.

Red Sonja Berserker gives you an old tale, told very well. There's emotional resonance, humour and pathos, the art is great and the book is perfect for both adults and children. Again, this is not an original tale, but writer Nancy A. Collins knows how to make you root for her characters, and in this book she does that extremely well.

But lets just pretend that you are a government and authority loving individual who believes that our entire civilisation will collapse if we don't have corporate men and women in uniforms looking after us. What would you get from this comic if you were that sort of person? A largely formulaic book where the Policeman gets hurt then comes back to beat up the criminals, the end. If that sounds like fun, then jump on board. As for me, I plan on chucking this one in the bin, picking up my copy of Frank Miller's Robocop Last Stand and reading Robocop as he's supposed to be written and portrayed.

If that all sounds interesting to you then pick up this book. I obviously loved it, and I'm sure you'll get a lot out of it as well. It's all very easy to follow, even though we're midway through the arc now. The art is clearly defined, and paced with a frenetic energy that matches the action intense narrative. The story has obvious parallels to the world we are increasingly finding ourselves living in today, and the nuggets of humour that lace the book throughout are a wonderful counterbalance to what is essentially an intense, prescient, satisfying and worthwhile read.

The idea of a man fighting against the machine part of his nature and against corporate tyranny really is the story of our times. We are all Robocop now. What should we do? Join the dehumanising, corporate machine, or fight back for the sake of humanity? I know what I'm going to do, and reading this comic really crystallised it for me.

Robocop Last Stand #6 might not have a lot going on plot wise, this book is mostly action, but what is on offer here has a fast paced, adrenaline fuelled sense of urgency about it, and I loved it. Robocop is back, heading straight back into the battle and I for one am a huge fan, and enjoying every single panel of it.

Robocop Last Stand is a comic that tells people to stop being spectators, to stop being passive, zombiefied television viewers and to start taking control of their own destinies before somebody else puts on a uniform and takes control of their destinies for them. That's a good message, and far more than you normally get in a mainstream comic book.

I remember them as being so much better than this, but who knows? Perhaps I am mistaken? I know the art was a lot better, but as for the stories themselves? Were they any better than this? Following a lone, murdering machine man through a desolate wasteland, what else could they be? I'm not a kid with dreams about heroic lone gunfights, against the odds, blazing away with an unsmiling face and relentless trigger finger anymore. My old home no longer exists, and I was probably a bit foolish to buy this comic and expect to still find it there.

If you pick up that trade, what you'll find within is an unsettling yet thought provoking story. Not really about preppers, or survivalists but about group power dynamics and some harsh truths about the reality of human nature within group situations. I highly recommend it, but be warned. There's some pretty gruesome stuff here. It's not comic book evil. It's real evil, and that of course is probably the most disturbing thing of all. Sometimes when you look in the mirror you end up not liking what you see. Sheltered offers you a mirror. Will you look? Now that's up to you.

Leaving the global freezing debate aside, this issue of Sheltered is ups and downs. It begins on a down, but the tension quickly rises and it ends on a huge up. The artwork whilst not of the highest quality is perfectly suited for the story. That story is progressing nicely and because of the events that take place at the close of this book, is well worth following for a few more issues yet.

Could this book also have that surprise ending? Perhaps a surprise that will make this reviewer eat his words and change his tune about this book being a conventional story with new 'Prepper' wrapping on it? We'll see, but even if the ending is as conventional as I think it will be, at least it has been a well told, emotionally engaging cult leader story. Nothing revolutionary, but not bad, and I wish them the best of luck with the upcoming movie.

If you haven't already had the pleasure, then you really need to get a copy of this book. It begins with a gorgeous front cover, full of atmosphere from Francesco Francavilla, and the interior art and colouring by Daniel Indro and Josan Gonzalez is just as good as well. There's a gothic tone to it all, and it's perfect for the wonderful tale that is being spun by writer David Liss. I'm really surprised at myself that I've been waxing so lyrical about this book, but what can I do? I bought it, read it, and loved it. I'm just glad that I've finished with my review, as now I have the chance to read it all over again.

How can I be so mean about such a lovely, unthreatening book? I must be a horrible person, but it was just a bit of fluff to me. There's nothing wrong with fluff, but this book wasn't especially exciting, creative or funny to me. If I want quality cute I'll read a copy of My Little Pony. It has better jokes, wackier characters and sillier, more creative plots. Shutter #1 is an exercise in cute that isn't that funny, creative, exciting or entertaining. It's okay as a bit of playful fluff, but that's about as excited as I can get about it.

So a bit of a tepid affair this month in Dark Horse's main Star Wars title. The characters are still strong, the art is much improved and I have a feeling that things are not as they seem concerned Leia's upcoming nuptials. That's enough positives for me to keep on reading, but this issue is not going to be remembered as one of the stronger ones in Brian Wood's run. It's not going to impress anybody new to these comics, and anybody giving it a high rating is probably being a bit too kind to something that they love, and will always love. The big question of course is whether or not will they still be in love when Marvel gets their hands on it? That's something for the future, but for the time being make the most of Dark Horse's Star Wars titles whilst you still can.

Star Wars: Dark Times - A Spark Remains, has been an extremely enjoyable read, but most of the other Dark Horse Star Wars titles are just as good as well. Dark Horse has to be congratulated for putting out so many consistently enjoyable Star Wars titles in 2013. If you haven't already explored their expanded Star Wars universe, then I strongly suggest you make it your new years resolution to check them out in 2014.

The artwork is large, colourful and typical of many mainstream comics, but writer Tim Siedell brings a little more depth to the story telling in this one. That's why I'm reading it, and that's why I'm doing this review. Hopefully you'll find yourself intrigued with what I've said here, and will give it a read for yourself. I promise that you'll enjoy it, and if nothing else it will at least get you thinking about some of the larger issues that go beyond the make believe Star Wars universe, and have real implications in the world we are all living in today.

There is no evil here, just human efficiency. Cold calculated efficiency, like piloting a drone over an Afghani villager's wedding party. Not bad for a Star Wars book eh? And that's why you should be reading it. Writer Tim Seidell has taken a Star Wars book and made it extremely relevant to our own war inflicted times, shining a spotlight on the psychology of soldiering, a career where you kill other human beings simply because it's your job to do so.

I don't like to write this, but my lasting impression of Darth Vader and the cry of Shadows is that the writer has failed in his task. What makes this situation so bizarre is that he has chosen to fail, and I don't understand that choice at all.

So should you pick up a copy of Star Wars Rebel Heist #1? If you are a Star Wars fanboy who likes Han Solo (and who doesn't?) then sure, why not? It's only four issues long, and its got Han Solo in it, so it's not going to be terrible. Matt Kindt has gone all fanboy with it, and like I said in my introduction, some people will hate that. I'm okay with it at the moment, but my opinion could very well change. If this is just going to be a self-indulgent book where Matt Kindt gets to hang out with Han Solo then it's probably not going to be the best Star Wars book in the world. Get it if you like Han Solo, but be warned. This is fanboy stuff that reads like something a schoolboy would have written in 1979. It has a nostalgic quality to it, but don't get your hopes up for anything special happening here, because if you do you'll probably end up feeling a little bit disappointed.

I love it, and for me this book is probably the best written most enjoyable comic book on the market today. The art-work is complimentary and doesn't detract from the layered storytelling, meshing perfectly to weave a story that is intelligent, surprising, rewarding and just a heck of a lot of fun. If you haven't already been reading, then get it now. This is a good one, and you don't want to be missing out on it.

What will happen now that Swamp Thing has shown himself to be beyond the control of the parliament, and thus beyond the control of a democracy, or at least a cabal that was collectively representing the Green? It's a very interesting question, and I really hope that Charles Soul continues to explore it further during his run on Swamp Thing. To just leave things as they are, and to throw a new bad guy at Swamp Thing would be a huge mistake in my opinion. As written in issue #27, Swamp Thing has become a dictator. You can't just do that, and carry on like normal, like nothing huge has just happened. Will Charles Soule realise this, and weave something fascinating from what seems to be very wobbly ideological grounds. I hope so, and it will make what happens in issue #28 of Swamp Thing very interesting indeed.

This issue of Swamp Thing offers so much, and sets up what is sure to be a thoroughly enjoyable new arc, exploring what happens when Swamp Thing takes too much power into himself, and becomes the sole dictator of the Green. This is the beginning of that exploration, so now is the time to jump on board. Scott Snyder's run on Swamp Thing was excellent, but Charles Soule has done what most thought was impossible, he's taken what was already very good, and made it even better.

Standing back and looking at the book as a whole, it's okay, and I'd recommend it for the reading pleasure of young boys, but to me personally there's not enough there to keep me reading. It's very concisely constructed, the villains are very cool and it's easy to get straight into what is happening. The art is serviceable and there's a story being developed here that some might enjoy, but for me it was a bit average, a bit generic, and not quite interesting enough for me to add to my pull-list.

I hope that he finds an audience, because I really didn't hate his book, and I genuinely want people to succeed in life, not fail. It's an okay start to a murder story, if you like detective stuff. You have two cops, two murders and a puzzle to solve. That could be enough for some readers, but not for me. It wasn't interesting or original enough for me to invest any more time in it. It could get better as the series goes on, but it's lost me already. The future as realised in 'The Fuse' looks like a generic television cop show. You'd think it would be a bit more interesting than that, wouldn't you?

The Goon #44 is of course going to remembered as the issue that featured, 'Richard Nixon: Frankenstein F****r.' I'm not going to be able to get that image out of my head for a long, long time. Once seen, it cannot be unseen. Wow, what else can I say? For that utterly insane page alone this is a must buy comic.

So that's the Movement for another month. Lots of action, fascinating character development, some light in the Police state darkness and a great ending that is making me count down the days to the next issue. What else could you ask for from a monthly DC comic book? This is great stuff. Exciting, relevant, insightful and fun. Get a copy, get a copy now.

They might be superheroes, but if all they are doing is fighting mercenaries, and not getting to the real bad guys it all seems a bit pointless to me. Perhaps this will be addressed in later issues, but at the moment all I can do is judge it on what has happened so far. I'll keep on reading the book for a few more issues, and hopefully the arrival of the new (famous) character will begin the process of the Movement dealing with the real villains in their world, rather than playing a frustrating, and unsatisfying game with the mercenaries on their pay-roll.

What I do know though is that it's a fascinating dichotomy to explore in a comic book about superheroes, and taken hand in hand with a good dollop of humour it makes for a fascinating, enjoyable, intelligent and engrossing read, asking a few questions about some big issues, and in such a subtle way that if you are not paying attention you won't even realise it's happening.

All of this wacky action is held together brilliantly, with charm, humour and a wink to the camera by the returning J.Bone. This is a book that I was avoiding, not because of the character (who I love), and not because of the very witty and entertaining writing of Mark Waid. I was avoiding it because the art was bloody terrible. Well, that has been sorted out now, so back on the book I go. It's a lot of fun, and I highly recommend that the good readers of this review check it out as well.

This is a book that won't offend anybody, and will shift a few units for Marvel. I'm sure it will make Charles Soule a few easy bucks, and I'm equally as sure that it won't take up too much of his time. The book reads like something he could knock out in five minutes, and if that is what Marvel is happy with, then that is what they get. Do I admire Charles Soule for doing this? No, not really. It's not exactly something to be proud of, is it?

This book was a space romance, and it was a pretty decent one. Nothing spectacular, but well worth reading. The art was a break from the norm. There was some brief moments of creativity with the parallel world thing, but looking back at it all now this was just Jeff Lemire doing some fairly formulaic romantic writing about two half people who met each other, formed a whole being and flew away happily ever after into space. It won't linger very long in the memory, but it was okay whilst it lasted.

It's intelligently written by Ray Fawkes, the artwork is satisfying and complimentary to the story and the overall feel of the book is of an enjoyable read that perfectly supplements and even enhances what is happening in DC's Forever Evil comic book event.

It's kinda okay if you take it for what it is. Forever Evil has been a great event so far, but not all of the books are going to be essential reads. This one is probably one you can afford to miss. Not much happens, the creative juices of ray Fawkes are on autopilot throughout, and the art although competent isn't exactly something that you need to be shelling out your hard earned money to be checking out. The front cover is nice though, but apart from that this is as average as a comic gets, and if you're following the Forever Evil arc don't worry if you fail to pick it up. It's not a bad book, but on a Christmas week where you've already spent all of your money on pressies for the family and friends, you really don't need to be picking up this by the numbers issue of Pandora.

The book ends with questions, and Forever Evil continues in Justice League Dark #27. Concluding this review, Pandora has done what Pandora always does. She's taken the baton, run an excellent section of the relay, and is now handing off for what is surely going to be a record breaking comic book run. Insightful, clever and a heck of a lot of fun, Pandora is really good this month, and well worth spending your hard earned pennies on.

But apart from those two brief moments I cannot find anything else in this book worthy of praise. The very fact that I've managed to write so many words about it at all is quite shocking to me, but that probably says a lot more about this long winded reviewer than the actual book itself. Pandora #8 is a book to miss. It's not very interesting, and it's difficult to find anything else to say about it.

Pandora #9 is worth reading this month. The overarching story finally progresses, some excitement for what is going to happen next is effectively generated, a main character takes control, and all of a sudden it's become interesting to read again. It's bookended by a fantastic front cover, and deliciously appealing ending, and is probably the most enjoyable Forever Evil: Blight tie-in book that I've read in quite a while now.

That's it, review done. Unfortunately, if you've made it to the end of my review then you've just wasted your time. What you need to do is get yourself a copy of this book. The X-Files might seem so 1990's, but this comic is as contemporary as it gets.

So it's congratulations to Erik Burnham, but next issue it gets a bit trickier. Just how are the Teenage Mutant Ninja Turtles going to be convincingly placed within this story? That's quite a challenge for any writer don't you think? It should be a lot of fun to see how that plays out, and I for one am already looking forward to seeing if it does. It's one thing putting paranormal investigators into a comic book about conspiracies, but humanoid turtles who eat pizza and play at being Ninjas, now that's something I have to see.

So that's it, no more X-Files conspiracy comics for this reviewer. I don't understand what it's trying to do, or trying to be. Mocking Internet nerds, and laughing at 'conspiracies' might have been interesting in 1996, but times have moved on, and so have I.