All in all, 2000 AD 1924 is a hugely enjoyable and varied anthology that retains a high quality of artwork and storytelling. There's a few low spots here (Namely Slaine's incomprehensibility and Strontium Dog's gaudy coloring), but they are mere niggles in the grand scheme of things. If you've never jumped into the weird world of 2000 AD before, maybe you should finally take the plunge.

A solid cliffhanger rounds out the intriguing A-Force #1, which is another imaginative and original concept for Marvel's Secret Wars event.

Zircher and Jurgens try their best with the final page of Action Comics #957, but it doesn't quite live up to the big two's most recent twists. Still, if there's one thing that Action Comics #957 promises, it's that Action Comics #958 is going to feature the mother of all super-powered fights. And after all, what else are we here for but a good ol' brawl?

Action Comics #958 is a high-impact book with simple aspirations. Jurgens and Zircher are content to fill their 20 pages with gorgeous, wide action sequences; undoubtedly taking advantage of the faster pace afforded by Action's twice-monthly publishing schedule. It's the kind of issue that makes you feel like a kid, sprawled out on the comic book-covered sofa, too engrossed in four-color fun to listen to your mom telling you to tidy the place up. Although Dan Jurgens' writing style shows its age here and Patrick Zircher's vacant expressions often make his figures resemble mannequins, this creative team still knows exactly how to weave a thrilling and satisfying single issue.

Action Man #1 is a welcome introduction and a successful refresh of one of Hasbro's lesser known properties. John Barber's punchy and snappy script whizzes us through the basics and sets up a compelling new status-quo with loads of room to build from, even if it is marred by a handful of rude words that detract from what is otherwise a decidedly all-ages offering. Visually, Paolo Villanelli's clean and minimalist artwork carries a subtle manga influence that effectively communicates both action and emotion. All in all, Action Man #1 is a fantastic new start for Britain's favorite 12-inch super-spy.

Like most of DC's digital-first series, The Adventures of Supergirl #1 is a well-executed microcosm of the property it's based on. With fun artwork and a fast-paced script, CBS' Supergirl has survived the jump to comic books intact, even if Bengal doesn't attempt to match the likenesses of the show's cast. For just a cent shy of a dollar, The Adventures of Supergirl #1 is a worthy lunch-break diversion.

It's difficult to rate Age of Reptiles: Ancient Egyptians #1 alongside more orthodox comic books. Ricardo Delgado has put his heart and soul into this quiet yet dramatic book that feels more like a nature documentary than a standard comic. It would be easy to blast through Age of Reptiles: Ancient Egyptians #1 in 3 minutes and blast it as overly simplistic, but you'd be missing the point. There's a subtle elegance to Delgado's tale of battling beasts that demands you spend a long time poring over its every nuance. Your mileage may vary.

Agent Carter : S.H.I.E.L.D. 50th Anniversary #1 is a solid addition to Marvel's celebration of a half-decade of espionage and intrigue for the spies in blue and white. Kathryn Immonen's script is refreshingly free of violence, somewhat let down by Rich Ellis' artwork. Ellis' occasionally confusing action and Rachel Rosenberg's questionable color palette leaves Agent Carter: S.H.I.E.L.D. 50th Anniversary #1 often unappealing to the eye, but there's a warmth that shines through to make it worth a read.

Aliens/Vampirella #1 is a primo example of a writer who chose to play it safe, much to the issue's detriment. Javier Garcia-Miranda's solid pencilling wrings the best out of Corinna Bechko's safe script, especially in the issue's opening and closing pages. Vampires vs. Aliens is an absolutely killer concept for a horror book, but this first issue barely scratches its multi-fanged surface.

You already know if you want Aliens: Rescue #1, and it delivers exactly what you'd expect " no more, no less.

Jeff Lemire and Ramon Prez brazenly attempt to follow Matt Fraction and David Aja's ground-breaking and not-quite-finished run on Hawkeye with All-New Hawkeye #1: an ambitious and visually distinctive issue that offers an all-too fleeting glimpse into both the past and present of Clint Barton.

Contrast is the name of the game in All-New Hawkeye #1, both in an artistic and narrative sense. All in all, Jeff Lemire's iron-clad plotting and Ramon Perez's night-and-day stylings come together to make All-New Hawkeye #1 another great start for Team Hawkeye set in tumultuous times.

All in all, Alpha Flight: True North #1 looks great and reads even better. It's a one-shot that begs the question " where's the ongoing series?!

Amazing Spider-Man #1 is an absolute beast of comic book. At 60-odd pages, there's more than enough bang for your buck here, even if Slott's vision of Spider-Man ignores what makes one of Marvel's greatest great. Between the main feature and six short stories, there's something here for every Spidey fan, even it's not all perfect.

All in all, Dan Slott and Giuseppe Camuncoli deliver another action-packed and joke-infused issue of Amazing Spider-Man, meaningfully progressing a plot-line that's been simmering for the last 12 issues. For a healthy slice of wise-crackin' action, Amazing Spider-Man #13 can't be beat.

Simple but clear artwork and a script heavy on laughs make Ant-Man a book to watch.

Gorgeous and compelling, Aquaman #26 is the cream of the crop this week.

Aquaman #50 is a hefty chunk of superhero goodness, an accessible jumping-on point for new readers and the compelling opening chapter of a promising new story.

Waid and Staples' respectful reboot must come a relief for longtime fans of Riverdale's most optimistic teenager. The modern art-style combined with this faithful take on Riverdale gives Archie #1 an air of timelessness. It should have been so easy to redesign the entire cast into unrecognizability and make smartphones integral to the plot, but Staples and Waid thankfully ignore this temptation. While there are a few telltale signs of a learning curve " perhaps both for creator and reader alike - at its core, Archie #1 is a successful injection of energy and relevancy into the most innocent universe in modern comics.

If you can remember the first clash between the Riverdale redhead and ol' Crab-Face, Archie vs. Predator II #1 is an imaginative and atmospheric read.

At its core, Armor Wars #1 is little more than a set-up for an impending murder mystery. Robinson's world-building is more than a little clumsy, although there are a few moments here when the setting really shines. Marcio Takara's artwork is similarly troubled. His stylish pencils seem choked by overzealous inkwork and ham-fisted color. All in all, Armor Wars #1 is a book with a solid concept hampered by poor execution.

School's in session for Ash Williams in Ash vs the Army of Darkness #1, a lighthearted and animated introductory issue that applies The Real Ghostbusters approach to The Evil Dead thanks to artist Mauro Vargas' lanky cartoon stylings.

Assassin's Creed #1 is an enjoyable origin tale set in a well-worn and imaginative universe. Protagonist Charlotte De La Cruz is a fully realised and likeable character, while the world she inhabits is recognisable with a thick dollop of action and fantasy. Visually however, this book is a mess. From heavy-handed inking to soft and simplistic color-work, Assassin's Creed #1 is far from a feast for the eyes, despite Edwards' excellent grasp of visual storytelling. If you can handle the problems in the artwork, there's a rock-solid foundation for a compelling ongoing series here.

Despite the lack of Scott Lang's scene-stealing supporting cast and a couple of over-written panels, The Astonishing Ant-Man #1 is a great first issue. With genuinely funny dialogue, effective drama and tense action, Nick Spencer and Ramon Rosanas have well and truly delivered the goods here.

Batgirl #39 is a comic for the Vice generation, a fast-paced young-adult oriented title that puts equal weight on both sides of Batgirl's identity to provide a well-rounded window into the life of an incredibly well-realized character. Tarr's artwork plays well with Fletcher and Stewart's punchy script, and while it's almost too contemporary to stand the test of time, in the here and now Batgirl is a damn fine comic book.

Maris Wicks' unique and visually arresting use of color atop Babs Tarr's fluid and expressive hand make for a gorgeous conclusion to a story that suffers a little in this final chapter. While Stewart and Fletcher arrive at the destination of Barbara's emotional journey in style, they get there on a rickety and tired vehicle that seems better suited to an '80s cyberpunk protagonist than the fiercely modern Batgirl of Burnside.

It's business as usual for Batgirl, and business is booming.

The sky is still blue, the sun is still hot and Batgirl is still an excellent read. If it's not on your pull-list already, this is a fine moment to jump in.

This clearly isn't the best issue of Stewart and Fletcher's memorable run. A fumbled splash page and stuttering pace hamper the overall issue, but a memorable baddie, rock-solid drama and a carefully chosen guest artist show that this creative team's dynamic take on Batgirl is still one of the best books that DC currently publishes.

Overall, Batman '66 Meets Steed and Mrs. Peel, Chapter 1 is a solid start to a thematically appropriate team-up. Ian Edginton delivers an entertaining script that captures the silly kitsch of Batman '66 and The Avengers as well as being a complete Catwoman escapade in and of itself, illustrated adeptly by Matthew Dow Smith. For die-hard fans of the decidedly non-Marvel Avengers, we've not hit the good stuff just yet, but this is still a solid taster of the adventure to come.

Batman #105 is not a brutal triple threat between the Bat and his two newest enemies, but instead a clash of ideas between three uncomfortable allies. This low-key conclusion makes for an appealing palette cleanser after the epic start of Tynion IV's run, delivering solid character development for the key players yet still maintaining tension. Post-Future State, it remains to be seen just how well this new and very reluctant member of the Bat-Family will fit in"

This reviewer's a sucker for an improbable cross-over, and Batman/Teenage Mutant Ninja Turtles is shaping up to be one of the greats.

All in all, Batman & Robin Eternal #1 is a comic book that just about manages to pull off its lofty ambitions. Snyder and Tynion IV have slaved over the plot to this tale of back-stabbing and secret history, although they take care to retain accessibility with a healthy dose of action and the obligatory cliff-hanger. Tony Daniel is Tony Daniel, offering up impossibly handsome faces atop detailed and architecturally solid cityscapes. Grayson fans will find a lot to love in Batman and Robin Eternal #1, as well as anyone who's ever had a cursory interest into the tangled web that Bruce Wayne weaves.

Batman Beyond #1 is a poisoned chalice of a comic book. The artwork and coloring on display here are absolutely top-notch, and of course, it's great to see one of the better costume designs in the world of modern superheroics get a much-needed airing, even if the guy under the cowl isn't to everyone's liking. Dan Jurgen's script ultimately suffers from its marriage to the convoluted Futures End, but there's a lot of potential here for the series to find its own feet as Tim Drake continues to battle the omnipresent Brother Eye.

Dan Jurgens and Bernard Chang are slowly beginning to reveal the potential behind this incarnation of Batman Beyond. Forgetting the shaky time travelling premise, there's a solid foundation here for future adventure. Jurgens still stresses plot above all, which makes Batman Beyond #2 a slow and ungainly read, although Chang's stylish artwork makes action sequences pop with activity. It's an improvement, but we're still not in "must-read" territory yet.

With #3, Batman Beyond is quickly turning from poorly conceived oddity to a stunning and distinctive comic book.

All in all, this is a top-notch slice of blockbuster superheroics.

Batman Beyond: Rebirth #1 is a clunky but visually appealing reset for Terry McGinnis. Although Dan Jurgens is capable of much less intrusive storytelling than this, he succeeds in clearly setting up the Beyond universe for the entirely uninitiated. Ryan Sook's imaginative panel layouts work well with Avina and Lawson's bold palette of deep blacks and reds, interlaced with calming blue to create a visually appealing comic book with a wonderful sense of flow from panel to panel and page to page. Now that the "Rebirth" is out of the way, hopefully Jurgens will focus on character and plot to live up to Sook's artwork.

The all-star villain approach of the Arkham games is well-represented here, but average artwork and an overly verbose script make Batman: Arkham Knight #1 difficult to recommend, even if there are a few chuckle-worthy moments.

Each one of Batman: Black and White #1's stories is a complete and fulfilling tale. It works perfectly as a taster selection of superhero comic books for the ever-elusive new reader, as well as offering something new and fresh to those who read Batman every 2 weeks. Everyone's favorite will be different, and that's the beauty of it. This is an anthology done right.

A well-curated mix of stories from some of the best creatives currently working in the superhero genre, Batman: Urban Legends #1 marks the successful re-establishment of the jumbo anthology into the direct market. Harley and Ivy is the highlight here, but the quality is high across the board. After 'Future State''s mixed results with the format, this successful launch bodes well for the future of the DC anthology.

The quality of Big Man Plans #1 shines through its every off-putting page. Eric Powell and Tim Wiesch are truly a terrible twosome, crafting their own unique spin on the hard-boiled crime drama. It's not big, and it definitely isn't clever, but Big Man Plans #1 is a solid read for those who can stomach its lurid content.

All in all, if you enjoyed Fletcher's take on Batgirl, you'll be in your element here. Highly recommended.

Ultimately, Black Knight: Curse of the Ebony Blade #1's creative team proves themselves well equipped to plunder the darkness with this strong first issue. There's more than meets the eye to Dane Whitman, and this first issue is a compelling introduction to his warped world.

It can be difficult for a monthly ongoing to sustain tension through continuing mystery, but Kelly Thompson avoids the early pitfalls and establishes a solid base to build from. There's enough here that you won't feel cheated out of plot and character, even if you're left with more questions than when you started. Black Widow #1 is a visual treat and a compelling start for Marvel's favorite Russian.

It's a holy day for Tank Man and Viet Man of the Bloodshot Squad in Bloodshot's Day Off! #1, a somber and low-key one-shot with a sentimental heart.

Book of Death: Fall of Harbinger #1is the lone shining star in an otherwise weak summer event. Although Kano's standard humans look a little wonky, his surreal scenes of mind and monster are so gorgeous that they more than make up for it. Story-wise, Dysart's written a thoughtful script here that feels like a respectful and tender funeral for the entire Harbinger concept. If this were truly the end, it wouldn't have been the worst way to go.

Book of Death: The Fall of Ninjak certainly is an end for Valiant's gentleman ninja, but it's the case of a great character stuck in a poorly told story. "The elderly monk of ultimate enlightenment" is a great look for Colin King, but it isn't utilised to its fullest here. Visually, this is a solid title, but Hairsine, Winn and Passalaqua's work can't quite save Kindt's script. This isn't a worthy death for Colin King, but it is a good-looking one.

Book of Death: The Fall of Bloodshot #1 is ultimately forgettable. Doug Braithwaite tries his best to wring some excitement out of Jeff Lemire's sedate script, to some degree of success. Eventually, the entire concept comes together for the issue's finale, but it's almost impossible to recommend a $3.99 book based on the strength of its final seven pages. One for the Valiant completionist only.

Book of Death: Fall of X-O Manowar #1 is a great read right up until its last pages. Clayton Henry and Andrew Dalhouse's artwork is strong throughout, but Robert Vendetti's otherwise excellent script stumbles at the final hurdle, resolving an age-old conflict much too easily. Frustration defined.

All in all, Burning Fields #1 is a densely written and hard-hitting horror that will definitely play on your mind long after closing the back cover. However, it is a mostly unfulfilling slice of a much larger story, so those bothered by a slower pace may want to wait for the collected edition.

Make no mistake, Burning Fields #2 is a miserable comic book filled with miserable characters carrying out miserable jobs in a miserable country. It makes for a sobering read, but when that's clearly the book's intention, it's difficult to hate it. Although based entirely in the present, Moreci and Daniel's style of realistic dialogue ensures we learn about Dana at the same pace her new colleagues do. Lesser books would have resorted to entire pages worth of flash-backs by now, and Moreci and Daniel achieve that effect in a much more subtle manner. Burning Fields is definitely gathering steam, turning from a book worth just a cursory glance into a must-read.

Despite its tension-cutting misstep, Burning Fields #3 is the strongest issue yet. With eye-catching artwork and a layered script, Burning Fields #3 makes for a unique and compelling read.

The current volume of Captain America reaches its twenty-fifth issue with a stylish pair of stories that aim to challenge their characters' relationships with momentous events in their lives. While Cap revisits his friend's struggles to carve out a positive life in the United States, Sharon revisits the impact of constant war on Peggy Carter's life and how it molded both her own and Alexa's present. Streamlined portraits and block shadows dominate both Cho and Kirk's artwork, lending a sleek sensibility to Falcone and Coates' scripts. Captain America #25 balances taut action with a strong inner voice to produce an understated but impactful comic book.

There's no obvious drawbacks to Captain Britain and the Mighty Defenders #1. There's nothing bad about Alan Davis' pencils, they're just incredibly safe. Contrastingly, Al Ewing is an unrestrained whirlwind of ideas and energy, clearly enjoying the freedom offered by the Battleworld concept and using it to maximum effect. A great script and solid (if unexceptional) artwork make Captain Britain and the Mighty Defenders #1 an issue worth recommending.

Ultimately, it is Ayala's character work with Gabe that makes Children of the Atom #2 worth a read. Their personal insight combined with Gabe's personal development makes for an absorbing and effective character study. Outside of Gabe himself, Ayala spins the wheels to protect the ambiguity around the Children and their status as active mutants. Frustratingly, the issue suffers from the lack of overall story progression. The foundations are well and truly laid, let's hope the next issue starts to build upon them.

Civil War #1 is a quiet caution against extremism, and both men's arguments should feel familiar to anyone who pays attention to world news. It's a purposefully ugly comic book, and it won't be to everyone's taste, but there's no denying the quality.

All in all, another compelling cliffhanger combined with a quality script and some fantastic artwork make Civil War #2 one to recommend.

Solid artwork, an impassioned Steve Rogers and a smarmy Tony Stark still make Civil War #4 worth a read, but it isn't quite the series it should have been.

Tragedy rocks the Marvel Universe in Brian Michael Bendis and David Marquez's Civil War II #1, a truly widescreen comic book of universe-spanning proportions.

All in all, Collapser #1 is a polished book about a messy situation.

At the end of the day, Convergence: Batman and Robin #1 feels like a workman-like piece of work-for-hire. There's a solid creative team behind this issue, but neither artist nor writer nor colorist seems particularly enthused to be back in a pre-Flashpoint Gotham. It isn't offensive, just bland. Even the most hilarious failure can be interesting, but a boring comic book is often worse. And unfortunately, Convergence: Batman and Robin #1 is one boring comic book.

All in all, unless you're a diehard fan of some obscure Justice League Europe villains, Convergence: Batman and Robin #2 is one to avoid.

Despite the solid character work here, a few too many splash pages make Convergence: Batman and The Outsiders #1 a quick read. It's great fun while it lasts, though.

From Paul Mounts' bright colors to Ron Wagner's classically super-heroic pencils, the whole creative team's in full '90s-throwback mode for Convergence: Green Lantern/Parallax #1. The question is, is that what you really want?

Yes, Convergence: Justice Society of America #1 is a slow-paced affair, but that doesn't detract from its appeal. Entirely free from super-heroics and almost entirely a rumination about what it means to be powerless, Convergence: Justice Society of America #1 is a thoughtful and carefully worded book that sets the stage for what should be a cathartic finale.

Tom Mandrake's grimy pencils complement Tieri's dark story, inking his own work with a thick and shadowy line to reflect the less-than-perfect nature of the team.

Convergence: Suicide Squad #2 is the night to its preceding issue's day, the con to its pro, the Lisa to its Bart. Tom Mandrake struggles to depict the bright and clear super-heroics that Convergence: Suicide Squad #2's script so clearly requires, although he manages to crank out a few memorable images. Frank Tieri's script does the bare minimum when the two teams finally collide, but remains strong for quieter scenes. All in all, a shocking yet riotous finale means that Convergence: Suicide Squad ends on a high note; it's just a pity about the 16 or so pages in the middle.

Visceral action and a killer cliffhanger round out one of the best Convergence books this week. Good stuff.

he return of Rucka and Hamner's the Question is an inspired addition to the busy Convergence line-up. This is a crossover with limitless opportunity, and it's nice to see an often-overlooked run receive a second look amid more obvious choices. However, if you're scouring the plethora of Convergence titles for books that matter to that crossover, and you aren't already initiated with Renee Montoya: the Question, you should probably give this one a miss. Despite this relative inaccessibility, Hamner's moody artwork and Rucka's great take on Two-Face make Convergence: The Question #1 a fulfilling read.

Convergence: Wonder Woman #1is a book which represents exactly the right approach to the amazing Amazon. Larry Hama provides a confident and capable script with just the right amount of Silver Age fun, and Middleton's realistic and clean pencilling style is as equally adept at action sequences as it is dialogue. You'd be a fool to miss this one.

The ending's a bit too sudden, a casualty of Hama's antiquated style of comic story-telling, but otherwise Convergence: Wonder Woman #2 is a big slice of fun.

Crime Syndicate #1 is an irreverently ribald and mean-spirited comic book that ultimately struggles for a hook. We've seen this basic concept done enough times that there's very little novelty left in the opposite world concept, and Andy Schmidt's laser focus on bad guys doing bad stuff leaves a narrative without a conflict. While this first chapter doesn't quite land, there's potential here in the form of Earth-3's Cat Grant as well as the promised future debut of a rebooted Alexander Luthor.

The curse of reviewing single issues is that it is sometimes impossible to gauge a story's intent from its first part. Visually, this book is a triumph. Narratively, it is an intriguing start with questionable elements. When Cates concentrates on the superhero's impact on humanity, Crossover #1 works. When he makes an equivalence between comic book fans and marginalized people through all-too-familiar modes of protest, not so much. What exactly is Donny Cates trying to say here? From Crossover #1, it is impossible to tell.

Cyborg #1 is the first time that Vic Stone's really been able to pause for breath since he joined the Justice League. Walker offers some meaty insight into Vic's fragile state but his paper-thin villains need some serious fleshing-out in order to become worthy adversaries to Cyborg's conflicted mix of man and machine. There's real potential in the solo adventures of Vic Stone, but Cyborg #1 hasn't fully realised it just yet.

All in all, Cyborg #2 is a marked improvement on a shaky start.

Dark Nights Death Metal #4 marks the moment in which Snyder and Capullo attempt to make a crater-sized mark in the DC Universe. This is the stuff of crisis, an abject change from the tongue-in-cheek rock opera that Death Metal has been masquerading as up until now. Capullo, Glapion, Plascencia, and Napolitano work together to create a kinetic and exciting visual read, while Snyder's script coalesces the Death Metal event into a firm statement on the tone of the modern DC Universe. With two main issues left, it remains to be seen if the final act will keep the bright light on or leave us to wallow in the darkness.

Read our conversation with Dark Nights: Death Metal Scott Snyder where he explains this event as meta-commentary on superhero storytelling.

Snyder and Capullo seem intent on turning up the dials until the whole machine breaks. This is excess in its simplest form, a creative team unrestrained and seemingly unburdened by editorial. It isn't elegant and it isn't clever, but it sure is fun. And yet, six issues in and it feels like Death Metal has run out of steam. Death Metal #6 inherits the problems of Death Metal #5, offering little more than a few laughs and a victory lap of this admittedly pleasing 'One Universe' concept. If you're still reading, you're in it until the end. Let's hope the climax pays off.

Ultimately, Dark Nights: Death Metal #7 is the final part of yet another event. It's not especially original or unique, but that's not the point. Death Metal #7 is an incredibly slick package, a taster of DC's year to come. Snyder, Capullo, Paquette, and (albeit briefly) Hitch offer up a vision with such clarity that it pierces through that cynical husk of every current direct market reader. Issue-by-issue, Snyder's wild world of Mad Max Batmen has given way to this united front of heroism. I gotta admit, it's exciting.

Much like the title character's combination of intelligence and evil, The Robin King #1 is a poisoned chalice of a comic book. Riley Rossmo's elastic illustration brings out the best in Peter J. Tomasi's script, which works best when he quits the killing and delves into the inner workings of The Batman Who Laughs' demented second-in-command. Afterward, Sampere and Patrick's back-up story makes your $5.99 go a little further and features one of the most imaginative Dark Multiverse Batmen yet. All in all, Riley Rossmo and Peter J. Tomasi work overtime to show you just why you should care about The Robin King. They just about achieve that goal.

Of all the Dark Nights Death Metal one-shot that have been released these past few months, The Secret Origin might just be the very best.

Dark Nights: Death Metal: Speed Metal #1 ultimately ends on a win for the good guys, balancing out the unrelenting bleakness of Trinity Crisis and offering at least a little hope as we move ever closer to October's Death Metal #4. This is a tidy little one-shot that mostly serves as a celebration of all things Flash and adds an important building block to the overarching Death Metal fortress. There is an emotional buy-in to the Flash necessary to enjoy this at its fullest, but there's enough eye candy here for anyone invested in Death Metal to enjoy. An essential for Flash fans.

Frustrations aside, this is a fun little detour for Death Metal. As with the main series, it's loud, ostentatious, and a whole heap of fun. There is perhaps a whole lot more Harley Quinn than one would expect from a title like this, but Snyder's script does well to realize how poorly she seems to fit, justifying her presence in a compelling manner. In fact, Harley Quinn, Jonah Hex, and Swamp Thing quietly make up the heart of Trinity Crisis, until of course, that final page. This is the opposite of your average big event tie-in: it counts, almost feeling like it should have been called Death Metal #3.5. If you've been following Snyder's wild ride up until now, Death Metal: Trinity Crisis is essential " for the bad and the good.

Dark Nights: Death Metal - Infinite Hour Exxxtreme #1 is yet another meaty Death Metal one-shot. This anthology isn't as essential as issues like Trinity Crisis have been, although it does elaborate on one very important element of the Metal mythos. Humphries, Cowan, and Sienkiewicz offer the visual and narrative highpoint, although the entire issue is enjoyable. There's more than a sensible chuckle to be had here, with Kirkham, Cowan and Sienkiewicz. A must-have for the Lobo lovers, and another solid one-shot for the Death Metal saga.

While the main story is rather rote and grisly for grisly's sake, Maheney and Alvarez's back-up shines brightly at the back of the book.

Tom King and Lee Weeks make the most of an offputting concept in this moody one-shot, successfully reinterpreting Bugs Bunny's baby-faced nemesis into a grizzled Gothamite.

All in all, Dead Drop #1 is an average read. Story-wise, there just isn't a lot here to go on. It's a polished chase sequence and not much else. Still, Adam Gorham's stylish and fluid pencils are perfectly suited to Ales Kot's speedy script, so if you can stomach its vacuousness, Dead Drop #1 is a fun little popcorn read.

Deadman: Dark Mansion of Forbidden Love #1 successfully combines the classic haunted house tale, traditional romance and the tragic super-heroism of Deadman to create a disquieting portrait of the living and the dead trapped together in a hundred year old mansion. Although Sarah Vaughn's script sometimes falls foul of excessive narration, she effectively establishes relationships between three very different characters, pitting them against supernatural forces of malevolent and benevolent nature. Lan Medina and Jose Villarrubia's evocative visuals ascend Vaughn's atmospheric thrills, making Deadman: Dark Mansion of Forbidden Love #1 one ghost train you wouldn't want to miss.

Overall, Detective Comics #1034 is a strong start for Tamaki and Mora's run, mixing the murky world of political corruption with the shallow social lives of Gotham's most fortunate souls for an absorbing read.

Detective Comics #1035 is a memorable new character introduction with a timely theme, supported by a strong and thematically similar back-up story. Mariko Tamaki, Dan Mora and Clayton Cowles achieve their goals with maximum clarity, making this the strongest Bat-book currently on the rack.

Devolution #1 is an effective slice of apocalyptic horror, rendered even more potent by Jonathan Wayshak's stunning artwork. Rick Remender's script is foul of mouth and temper, but his reliance on the standard tropes of the post-apocalypatic scenario chokes the potential of its fantastic premise.

Divinity #1 is unashamedly an origin issue for its two unfortunate protagonists, offering nothing in the way of a supporting cast and very little progression past Adams' and David's stories. As such, it's almost impossible to see where Divinity is going; which is a somewhat questionable decision for a four-issue miniseries. Despite the intrusive narration, detailed artwork and thoughtful coloring combined with a gripping premise make for a solid book with great potential for issues to come.

It's nice to see a comic book team-up that doesn't just seem like an excuse for the writers involved to bash two of their favorite toys together. There are a few niggling flaws here, but nothing that detracts too badly from an otherwise quality offering. Django Zorro #1 is a solid set-up issue that promises to lead towards a memorable series.

Overall, Django Zorro #2 is a meaty read. This isn't a glorified $3.99 pamphlet of punching, but a word-heavy character study in obsession. This does somewhat disrupt the flow established in issue 1, which won't be for everyone, but it admirably sets the stakes for what will undoubtedly be a memorable next 4 issues.

Django/Zorro #3 is by far the strongest issue yet. Wagner confidently guides Tarantino's voice on to the page and although conversation dominates the issue, the dastardly new slavers are just about entertaining enough to warrant your attention. The final moment of action is brief, but satisfying. As a single issue, Django Zorro #3 feels the most complete yet, despite a few irritating flaws.

Overall, Django Zorro #4 is another slow-paced installment that, whilst solid in characterization, seems to tread water as we head towards its finale. Another shocking insight into Native American slave life hits as hard as Wagner and Tarantino surely intended, although some readers may be growing impatient with the somewhat pedestrian pace of plot development.

There's a few solid chuckles here, but overall, the unintentionally amusing and single-minded murder machine can't carry his own ongoing series by himself just yet.

All in all, E is for Extinction #1 is a solid introduction to Morrison's quickly dismantled status quo, offering up that world in an easily digestible and accessible package with a raucous sense of humor.

Between The Empty Zone #1 and Danijel Zezilj, Dave Stewart and Brian Wood's Starve, Image Comics seems to be on a bit of a sci-fi horror kick at the moment. Jason Shawn Alexander has produced a visually stunning comic book here, with a unique script that begs just as many questions as it answers. Hitting the shelves June 17, The Empty Zone is a visceral and challenging book that feels fresh, even if it is set in a slightly clichd universe.

Fantastic Four: Antithesis #1 is a victory lap from a pair of creators with nothing to prove. It's great to see Neal Adams doing more Marvel work, although his modern-day work understandably pales in comparison to his heyday. Mark Farmer's incredibly brute-force approach to inking does not help matters, exaggerating Adams' lines and highlights his weaknesses. Atop it all, Laura Martin's coloring ups the contrast and blasts you in the eyes with classic primary tones. Mark Waid's script is serviceable, hitting all the essential beats to showcase Adams' work. You already know if you want this or not. Prepare for an interesting curiosity from two legends.

Fight Like a Girl #1 is a distinctive and eye-catching book. There are a few niggling problems here that could have been solved with a ruthless and indiscriminate edit, the lack of which sadly leaves the issue's 26 meaty pages feeling unpolished. Still, the unique aesthetic on show here, along with the unpredictable and flexible nature of the premise, ensures that my eyes will be firmly fixed on issue 2.

All in all, Fight Like a Girl #2 is a great-looking comic book with a fun and dynamic fight sequence that is sadly hampered by a script which, whilst occasionally showing flashes of great character, lacks conflict and consistency.

Finger Guns #1 is a simple concept, executed with the kind of single-mindedness that comes with total confidence in the book’s core premise. The story’s minimalism makes for a brief read, but it is a powerful one. All in all, Finger Guns #1 is an opening chapter that exudes the quality of a school library favorite. A series to watch.

These rough edges dull what should be a triumphant debut for a new high-profile creative team. Fingers crossed that DC hammers down a regular art team for The Flash as it continues, as Adams' script deserves the visual cohesiveness that comes from a single artist.

All in all, Fury #1 is a powerful one-shot that'll stick with you long after you put it down, even if the artwork within is average.

With high moments and low, Future State Robin Eternal #1 is one for the Tim Drake faithful.

Superman: Worlds of War #1 offers a patchwork picture of Mongul's Warworld in the time of 'Future State', with strong scripts and memorable artwork across the board. Well worth the hefty cover price.

Future State: Suicide Squad #1 highlights some unique and obscure characters, cloaking them in very famous disguises whilst offering a peek at the state of the omniverse at the very end of time. The spectacle of it all is the draw here, and there's not much beneath that shallow surface. Weird and gross, it's a fresher take on a concept that had become tired in recent years.

The creators of Future State; Superman: House of El are continuing on as part of a new era in the ongoing Superman and Action Comics titles later this year.

A good story absolves all sins. Billy Batson faces a real crisis in Future State: Shazam! #1, a well-crafted shot at a pessimistic and sullen version of one of DC's brightest characters. I eagerly await the conclusion.

Immortal Wonder Woman #1 offers vivid artwork and high stakes, but it begs the question" why is 'Future State' so miserable? The future seems unendingly bleak for the entire DC Universe, and after the hopeful end of Death Metal, it's starting to put a dampener on the whole initiative.

This is a narrative that readers have likely experienced before, but the craftsmanship still makes it an entertaining, and sometimes powerful read.

Future State Teen Titans #1 is an intriguing first half of a story that promises to explore Dick Grayson's personal outlook and approach to crime-fighting. However, it's purposefully delivered in the most bewildering way possible. If you don't mind chaotic storytelling, Future State: Teen Titans #1 is a unique ride.

Future State: Superman/Batman #1 is a quality outing for the World's Finest, a traditional 22-page book with an engaging hook and character work that underlines the issue's central theme. It knows what it is and executes it perfectly. No complaints here.

Tim Drake is one of the best Robins in DC comic books - but who is the best? Check out our list of the best incarnations of Robin.

Even though Bruce Wayne's suffering a case of the sophomore blues, Williamson and Milonogiannis' punchy and fun take on the Red Hood means there's still a lot to like in Future State: Dark Detective #2.

If you've made it this far, you have to be a DC fan. Make sure you've read all the best DC Comics stories of all time.

Fluid and confident, Future State: Harley Quinn #2 is an appropriately chaotic climax for this unlikely team-up of dastardly doctors.

Using its 22 pages for maximum effect, Swamp Thing #2 is a dense and atmospheric conclusion to one of Future State's better-realized settings. While Future State: Swamp Thing has been a story of creation and misery, there's real hope in its conclusion " even if humanity must go through multiple apocalypses to get there.

There's some hard-hitting action here, and one hell of a climactic set-piece, but it does little to pay off the seeds sown in its first issue and suffers for it.

Although the main event is disappointing, The Next Batman #3 is worth a read for the distinctive and absorbing pairing of 'Outsiders' and 'Arkham Knights'

This reviewer is turning around on Tamaki's Dark Detective. Bruce Wayne as an isolated tech guy, collecting intel while working out of a dingy room with only a conspiracy theorist as company, comes together this issue as a strong new vision for the character. Let's see if the finale sticks the landing.

Future State: Dark Detective #4 shows two sides of Future State Gotham, offering both an absolute end and a conspiratorial cliffhanger in its two excellent stories. Both unmissable in their own unique ways, Dark Detective #4 is the cream of the Future State crop.

Felipe Smith's script moves at a lightning pace, dedicating the majority of the issue to the race itself. The dialogue works, but this isn't an ambitious book, and there's nothing substantial here to get your teeth into.

Finally, a solid but predictable cliff-hanger caps off Ghost Racers #3; a big and brash comic book that's low on subtlety and high on unadulterated chaos.

Ghost Racers #4 is a solid slice of mindless and demonic super heroics. And if that doesn't sway you, here's four more words of recommendation: Flaming T-Rex flies jet.

With Giant Days #1, John Allison has successfully adapted all the wit of his web-series to the traditional comic book. Barring a pacing issue and a few sloppily-rendered panels, Giant Days #1 is a massive and very welcome change of pace from the uniformity of the average comic book week.

John Allison and Lissa Treiman have created another witty and colorful comic book with Giant Days #2. Allison's firm grasp of characterisation means he could write any kind of story with his well-established sandbox, and this issue is another true-to-life yet ridiculous insight into the lives of three headstrong teenagers.

The world that Allison and Treiman have created here is real. The relationship webs weaving in and out of Giant Days feel tangible, their connections believable and endearing. This is a contemporary and forward-thinking comic book, for anyone who enjoys the vibe that Stewart, Cloonan, Tarr and Fletcher bring to their fledgling Batgirl-verse. Allison and Treiman are both at the top of their respective games here, and with that in mind, Giant Days #6 recieves a perfect 10.

Between Godzooky and the much-maligned 1998 movie, Godzilla has always been a popular if poorly utilized character in the west. Godzilla in Hell #1 marks the most successful integration of Godzilla into western cultural canon, leaning heavily on the Christian concept of hell. Restrained in narrative but expertly realised in artwork, Godzilla in Hell #1 is a perfectly pitched single issue. Each instalment of Godzilla in Hell will be helmed by a different creative team, needless to say, the next team has quite an act to follow.

All in all, Gotham Academy #5 isn't a very compelling read. Cloonan and Fletcher's light-hearted approach has produced a light-weight comic book, free from tangible threat and consequence. Even the imposing man-eater Killer Croc has been reduced down to a harmless oaf in an appearance which conflicts a little with his usual characterization. There's no denying the craft that has gone into the visual elements of this comic book, but there's little here to recommend other than as a shallow feast for the eyes.

Gotham Academy: Endgame #1 is a nice little "Endgame" palate cleanser, a break from the unrelenting grisliness of this Bat-crossover. It's a a quality book in it's own right: a good example of a tie-in done right. It's incredibly rare to see an anthology title from one of the big two in 2015, and it's a fitting testament to DC's refreshing new initiative that it found a home at Gotham Academy.

Tim Seeley and Tom King have a solid grasp of characterization here, comparing and contrasting two radically different heroes in a way that sometimes hits and sometimes seems like nothing more than a retread of told tales.

The Green Lantern #4 is a serious flex from a powerhouse creative team. Sharp’s unrestrained artwork and Morrison’s unfiltered script make for a real overdose of cosmic fun. It’s the kind of issue that promises to spark a lifetime love for any kid lucky enough to pick it up. For the seasoned reader, it’s an indulgent issue that demands the reread, the rereread and the rerereread.

Green Lantern #1 struggles to keep reader interest despite the raw potential of its core conceit and some impressive artwork.

All in all, Green Lanterns #1 is a more grounded take on a usually bombastic series, utilizing mob and murder imagery alongside the delightfully wretched-looking Red Lanterns to gruesome effect. An obvious pick-up for fans of the departed Red Lanterns ongoing series.

Simon Humphries and Robson Rocha have hit upon the appeal of Simon Baz and Jessica Cruz's on-the-job training scheme with Green Lanterns #2. Higher stakes and an increased focus on character propel this title from a solid contender to a must-have. Although Robson Rocha's pencils can be distractingly cheesecake-y, his Red Lanterns are delightfully disgusting and his talent for staging action-packed panels makes for an eye-catching read. All in all, Green Lanterns #2 is a thrilling issue of a series that is quickly gaining momentum.

To err is human, and that makes Simon Baz and Jessica Cruz more alive than us mere flesh and blood bags. Sam Humphries continues trucking forward with the winning formula that piqued our interest with Green Lanterns Rebirth #1, relishing in Simon and Jessica's continued trials by fire to become fully fledged Green Lanterns. Despite a whiffed dramatic scene involving Bleez and fill-in artwork and coloring of varying quality, the believable and compelling dynamic between Jessica and Simon still makes Green Lanterns #3 worth a look.

While this is a well-crafted issue, it is also a mostly expository one; a mere teaser for the Green Lanterns #1 yet to come.

In summation, if you can forgive the crude colors, a few dodgily rendered background beasties and the ever-present evocation of the MCU, Guardians Team-Up #1 is a witty and accessible start to what will surely be a fun addition to anyone's pull-list.

Gwenpool herself seems like a lab-bred creature designed specifically to catch fire with the cosplaying crowd, and although there's nothing particularly compelling about the mix of wise-cracking murderer and cute-as-a-button teenager, Gurihiru's appealing manga-styled artwork and Christopher Hastings' joke-laden script make "Gwenpool's Holiday Adventure" a solid and funny affair.

All in all, Hail Hydra #1 is a fun but ultimately unimpressive jaunt into another grim little nook of Battleworld.

Harley Quinn and Poison Ivy #1 proves yet again that these two together are a winning combination.

Still, pretty art can't save a comedy fallen flat. Whilst Harley Quinn #14 is undoubtedly catnip for the initiated, if it isn't tailor-made to your sense of humor, it's a disappointing read. Although this one-shot is a fairly accessible jumping-on point for new readers, it's still a straightforward story with little to offer outside of (in this case, missed) comedic value. A cringeworthy sitcom in comic-book form, Harley Quinn #14 is a wildly inconsistent representation of a character that writers still struggle to define.

Although there's nothing here to convert the unconvinced into fully-fledged Harleyholics, Harley Quinn #1 is a fun and dynamic comedy book with bright and attractive artwork. Amanda Conner and Jimmy Palmiotti have been holding firm with Harley Quinn for a long time now, and their grip is in no danger of loosening any time soon.

Overall, this is a strong start for the next chapter in Harley Quinn's life. Freshly established as an honorary member of the Bat-Family with her own sidekick, Harley is finally completing her turn from villain to fully-fledged and card-carrying good guy. Riley Rossmo's artwork is filled with weird character, matching the book's tone, although its heavy stylization might not be to everyone's taste. Between 'Future State' and this opening salvo, Writer Stephanie Phillips has more than proven she's got a handle on Harley. Accompanied by Rossmo's eccentric eye, Harley Quinn #1 has all the beginnings of a memorable run.

Bret Blevins, Jimmy Palmiotti and Amanda Connor have a knack for the comedic, but their work in Harley Quinn: Road Trip Special #1 sits uneasily between the past and the present. There are hints here and there that suggest that Palmiotti and Connor know better than to lower themselves to the level of a Marvel Swimsuit Special, but they frequently do so any way. The actual script underneath the skin is solid, and the friendship the three villains share is believable and endearing when you scrape away the barrage of lame sapphic euphemisms. However, it's 2015. We shouldn't have to scrape at all.

Hawkeye #21 is a bitter-sweet beginning to the end of Clint Barton's most stylish solo run.

All in all, Hit: 1957 #1 is a stylish issue, hampered by a tired script that feels like it would rather be a novel. Vanesa Del Rey's fantastically styled artwork is expertly colored by Niko Guardia, but Hit: 1957 #1 can't quite be recommended on eye candy alone.

Zdarsky's script is chock-full of jokes and visual humor, and whilst not every joke lands (a training montage sequence feels especially derivative), Howard the Duck #1 is still a hugely enjoyable first issue.

Howard The Human #1 is a stylish and witty book, but there's just no denying that the main draw of the character has been eradicated by its concept. Despite these misgivings, Mahfood and Stewart's wild, energetic artwork work with Young's tightly plotted script to make this a book worth a glance. Still, there's a reason he's supposed to be a duck.

Immortal She-Hulk #1 is a tie-in trapped between two worlds. Directly picking up in the fallout of Empyre but with roots much deeper than that summer event, Ewing and Davis-Hunt offer up an accomplished one-shot that is one third a retrospective, one third a philosophical piece on the nature of immortality, and one third a short but potent chapter in Ewing's Immortal Hulk saga.

After Tony's past year spent battling artificial intelligence, Christopher Cantwell and Cafu's grounded take on Iron Man is very welcome indeed. Cantwell clearly enjoys flirting with Tony Stark as a thoroughly unlikeable character, using it to build the beginnings of a more human take on a character that has recently felt more machine than man.

Despite that one tiny niggle, Itty Bitty Mask #2 is a fun and expressive title. I happily recommend it if you're in the mood for something funny and innocent, or more importantly, if you're looking for that all-important first issue for someone new to comics. Heck, my daughter's only 3, and she's sat on the sofa giggling at the "silly green lion" as I write this.

As is to be expected from Baltazar and Franco, Itty Bitty Mask #3 is a frenetic 22 pages of zany fun, the kind of comic book that gets passed around the family by sniggering adults who should (but thankfully don't) know better.

Itty Bitty Mask #4 is a fitting and rewarding ending to a high-quality series. High-octane and packed with imagination, this is a rock-solid book that achieves its every goal. Much like each instalment before it, issue 4 is just as satisfying and accessible on its own as it is in the context of a whole series. Much like Tiny Titans and Itty Bitty Hellboy, I see a strong and robust future for this series as a forever-recommended collected edition.

Justice League/Mighty Morphin Power Rangers #1 is silly fun of the highest level. The Justice League might be first billed here, but this is a Power Rangers book first-and-foremost, maintaining that same high quality of their smash-hit BOOM! Studios ongoing. Tom Taylor and Stephen Byrne know full well where the appeal lies in a crossover like this, and they deliver it here in spades. You already know you want this.

There's a solid story underneath all the jank, and the generous pages-per-dollar count helps a little, but overall, Justice League Gods and Monsters: Batman #1 is just too rough to recommend.

There's a lot to like in Justice League: Gods and Monsters - Wonder Woman #1, but it's far from perfect. Rick Leonardi's artwork is mostly sub-par, even if Passalaqua's bold and bright colors bring out the best of it for the finished article. As a concept, Wonder Woman running a 1960's hippie commune is up there with the best that Elseworlds has ever had to offer, but DeMatteis' script doesn't quite wring all the potential it promises.

King's Road #1 is more suited to a dusty old comic book shop's bargain bin; lying dog-eared, water-damaged and thoroughly loved, than in the glossy glow of the new release rack. Occasionally embarrassing but always entertaining, King's Road #1 is one for the pulp fantasy fan.

Last Sons of America #1 has a rock-solid central concept and great characterization, adeptly illustrated by Matthew Dow Smith and Doug Garbark. Despite this, Phillip Kennedy Johnson's script is heavy on exposition and low on visual ideas, making Last Sons of America #1 a dry offering that fails to engage the readers interest past the initial high-concept. There's potential here, even if the jury's still out on whether it will be fully realized.

Over all, Gail Simone's story of one woman's life of struggle against those in power is a valid contribution to the "ultra-violent heroes" subgenre of the modern superhero comic book, even if her potty-mouthed psychopaths dull the sheer horror of this issue's predecessor through misplaced humor. Visually, J. Calafiore's nuanced and detailed linework and Jason Wright's equally effective coloring brings Simone's world to disturbing life. Leaving Megalopolis: Surviving Megalopolis #1 sure ain't pretty, but it is a worthwhile read.

A compelling and oddball start for the new Legion of Super-Heroes.

Hell & Gone is an elegant melding of the Sandman and Locke & Key's universes that retains integrity and respect for both properties.

Maestro #1 is a satisfying opening chapter that runs at a whirlwind pace. Keown's Hulk has a certain regal handsomeness that truly sells the reality of Peralta's bearded beast, whilst Peter David's mournful script sets the stage for tragedy and horror. Make no mistake, by Maestro #1's end, you'll be pulling for the monster who is set to become the megalomaniac. With the knowledge of what is to come, it's bittersweet stuff.

Ultimately, some weak dialogue in The Magnificent Ms. Marvel #1 is eased by three-dimensional character relationships and the creative team's stellar visual arm.

As part of a bigger multimedia push and considering an intended younger audience, Marvel Rising #1 is a fun little start to an imaginative and upbeat tale. However, if you're older than a teenager, there's not much here for you.

Marvel Team-Up #1 (or #187 for those who prefer legacy numbering) is an accomplished and confident rebirth of a classic format. Although its flip-book format is much more seamless than it should be, it ultimately hampers the amount of story that can feasibly fit into a single issue; offering only the briefest of tales. Even so, Eve L. Ewing’s intriguing flourishes of characterization make for a thought provoking read, whilst the artistic duo of Joey Vazquez and Felipe Sobreiro offer up a real feast for the eyes. Marvel Team-Up #1 is a worthy pick-up.

Marvel Zombies #1 is a comic book that'll live or die depending on the reader's sense of humor. It isn't the best looking comic on the shelves this week, but there's a snappy exuberance to Spurrier's script that brings to mind Al Ewing's excellent Zombo. There's definitely legs in the ongoing adventures of Commander Elsa Bloodstone, even if this first issue suffers from some visual roughness.

All-in-all, Marvel Zombies #3 is another solid instalment of a miniseries that's been well-worth reading since page one of #1. Simon Spurrier's script is quick-witted, well-paced and full of heart, whilst Kev Walker's confident lines adeptly illustrate Elsa's zombie-infested corner of Battleworld. Let's hope next month's finale sticks the landing.

All in all, Master of Kung Fu #1 is a welcome return for Shang-Chi, as well as a solid introduction into a promising realm with loads of potential.

In short, Meet the Skrulls #1 is a strong introductory issue from a focused creative team. There's a solid premise here with real potential; let's hope future issues fulfill it.

Drew Edward Johnson has started off on the right foot here. With a rock-solid script and striking artwork, Midnight Society: The Black Lake #1 is a gem of a comic book. Sure, there's a little stiffness to Johnson's facial expressions and the general conceit may seem a little worn, but these niggles hardly detract from the issue's overall quality.

If you can stomach some embarrassing dialogue (example: "Ready to receive a new A-hole, you goat-fondling jack-ass?"), there's a lot to like in Midnighter #4.

'Clone Saga.' These two words are enough to send a shiver down the spine of any Spidey fan, but Saladin Ahmed and Carmen Carnero set off Miles' double trouble with a bang in Miles Morales: Spider-Man #25. The excitable team of Cody Ziglar and Natacha Bustos lighten the overall tone with a fresh and amusing backup story that captures the spirit of teenage super-heroism, while Saladin Ahmed turns up the heat until Miles' personality roils under the stress. Carmen Carnero's distorted trio of clones more than fulfill the heady promises of the word 'clone' in a Spider-Man context, shrugging off the bad vibes usually associated with this much-maligned combination of concepts.

Ultimately, it's Greg Smallwood's knack for visual storytelling that elevates Moon Knight #1 into a worthwhile pick-up for new initiates to the avatar of Khonshu as well as die-hard fans.

Needless to say, if Batgirl and the rebooted Archie suit your tastes, there's loads to love in Ms. Marvel #1.

Although dynamic and filled with personality, Alburquerque's distorted figures detract from Paul Tobin's rich and characterful script. Despite its artistic problems, Mystery Girl #1 is still a solid first issue with a compelling premise that delivers.

As it stands, it's fairly difficult to recommend Nailbiter Hack/Slash. If you're a Hack/Slash-aholic, you'll definitely enjoy the solid artwork and quality script of the back-half of the book, but that uninteresting first half and the reluctance to embrace the obvious "Let's make them fight" concept of a crossover makes for a disappointing read. Compared to previous Hack/Slash crossovers, which includes Cassie's epic battles with Evil Ernie and Chucky from the Child's Play movies, Nailbiter Hack/Slash falls criminally short.

Nighthawk's origin as a Batman analogue is well-known, but this reviewer wonders about the character's value in his own sphere. If you completely divorce Nighthawk #1 from the character's history, this is a painfully generic street-level hero book. There's definitely something very timely about the book's focus on anger at the establishment, especially when it comes to the evils of dodgy rented property, but the sadistic serial killer story at the issue's core is something we've seen a thousand times elsewhere, and better to boot. This is one for the real Nighthawk fans only.

Tim Seeley and Javier Fernandez reveal the terror behind the mask in more ways than one with Nightwing #4, succinctly bringing Dick Grayson's first arc back behind the domino mask to a close. Seeley finally lifts the veil on Raptor's ambiguous driving forces, solidly establishing him as a force to be reckoned with while shifting power from the Parliament of Owls to an even more theatrical (and mutated) force. Equally weighted between pulse-pounding action and heartfelt drama, Nightwing #4 is the last ray of sunlight before the "Night of the Monster Men." A very worthwhile read.

All in all, Nightwing #8 is a fulfilling, if inevitable, conclusion to a compelling arc. Equally successful in both art and script, Tim Seeley and Javier Fernandez work within a tried-and-tested framework to produce a memorable finale to Nightwing's triumphant "Rebirth."

Between Tim Seeley's satisfying story and Yanick Paquette's clear and emotive lines, Nightwing Rebirth #1 is a bit special. Seeley and Paquette have crafted a compelling and logical path for Dick Grayson to slip back into the Nightwing persona, while also serving as a fitting and respectful goodbye to the thoroughly successful Grayson. Another well-executed new start for Dick Grayson.

As is expected from Valiant, Ninjak #1 is a first issue that is the very definition of "rock solid". Clay Mann's classically super-heroic artwork combine with Matt Kindt's well-rounded script to make for a decent take on one of the most serious victims of 90's xxxxtreme.

Ninjak #2 is a feast for the eyes, but a lazy script chokes this issue's potential. Still, another snapshot into Colin's tumultous childhood and an excellent back-up strip means that Ninjak #2 isn't entirely without storytelling merit. Proceed with caution.

With Ninjak #3, Kindt and Guice's back-up story threatens to upstage the main feature, mostly due to the fact that a flawed Ninjak is more interesting to read about that an impossibly perfect one. Clay Mann's artwork is as gorgeous as ever, and Kindt's slow reveal of Colin King's difficult childhood is becoming more intriguing with each new issue. As a blockbuster-style spy comic, and if you can forgive its occasional groanworthy moments, Ninjak #3 performs admirably. Don't expect anything more than that, though.

Ninjak #4 is a much-needed palette cleanser from the book's inconsistent first arc, and stands as the strongest single issue of the entire run so far.

Overall, Ninjak #5 is a solid finale to a rollicking rollercoaster of a first arc. Kindt's scripts haven't always been the sharpest tools in the drawer, but Mann's chiselled heroes have offered the perfect accompaniment to this light tale of martial-arts infused espionage. Ninjak #5 is unambitious, but ultimately aware of its place in the market. There's nothing wrong with enjoying a mindless action & adventure every now and then, and Ninjak #5 is perfectly formed to give exactly that.

Ninjak #6 is a complete tonal reversal of the previous issues. Whereas Clay Mann brought classic superhero aesthetics to the main story and Butch Guice injected a darker tone into the back-up strip, now Raul Allen dominates the issue with a more subdued take whilst Stephen Segovia brings the muscle in the back-up story. Matt Kindt's solid and bombastic storytelling continues uninterrupted, taking cues from the strengths and weaknesses of his new creative team and tweaking the script appropriately. Ninjak continues to be one of Valiant's strongest properties, even if he's a little less handsome and a little more sneaky under Raul Allen's hand.

All in all, Nova #26 is a fun and heady throwback to a simpler time, before Marvel's heroes battled with bi-yearly crossovers and mourned cruel deaths. Sam Alexander is still finding his heroic feet, and it's fulfilling and refreshing to grow with him as the issues fly by. Although John Timms' artwork doesn't always hit its mark, he renders action scenes with aplomb. Gerry Duggan's script is punchy and memorable, which makes for an accessible issue that throws two colorful characters together and begins a promising arc for the young Human Rocket.

All in all, a fast-paced script and animated pencils make Nova #27 a rock-solid issue of a quality run.

While I was writing this review, I kept self-correcting Killstrike to Bloodstrike, Killstorm and any other random combination of violent words you could possibly think of. That's as good a sign as any that Oh, Killstrike #1 nails the abrasive and try-hard tone of the worst comic books of the '90s. At the end of the day, Oh, Killstrike #1 is a love/hate thing. It'll either resonate with you or it won't. There's a lot to like here, from Max Bemis' perfectly pitched grim 'n' gritty parody to Logan Faerber's purposefully ugly anti-hero, but it won't be for everyone. Faerber's art-style is initially off-putting and Bemis' script doesn't exactly start off strong, but the issue builds into something satisfying and witty with a promise of stronger issues to come.

The appeal of Peter Parker: Spectacular Spider-Man #1 as a jumping-on point for new readers, as well as a chance to get more conservative fans back in the saddle after a prior alienation, is obvious and strong. The main feature offers a razor-sharp script combined with well-realized although imperfect pencils, while the back-up is just as quick-witted as it adds an extra question mark or two to the main mystery. Read this.

It's all secret sisters and coffee date chaos in Chip Zdarsky and Adam Kubert's light-hearted Peter Parker: The Spectacular Spider-Man #2, a genuinely funny book that's a little too thick on exposition and a little too light on action to match up to the compelling first issue.

Phonogram: The Immaterial Girl #1 is a welcome return for Gillen and McKelvie's high-concept baby, fleshing out an already compelling world with a haunting back-story for one of its most intriguing characters, Emily Aster. For new readers, it's more than a little overwhelming, and even moreso for the less musically inclined. Challenging and alienating it may be, but Phonogram: The Immaterial Girl #1 is an impressively distinctive comic book all the same.

Plunder #1 is a refreshing acquisition for the more literary-focused Archaia Entertainment; a visceral, well-written book set in a dark corner of the world full of narrative opportunity. Swifty Lang attacks the questionable subject matter of modern day Somali Pirates with style and excess, whilst Skuds McKinley uses his knack for an ugly face to great effect. If you can stomach the violence, Plunder #1 is a quality comic book.

Despite its visual appeal, Poison Ivy: Cycle of Life and Death #1 struggles to offer a decent reason to read.

All in all, Predator vs. Judge Dredd vs. Aliens #1 is a solid set-up issue of an exciting (if slightly overdone) concept. Let's hope the inevitable monster triple-threat successfully pays off the promises of this decent if somewhat slow introductory issue.

All in all, Rasputin #1 is a fun first issue of a series that promises to rejuvenate a well-worn historical story with a dynamic and modern sense of the fantastical.

Rasputin #2 follows the blueprint set by the first issue pretty much to the letter. Riley Rossmo's art is still gorgeous and Alex Grecian's almost-silent script is once again a breath of fresh air in modern comics, although this does mean the issue is a little too much of a quick read.

Marv Wolfman and Alisson Borges cast a long overdue spotlight on the daughter of Trigon with Raven #1, a solid first issue which serves as a great introductory point for the character as well as expanding a recent lost period of Teen Titans history. Although Borges' horrific artwork shines, busier sequences in Madison High School suffer for their detail. Most of all, Raven #1 offers Marv Wolfman the opportunity to show us all that he's still got it.

Dark Horse should be applauded for publishing Rebels #1. Gutsy, well-written and with solid artwork, itis the first part of a grounded historical tale that will elevate the literary value of anyone's pull list.

Scott Lobdell and Dexter Soy are immensely comfortable in Jason Todd's shoes, and it shows. Red Hood and the Outlaws #1 fulfills the first half of the issue's title, comfortably establishing the series' main threat and demonstrating Jason's new-found approach to a more ethical brand of crimefighting than he's used to. Irritatingly, there's still a massive question mark hanging over the series' long-term viability, as we have not yet been introduced to the last two thirds of the title's ensemble. Although it is yet to satisfy as a team book, Red Hood and the Outlaws #1 is one fantastic Jason Todd comic book.

Everything about Red Hood #51 is squarely aimed at taking him back to basics. There's nothing outstanding about this issue, but it provides a solid foundation for the future of Jason Todd " freed from having to play the hyper-violent bad boy without completely losing his alleyway origin.

Red Hood and the Outlaws: Rebirth #1 makes a very convincing argument for Jason's place in the Bat-family and the larger DC Universe as a whole. Scott Lobdell's portrait of a grudge-bearing warrior provides a rock-solid foundation for the ongoing series to come, provided of course that Lobdell can paint Bizarro and Artemis in a similarly compelling light. Dexter Soy's intimidating and balanced pencil-work is rich in eye-candy, aided by Veronica Gandini's tried-and-tested color palette of monochrome with energetic splashes of bright red. More than anything, Red Hood and the Outlaws: Rebirth #1 offers hope that Lobdell and Soy won't make the same mistakes that hampered the "New 52" Outlaws. A successful rebirth, indeed.

All in all, Red Skull #1 is a standard set-up issue, sprinkled with a few fresh ideas that elevate the concept above the initial execution. Pizzari's artwork is wonderfully gritty during action, but fails to accurately render static characters. A compelling cliff-hanger and the promise of adventure with a great team of super-villains make Red Skull #1 worth a read, but only if you've got some room in your pull-list.

If the set-up is "surely Red Skull is a worthy opponent for the omnipotent force of God Doom?", then Red Skull #3 is that joke's punchline in comic book form. Williamson deftly destroys Red Skull's delusions of grandeur in a single swoop which will surely prove controversial for some readers, even if it was the closest thing to a happy ending we could've possibly received. Visually, Pizzari's artwork is hit-or-miss, nailing grotesque but struggling to depict order and symmetry. In all aspects, Red Skull #3 is one ugly comic book. But when that is the intention, how could you possibly hate it?

All in all, Red Wolf #1 is a standard and somewhat forgettable take on a very unique Marvel property.

The Regular Show 2015 March Madness Special is a a must-have for Regular Show fans and indie comic enthusiasts alike. Consistency is the key with anthologies and Kaboom! has certainly nailed it here, even if the last two stories aren't quite as excellent as the first two.

All in all, The Savage Sword of Conan #1 is a generous heap of skull-cracking adventure.

More of a visual treat than a narrative triumph, Scarlet Witch #1 is nonetheless a dramatic opening issue that definitely offers something a little different from the House of Ideas.

Secret Six #2 is a satisfying second installment of a successfully re-imagined fan-favorite. When combined with Ken Lashley's energetic artwork and Jason Wright's textured use of color, Gail Simone's strong and intriguing script makes Secret Six #2 an unmissable issue.

All in all, Secret Wars 2099 is intriguing fun, if you can stomach a few lines of dodgy dialogue.

Appropriately, Siege #2 is set at the very centre of Battleworld, because it sits ahead of the pack in quality.

Thompson writes a solid issue here for the soul-searching web-slinger, capably drawn by Stacey Lee. A renegade Hydra-bot action sequence and a heart-rending reunion scene make Silk #2 a great comic book, even if Cindy and her world should probably look a little less breezy and a little more mournful.

Silk #4 is lighter on action than past issues have been, but when the characterization is this solid, it hardly matters.

Dan Slott and Mike Allred pretend the Silver Age never ended with Silver Surfer #2, a purposefully cheesy all-ages adventure that harkens back to a narratively simpler time whilst retaining a modern pace and sense of humor.

Sixpack and Dogwelder: Hard Travelin' Heroz #1 is a peculiar mash-up of missed punchlines with an undercurrent of tragic horror. Garth Ennis' brand of shock humor is showing its age here, but his grasp of the form shines through in his colorful characters and Dogwelder's tonally refreshing pages. Russ Braun and John Halisz's artwork leans into the grotesque elements of Ennis' script to create a visually arresting book that stands out as something different. It's not all successful, but Sixpack and Dogwelder: Hard Travelin' Heroz #1 is definitely something different.

All in all, Sleepy Hollow #2 is a surprisingly self-contained and great value second issue of a mini-series that is rich in both chuckles and chills.

Sleepy Hollow #3 is another compelling issue that finally brings together plot elements from the first two issues, setting the stage for an absorbing finale. There isn't a single weak link in this creative team, and it makes for a great-value package that just feels more fulfilling than the average comic book.

Sleepy Hollow #4 is a fulfilling and straight-forward end to an excellent mini-series. Although this issue lacks the humor we've come to expect from the last 90 or so pages, it is a cathartic finale that will hopefully set up a future series. For fans of the show, this series has been an absolute must-have, but it's important to note that if you're just a reader who fancies a bit of the occult, Sleepy Hollow is a series well worth your money.

"Origins" is probably the most predictable and overused prequel subtitle, and it's fitting that this Sleepy Hollow one-shot carries that tired name. There's little here for the Sleepy Hollow die-hard to chew on and the backstory will be lost on anyone who's missed out on the show so far. BOOM! Studios have made every mistake they avoided with last year's excellent Sleepy Hollow miniseries; which was accessible to everyone and satisfying for the initiated. There are five vague stories here that probably would have worked much better as five separate one-shots and, although there are a few pretty pages, there's not much here that's truly worth the cover price.

All in all, Smiley the Psychotic Button is a fun and wacky reinvention of a truly unique character. Smiley's new origin gives him an added depth that he didn't really have before. With the exception of that head-scratching penultimate page, Smiley the Psychotic Button is an enjoyably twisted horror book, chock-full of the wicked sense of humor that Chaos! is notorious for.

Although Spider-Gwen #2 is not exactly packed with action, a compelling story and freshly fleshed-out characters make this issue a must-read.

Action-packed from end to end, Spider-Gwen #3 is easily the most thrilling issue yet, and that's without mentioning the poignant and heartbreaking climax.

With Spider-Gwen #4, Jason Latour, Robbie Rodriguez and Rico Renzi have offered up yet another stellar installment of a trailblazing series. This issue marks an important moment in Gwen's continued evolution as a superhero, and it's not to be missed.

Spider-Gwen #5 is another flawless issue of one of Marvel's best titles, so let's just hope Gwen and company return unscathed when Secret Wars comes to a close.

Spider-Gwen has always been a quality title, and this issue is no exception.

As expected, Spider-Gwen #3 is another stellar issue of a book that continues to justify its status as one of Marvel's hottest new series. Jason Latour's clear ambition has paid off with this issue, which stands as one of the most important issues of Spider-Gwen yet, as well as a great example in how to write compelling drama. Although Robbi Rodriguez's stylized pencils hits new heights of extreme this issue, his great panel composition and evocative character expressions ensure that Latour's story is told with maximum effectiveness. If you're not on the Spider-Gwen train yet, its still not too late to grab a ticket.

Poignant character moments and exciting fight sequences make up the bulk of Spider-Gwen #6, finally lifting the shadow of Peter Parker's death from Gwen Stacy's life. Jason Latour and Robbi Rodriguez have successfully refreshed the core tenets of Spider-Man to create a unique new universe of characters that, although positively ancient, feel brand-new. All in all, Spider-Gwen #6 is a fitting conclusion to an absorbing story arc.

Although the barrage of unashamedly teenage comedy might not be to everyone's taste, Spider-Man/Deadpool #2 is light-hearted superheroics at its best.

Star Wars #7 works as a decent little palette cleanser in between Luke, Han, Leia and co.'s adventures, but more importantly it provides color for an oft-mentioned but until-now unseen slice of Star Wars history. Aaron's script works on the whole, only falling into overt and unintentionally amusing melodrama for a few brief panels before expounding on the character of Obi Wan's lonely and solitude. Likewise, Simone Bianchi's artwork is solid but inconsistent, lacking all texture one moment and turning wildly detailed and intricate the next. Despite those few little niggles, Star Wars #7 still stands out above the rest.

With a breezy script and warm artwork, Chewbacca #1 achieves exactly what it sets out to do: Another stellar Star Wars book from Marvel.

With Chewbacca #2, Gerry Duggan and Phil Noto have created a tonally faithful Star Wars tale filtered through the eyes of a child. Duggan and Noto have no time for shades of grey here, as writer and artist work in unison to deliver a bright and exciting moment of escapism with just enough character development to strengthen one of the least substantial characters of the Star Wars universe.

Kieron Gillen rose to prominence with his excellent characterization of Marvel's finest heroes, and his depictions of the villains of the rich Star Wars universe are equally on target. Although his dialogue is well-written, I can't help but feel like it's also well-trodden ground for Star Wars, and I don't think it's unfair to crave for something a little more unique. With Darth Vader #1, Kieron Gillen has proven to the world that he has the chops to pull these legendary characters off. Now that he's established himself, let's hope that the Lucasfilm Story Group lets the reins go a little so he can truly make his mark on this rebooted Star Wars Expanded Universe.

Kieron Gillen and Salvador Larroca finally succeed at putting a face on the faceless in Darth Vader #3, a surprisingly funny book that offers some fresh perspective on the lord of all bad guys.

Darth Vader's robot army descends on his would-be replacements in Darth Vader #5, another solid issue filled with Kieron Gillen's trademark wit and Salvador Larroca's meticulous and realistic artwork.

Seven issues in, and Darth Vader's still going from strength to strength.

A great jumping-on point for new readers, Darth Vader Annual #1 is a perfect microcosm of Gillen's excellent ongoing series.

All in all, Kanan: The Last Padawan #1 is a quality foundation for future escapades. Greg Weisman's solid grasp of the Jedi combined with Pepe Larraz's emotive pencils make for an interesting read, even if the plot doesn't exactly thunder out of the gates.

Lando #1 is yet another stellar Star Wars title that should prove impossible to resist.

Mark Waid's characterization of the princess herself is faultless; effortlessly finding the sweet spot between Leia's icy outward shield and the warm intelligence of her unguarded self. Terry Dodson's artwork is simple yet striking, whilst Jordan Bellaire colors in a warm and bold palette that feels appropriately Star Wars-y.

Combined with a solid story of action and intrigue, all of the above makes Princess Leia #2 one fantastic read.

A final battle involving Storm Troopers and the Rancor-like Rockrenders close out an enjoyable issue that just doesn't quite match the quality of its predecessors.

With Star-Lord and Kitty Pryde #1, a fresh creative team's finally managed to wring out some fun from the interminably grim dystopia that Battleworld often seems. Next-level artwork and a great script make this issue not to be missed.

Starve #1 certainly is an evocative first issue. Brian Wood, Danijel eelj and colorist Dave Stewart have produced a striking comic book that'll stick in your mind long after you put it down. Although this first issue isn't narratively without fault, there's a sense of cohesion and forethought to Starve #1's pages that place it above and beyond the rest of the rack. Starve #1 hits on June 10, and it's well worth a look.

Running 25 full-color pages for only $0.99 (0.69 in the UK), Stray #1 is ridiculously great value. It provides a strong spring-board for what promises to be a fulfilling series and, although it suffers a little from its unoriginality, there's enough room here for Delsante to put a new spin on a worn tale as the series progresses.

String Divers #1 is a frenetic and saturated mess of a comic book, in the most complementary terms. Ryall's script is simplistic, although there are some big themes here that should ripen nicely as the series continues. Artistically, Daniel's artwork is full of expression and excitement, even if it does look flat and depthless. String Divers has the potential to be something really special, but it isn't - at least not yet.

All in all, Suicide Squad Special: War Crimes #1 feels disposable, but that's far from a criticism. Ostrander's 40-page tale evokes childhood trips back from the newsagents with a wad of cheap creased comics under your arm, to be enjoyed once then flung into a bedroom corner and forgotten about. Visually, while Gus Vazquez and Carlos Rodriguez contribute some characterful illustration here, Gabe Eltaeb's bright colors detract from the murky nature of the Suicide Squad's mission. Despite this tonal weakness, Ostrander shows that he's just as comfortable writing for DC's Clown Princess of Crime as he is with classic Squaddies Amanda Waller, Rick Flag, Captain Boomerang and Deadshot. There are technical problems here, but Suicide Squad Special: War Crimes #1 is still a neat little one-and-done that harkens back to a simpler time, for whatever that's worth.

Sometimes, a legendary creator will step back into familiar shoes only to embarrass him or herself (Batman: Odyssey, I'm looking at you.), but that thankfully isn't the case here. Swamp Thing #1 feels like a lost issue from the '70s, lovingly dusted off by DC and placed proudly alongside the books of today. Although Wein's script breaks almost every rule of modern comic book storytelling, and Kelley Jones' artwork neglects the finer details, there's a wonderful spirit to Swamp Thing #1 that permeates every page. A tremendously entertaining read.

All in all, Terrible Lizard #1 is a rich and dynamic first issue, a fantastic all-ages take on the massive monster (or Kaiju, if you want to be specific) genre that will undoubtedly prove to become a pop-culture monolith.

Thanos #1 is a strong start for what is already shaping up to be another in Marvel’s burgeoning line of successful villain-led ongoing series'. Jeff Lemire wisely steers away from giving us much insight into Thanos’ single-minded motivation, instead focusing on the tidal wave of destruction that comes in his wake. It’s a great opportunity to cast the spotlight on some of the lesser used members of the Marvel Cosmic, executed with confidence and style by Jeff Lemire. Mike Deodato Jr. holds up his end of the bargain too, combining the bombast of Marvel space opera with the twisted black metal landscapes of a more nihilistic brand of sci-fi to illuminate this new darker side of Marvel’s vast universe.

A bit of blood and a mildly risqu villain inhibits the book's otherwise all-ages potential, but this isn't really for them, even if its wholesome nature makes it seem like it should be. The pre-teens of today might be a little too cynical for The Fox's self-aware homage to the Golden Age, mistaking the purposefully old-fashioned for the embarrassingly out-of-date. Waid and Haspiel have a clear vision for The Fox, but it won't be for everyone. Peculiar but eye-catching artwork sit alongside a fun script that is overwrought by design, making for a polarizing package. But if you can silence your inner cynic, The Fox #1 is a worthwhile read.

There's no denying the The Last Contract #1 is a well-crafted comic book, even if its brutal nature sometimes detracts from the overall package. Still, Ed Brisson's story of one old man forced back into a life of crime is rendered in an effective way by Lisandro Estherren's evocative, creased and scarred artwork. You'll already know if this one's for you.

All in all, The Scumbag #1 is another solid start for another Remender Image title. At its heart, it's a fish out of water story, starring a subversive character but told in a time-tested way and with a wicked sense of humor. There's an old Roger Ebert quote: "When you ask a friend if Hellboy is any good, you're not asking if it's any good compared to Mystic River, you're asking if it's any good compared to The Punisher." Taken at its intentions, The Scumbag #1 succeeds in its attempt to squeeze together '70s exploitation and super-espionage into one greasy sandwich. Let's just hope future artists can match Lewis Larosa's sky-high standard.

The Spire #1 is an impressive first issue. This is not a comic book of plot, but one of atmosphere and character that reaches out to ensnare you into its world. Yet, despite a solid script and firm direction, The Spire #1 doesn't always look as polished as it should; with certain panels looking downright unprofessional. If you can forgive the visual roughness, this is Simon Spurrier's best work yet and a worthwhile addition to the BOOM! Studios lineup.

The Totally Awesome Hulk #1 is a great-looking and funny book from a top-notch creative team.

True Lives of the Fabulous Killjoys: National Anthem #1 is a drama-filled pastiche of the last 60 years of counterculture, wrapped in a nostalgia-inducing package. Make no mistake, Romero, Bellaire, and Piekos' feast of texture, wild costuming, and color over-delivers on Way and Simon's imaginative but sometimes self-indulgent script. One for the eyes more than anything.

Whilst there are a few rough edges here, Thor Annual #1 is a diverse selection of stories from a faithful hand, a promising up-and-comer and an oddball celebrity fan.

A tantalizing cliffhanger rounds out Thors #2, an issue that seems to have a split personality. Luckily for us, both sides are equally enjoyable.

Between Thompson's solid but safe script and Olivetti's stellar yet static artwork, Venom: Space Knight #1 is a good issue that should have been a great one. While the concept of Venom as an unambiguously good superhero is questionable, there's no denying that the vast and varied backdrop of outer space is a good fit for Flash Thompson and his pet symbiote. Although Venom: Space Knight #1 is an enjoyable issue, it's tonally at odds with its main character.

All in all, The Vision #1 is a truly unique, fresh and genuinely affecting comic book.

Finch often uses an entire paragraph of dialogue when a single line would have done the job; a page of Donna walking the streets of London is especially over-wrought, as she spouts words and words of "woe-is-me" monologue to recap plot that is already well established earlier within the issue.