Force Works 2020 #3 is a team-up book that struggles to work like a well-oiled machine... It ultimately feels like an unimportant tie-in as opposed to part of an epic storyline. The art team is effective at keeping the reader's attention and getting their hearts pumping at times, but its hard not to ignore the lack of any connection between the members of Force Works.

iWolverine #1 is a great action-filled tie-in featuring a little known but fantastic character.

iWolverine #2 is a disappointing end to the tie-in. While it is bursting with great action and set-pieces, the art doesnt capture me like it did in the first issue. Elsie-Dees dialogue was a woeful design choice. The other downside is that not enough is done to make readers care about the most obscure characters in the event. I do not feel like the choice of plot for the duo allowed them to draw in new readers, and it makes this tie-in very missable. Despite that, I am interested to see where Albert and Elsie-Dee appear next.

Rescue 2020 #2 is a beautiful tie-in. The creative team has successfully allowed Rescue to have her own identity within this crossover. Schwartz has made sure that her personality is distinct, while Burrows, Hanna, and Pantazis created a beautiful suit of armor. This tie-in also appears to have a direct impact on the event as a whole, and Im looking forward to seeing what Pepper does going forward.

Absolute Batman #1 heralds a new hardcore world. This comic builds a brand new Batman, brand new Gotham, and brand new everything. Snyder’s writing is brave and bold, telling stories that can only be told in this universe without connections or shackles.

Absolute Batman #2 (2024) is enthralling in its unpredictability. Every character or concept translated has a fresh story to tell or a brand-new design.

Enlisting a creative team that has spent years collaborating brings expertise and energy to Absolute Power #1, which is instantly noticeable. It’s an issue filled with shocks from start to finish, swinging with savagery.

Absolute Power #2 presses tighter on the throat of the heroes.

Absolute Power #3 provides a foothold towards victory. The superstar creative team has made this series a hardcore, visceral war for the heart of every hero in the DC Universe.

Absolute Power #4 delivers on all fronts. Nothing is left unanswered, and the various plot threads are brought in for this final push.

Absolute Power: Super Son #1 provides time to say goodbye. The dialogue is phenomenal, and the visuals are stunning. The extended length of the issue allows for a long mourning period, embracing the sadness and the complicated feelings that spin out of such a loss.

Absolute Power: Task Force VII #1 attempts to be ruthless. The issue is an exciting and dramatic brawl through an iconic location.

Absolute Power: Task Force VII #2 continues a ruthless rollout of robots. Viewing this event through the eyes of the monster hunting the heroes down exposes readers to sensational fight scenes and deeply uncomfortable scenarios.

Absolute Power: Task Force VII #3 takes the concept further. This has been a heavy metal series so far filled with all-out war between the Amazo robots and the heroes of the DC Universe.

Absolute Power: Task Force VII #4 returns to ruthlessness. Issue #3 started toying with the idea that the Amazo robots could be reasoned with and that the influence of absorbing the heroes’ powers meant their personalities were breaching through, causing complications. But Failsafe is something different.

Absolute Power: Task Force VII #5 is just as intense as the rest of the series, hunting down the heroes ruthlessly.

Absolute Power: Task Force VII #6 adds more surprises to the series. With narrow escapes and the heroes’ ability to start fighting back, perhaps the severity has waned while watching the war through the eyes of evil.

Absolute Power: Task Force VIII #7 is disappointing as a finale. The final selection of characters is interesting in theory, but there are too many of them to create connections or feel attached.

Absolute Superman #1 is a hardcore rebirth. Aaron is a superb choice of writer for the new version of Superman, as he brings the heavy metal action and storytelling that the Absolute Universe has contained so far.

Absolute Wonder Woman #1 forges a heart out of heavy metal. While the fundamentals of what makes Wonder Woman so iconic are there, the circumstances have been replaced.

Action Comics Presents: Doomsday Special #1 sets up a superb ticking time bomb. Doomsday's fear factor means that even his name seems to petrify anyone who utters it. Just because he is in Hell, does not make anyone safe, even those that reside and rule it.

Alan Scott: The Green Lantern #1 is a deep mystery that stretches across time, barely even offering insight into what the Green Lantern came up against and will face as the series progresses.

Alien #1 captures everything that the franchise uses to be iconic.

Alien #2 thaws its monsters out of the ice and, with so many Xenomorphs, everything seems so much bigger.

Alien #3 is a book that embraces the franchise's relationship with fear. It recognizes the many ways of scaring people through Xenomorphs and Alien stories.

Alien #4 eviscerates the last suggestions of hope and safety. It expands on impending events, with bigger shocks, more enemies, and bloodier deaths.

Alien #5 brings the true horror story to a close. The book has been frantic and unrelenting in its violence from the moment the Xenomorphs entered, so it is true to form that it does not stop until the final moments.

Alien Annual 2023 #1 is a horrific nature documentary. It's an example of what the beasts get up to when no humans are around.

Aliens vs. Avengers #1 is a solemn start to the series.

All-Out Avengers #1 is an energetic comic that is unashamed of putting the action first. While there is a plot that will link the issues, it appears that it is merely a setup for the characters to go into battle. It is a fun issue that doesnt let up from its intensity from the opening page to the last. The art isnt perfect but what it does do is capture the kinetic motion that is required. How this concept plays out over multiple issues will be fascinating to discover.

All-Out Avengers #2 is such a fun book to read. What is brilliant about this book is that there is a desire to be cool because anything is possible. The story almost comes second; it is the setup of the fights and the action itself that drives the comic forward. Those glimmers of mystery are very intriguing, and there is clearly a massive villain hiding behind the curtain. It is the random nature of not knowing what the next issue will bring that gives the comic its excitement.

Alpha Flight #1 gives the Canadian superhero team a real chance to shine. The comic is individual to them, the friends they have lost, the battles they’ve faced together.

Amazing Spider-Man #17 is a blast. The plot has a long thread and energy in the short term. This is an extremely funny comic, silly at some points but in the most complimentary way possible. That is what works so well with Dark Web, not taking itself seriously and just having fun with demons and superheroes. The art is so exuberant and enjoyable that it is impossible not to smile while reading this issue.

Amazing Spider-Man #16 is a deeply personal book within a larger context. As Limbo bleeds into Earth, this is essentially a grudge match. The issue is incredibly fast-paced and fun to read, with the fantastic fight scene featuring masterful artwork. But there is substance and power within the energy, with the story being transformed entirely by the end of the comic.

Amazing Spider-Man #17 is a blast. The plot has a long thread and energy in the short term. This is an extremely funny comic, silly at some points but in the most complimentary way possible. That is what works so well with Dark Web, not taking itself seriously and just having fun with demons and superheroes. The art is so exuberant and enjoyable that it is impossible not to smile while reading this issue.

Amazing Spider-Man #18 is a comic that truly understands fun. This whole crossover has been terrific at keeping the tone light and constantly hilarious. Its not this dark, melancholic atmosphere that weighs heavily on the reader whilst reading.

Amazing Spider-Man #39 is controlling the chaos. This event has unleashed its full power, with heroes and villains everywhere in a power struggle that stretches over an entire city. And yet, with everything erupting, the story is captivating and keeps the exposition from overloading.

Amazing Spider-Man #40 keeps moving fast. The scramble for power within New York is dragging criminals out of the woodwork, and seeing the tussle between the groups is amazing fun.

Amazing Spider-Man #41 is the best issue of Gang War so far. It puts distance between the generations whilst determining their similarities. The fights were brutal and brilliant within an unrelenting issue where the art has well and truly stepped up.

The Amazing Spider-Man #42 is another great story for the villains. Despite the title, Spider-Man is in the backseat for the majority of this comic.

Amazing Spider-Man #43 is brilliantly balanced. It’s a comic focused on action and characters, not placing more importance on either.

Amazing Spider-Man: Gang War First Strike #1 clicks off the safety. Whether as a newcomer or a longtime reader, it is clear from the start that the situation is on a knife edge, with criminals gaining confidence as the heroes lack it.

Amazons Attack #1 is an energetic expansion. It takes what King ignited in Wonder Woman and shows how it affects everyone else.

Aquaman #66 hints at a changing tide in Endless Winter. The comic looks stunning, Mendonca and Plascencia capturing the battle of the undersea world superbly. During the individual issues of this event, Lanning and Marz are able to balance the larger story at play whilst also showcasing the personalities of the title heroes. Aquamans bravery and dedication is clear here, as is Meras power. But at the same time, Endless Winter rages on.

Aquaman/Green Arrow - Deep Target #1 is a fun start to the team-up. As a first issue, the story is set up with a nice amount of mystery woven into the comic. Some premier issues can get bogged down with exposition, losing momentum quickly. However, Thomas does so differently, often resorting to letting the reader figure out what is happening on their own. The concept of the plot is ridiculous and chaotic, which is not a criticism at all. The madness of what is happening, with a unique duo working together, means that the book is energetic and unpredictable.

Aquaman/Green Arrow - Deep Target #2 is an action-filled crossover. The series has a concept that provides a spark for these characters and the reader to experience something new. It leads to an encounter so intense that it would make Tom Cruise jealous. But perhaps some of that fight would have been replaced with a small piece of exposition or character development. The change happened before the start of the first issue, so the confusion is still high. In addition, the over-abundance of green and the beard/hair combo may lead to intentional complexity in discerning which hero is which. This may grow tiring as the series gets further.

Arkham City: The Order of the World #1 is a creepy and brilliant start.

Arkham City: The Order of the World #2 is an atmospheric, uncomfortable read. And that is the biggest compliment that can be given to it. The nerves that everyone in Gotham seems to have is palpable, radiating off the page into the reader. An immersive plot that permanently lives in suspense is being told with clever techniques, presented on the page by a remarkable artist. This is a comic that exists out of the consequences of other series and events, but it absolutely stands on its own.

Arkham City: The Order of the World #3 is a fascinating journey. The art style makes it unlike most comics, existing in a world of its own. Its an experience, a trip through a city full of beautifully twisted and tragic figures.

Arsenal: The Game We Love remembers the glory days but struggles to recapture the passion. The concept is an interesting one, using an original story whilst also retelling twenty years of old ones. Whilst the plot has moments of warmth, it lacks power and real depth. The lack of true balance regarding the history of the club makes the graphic novel too much like a piece of propaganda instead of meaningful literature. However, Glogowskis commitment to the graphic novel should be appreciated. Two years of work can be seen within the exceptional art, and perhaps that is its most appealing factor.

Astonishing Iceman #1 is a fantastic solo title. Spinning out of his supposed death, the book brilliantly provides insight as to why he would be such a high-value target in the first place.

Avengers #1 starts the new era with vigor, and Mackay brings a refreshing and more streamlined focus. The cast is classic and full of powerhouses in every form of the word.

Avengers #2starts expanding the wider story for this run. The book is settling into a groove through these examples of heroism but also showcases that something new is on the horizon.

Avengers #3 generates an aura and excitement without even throwing a punch, with drama in the dialogue and magnificent art.

The structure of the story highlights a story much larger than I had initially believed, with an enormous scale and potential for directions to travel in. The art is spectacular, unphased by the constant changes. And it is almost impossible to guess how the rest of this tribulation event will be handled going forward.

Avengers #5 maintains the magnitude of this first arc. This is one hell of a first Tribulation Event for the team, relentlessly restraining and overwhelming the Avengers from start to finish.

Avengers #6 is a triumphant set of knockout punches. This first arc has been epic, demonstrating the force and the severity of the enemies this Avengers team will face.

Avengers #7 starts a new arc with the most drastic of issues. Opening with the end of everything is a bold choice, but it is as captivating as possible.

Avengers #8 is a terrific standoff against adversity. What it takes to be an Avengers is presented loud and clear early within this issue, and those credentials never take a breather.

Avengers #9 is a superb action issue. It’s a book designed to weave characters and combat from beginning to end.

Avengers #10 steps up the storytelling. Drawn in through the action, this issue takes the time to draw the Avengers deeper into a war that appears to cross points in time and dimensions. The villains have spooked both Kang and Nightmare, which means their danger is even greater than initially realized.

Avengers #11 is warm and welcoming. This chapter relies on reminiscing in a series filled with new characters and endless action.

Even though it ties into Fall of The House of X, Avengers #12 feels entirely like an Avengers comic.

Avengers Issue #13 is a frantic finale to the tie-in. The Avengers involvement in Fall of X has been non-stop action, fighting Orchis with formidable firepower. The comic is an intense read that revels in classic superhero spectacle.

Avengers #14 is a new lineup of old friends. MacKay brings some classic characters into the comic to fill the void whilst the rest of the team is needed elsewhere. MacKay is ubiquitous across this event, and his ability to write several books simultaneously deserves immense commendation.

Avengers #18 races against time with restraint. It doesn’t rush to tell this story; it isn’t a frantic fight.

Avengers Assemble: Alpha #1 is the beginning of the end. The comic carries a huge weight with it, containing years of exposition... loyal fans may appreciate the combination of the series, joining three groups and multiple series into one epic. This propels Aaron's storytelling towards a conclusion of his own power, illustrated by one of the best in the business.

Avengers Assemble #1 (2024) is busy. It’s a start that flings everyone headfirst into the action, with the pace and scale immediately ramped up.

Avengers Inc #1 is something completely different. Ewing brilliantly crafts a book that truly contains two halves. A seemingly endless amount of mysteries are introduced based on Marvel’s long history, but it is possible for a reader with no knowledge of that to enjoy it also.

Avengers: Twilight #1 is a somber story.

Batgirl #1 is a fantastic family drama. It may not seem so initially, with the complicated history stepping in the way of Batgirl and Shiva ever establishing a connection.

Batman #137 is where Gotham War starts to take sides. What is tearing the group apart is not quite as sturdy a plot as it was when it was first established, but what it is generating is some fantastic character moments.

Batman #138 is a sign of something significant. Now, actions are being taken that cross lines, which might mean there is no going back. And whilst the heroes are busy scrapping in the light, far too many villains lurk in the shadows.

Batman #139 is both simple and complicated.

Batman #151 is an excellent tie-in. The issue excels because it is not set in Gotham, highlighting how Batman is an exceptional fighter and hero in any location.

Batman #152 concludes one of the most exciting tie-ins within the event. The comic has taken Batman into extremely uncomfortable surroundings, yet the adaptability has proven why he is such a fantastic hero.

Batman: Fear State: Alpha #1 is a fantastic Gotham story. Every one of the creators seems to revel in the creation of fear as the foundations of the plot are set. Multiple different books will spill out of this one, and yet it feels complete and compact. Scarecrow is being cemented and a masterful villain when treated well, and Tynions understanding of characters is fantastic. Fear State is here, and it seems like it will stay.

Batman/Catwoman: The Gotham War: Red Hood #1 narrows the cast to expand the crossover. With so many voices within the main book, this issue still captures the same moral struggle on a smaller scale.

Batman/Catwoman: The Gotham War: Battle Lines #1 immediately sets the tone of the crossover. Many of the characters aren’t in their right minds as they come into the story, and that is before anything escalates the situation.

Batman/Catwoman: The Gotham War: Scorched Earth #1 is a powerful ending. There is something to be said about the inevitability of Gotham, but this final issue ushers in massive amounts of change.

TL; DRBatman/Santa Claus: Silent Knight #1 is surprisingly evergreen. Whilst the main character is literally the symbol of Christmas and thick snow covers the Gotham ground, turning it into a monster-hunting horror comic gives the adventure the ability to be read any time of the year.

Batman/Santa Claus: Silent Knight #2 is one of the best Christmas comics ever. This series has the depth to be able to be read at any time of the year, no matter the season. The ancient spirit of Christmas forms a spine and soul to the book, but it doesn’t seek to undermine the hardcore elements of the action or the plot.

Batman/Santa: Silent Knight #3 is turning into a sensational crossover. From the monster hunting to the banter between the heroes, the comic features endless amounts of fun.

Batman/Santa Claus: Silent Knight #4 concludes a really cool crossover. It’s not just a tale trapped in its own timeline; this fits into DC’s canon and could have consequences. And even if this book tried to step away from tradition and cliches, it is what it has to fall on to finish, but it’s hard to resist a smile.

Batman/Superman #17 is a comic let down by bizarre design choices. Alternate universes are always fun, and Yangs concept for these other worlds are really clever. So is having "our" Batman and Superman responsible for saving these other figures. But the issue is then hampered by the Thermosphere scenes, which are poorly designed and have a terrible character inhabiting them. The issue perhaps could have worked if it wasnt claustrophobic and uncomfortable to read in instances.

Batman/Superman: Worlds Finest #2 is phenomenal. This is very much like two comics in one, as the first issues story bleeds into this one before the real plot takes over. This overlapping of the stories between issues creates a longing to keep reading.

Batman/Superman: Worlds Finest #3 is a huge issue with a wealth of content inside. I was not expecting this comic to be so epic in its scale and in regards to the characters that are called upon. The team-ups seem fresh and energised, helped by the jump back in time. The creators are all magnificent at what they do and that is on display within this adventurous series. And each issue can change the course of the whole comic multiple times, so who knows where the next chapter takes us.

Batman and Robin #1 uses separation to bring a family closer together. Batman’s actions prove that he’s trying to do things differently with Damian this time, and the approach is certainly worth reading.

Batman and Robin #2 takes a different approach to the father-and-son relationship. Batman’s relationship with the Robins can be complicated, and that is very apparent here. But above all, it paints them both as good men.

Batman and Robin #3 is an energetic edition of the series. The issue features exhilarating action from the beginning and never wants to let the book get far without the fights following it.

Batman and Robin 2024 Annual #1 embraces the larger format. It is a perfect example of the stories that can be told in an annual, benefitting from the extra space.

Batman vs Bigby: A Wolf in Gotham #1 features some impressive moments. The plot within the crossover is an ingenious method of fusing the two characters, placing them against each other in an authentic way. Whilst their first meeting may not be what is expected, it does suggest some fun and exciting exchanges of a violent and verbal manner between the two. The obstacle that stands in this comics way is the poor art, which may turn off readers before they wish to delve any deeper.

Batman: City of Madness #1 is a visual masterpiece. It’s a fascinating story that is venturing into nightmarish territory.

Batman: City of Madness #2 can make any reviewer feel inadequate. It’s an artistic experience that is utterly unforgettable and leaves you tongue-tied. It’s a book that exists in its own universe, speaking in both story terms and from a creative standpoint.

Batman: City of Madness #3 concludes a journey of disturbing discovery. Ward has delivered a masterclass by bringing the iconic and unnerving style to the world of Batman.

Batman: Gargoyle of Gotham #1 is both classic and contemporary. Grampá uses the stalwarts of the Batman mythos to set the scene and surroundings, but the new elements elevate the story.

The sense of scale is dazzling in the writing and stunning visuals. Batman: Gotham By Gaslight — The Kryptonian Age #1 can drag and take its time to sink its teeth into the situation, but the second half is filled with adventure and character interactions.

Batman: Killing Time #1 is a new story set in an old world. Whilst the younger Batman isn't quite so easy to pick up on as a character yet, due to not speaking much, it is through the villains in which the passage of time has rewound. But it is also a fantastic heist comic as King utilises clever writing to present the threat that Batman is up against. The art team is one of the best around and makes it a visually stunning issue.

Batman: Killing Time #2 is a superb comic to spend time in. The characters all have natural voices, and King writes all of them with depth and personality. The plot itself is engaging as the mysteries deepen, even if the jumping between timelines threatens to be too much. There is a classic Batman feel to this story, but it's laced with modern writing.

Batman: Killing Time #4 is a spectacular issue if readers can get their heads around the jumps. If you arent prepared for it or following along, the constant switching from national park to diner to Ancient Greece to a hospital all in four pages will throw you off, like trying to hold on to a merry-go-round. But within this pace is a plot filled with fantastic fighting, dynamic characters and absolutely glorious art. Visually it is as good as it gets.

Batman: Killing Time #5 is a beautifully brutal comic. It is this intensely explosive release from all of the tension that had been brewing since the start of the comic. The diatribes about Ancient Greece and the tiger brawling were all leading to this confrontation. Kings scripting is excellent but the art may just be some of the best in any book DC has to offer right now. The first several pages are highly detailed about extremely graphic things, which was definitely unexpected and may take many by surprise.

Batman: Killing Time #6 does not leave with the same majesty as it started with, but it tried really hard to. What is certain is the glorious art by both Marquez and Sanchez has made this comic a visual masterpiece. And for the majority of the comic the plot is well-crafted and poetic in its narration. The characters are interesting, but their conclusion does not always fit the power they had in earlier chapters of the series. All of these roads were meant to land in the same destination, but many of them hit a dead end.

Batman: Legends of Gotham #1 is a magnificent comic. It is action-packed and energetic and filled with a dark soul. It uses the stories that have been told before to try and wrap some of them up, an epilogue for Jason Todds recent adventures. Diggles script is fantastic and intelligent, brought to life by a tremendous art team that really generates fun.

Batman Off-World #1 is a chaotic cosmic adventure. Whilst Batman has been taken to territories where he doesn’t belong, the tone and the characters are representative of a world he is all too familiar with.

Batman: One Bad Day Ras Al Ghul #1 is a fantastic exploration of a man who has lived for centuries. Its a brilliant script depicting a man with his own sense of honor, displaying that he has a reason for everything he does.

Batman: One Bad Day - Catwoman #1 is a comic crafted by masterful creators. Both the writing and the art is flawless, capturing the intricacies within the life of Selina Kyle.

Batman: One Bad Day - Mr Freeze #1 is a brilliant extension of one of the greatest comic book stories ever. Tapping into an idyllic love story that becomes a tragedy threatens to tarnish this issue. But, instead, it creates a one-shot filled with emotion and conflict, coming at the story from a completely different. Batman and Robin are fantastic as well, brought together in an art style that perfectly fits the mood.

Batman - One Bad Day: The Riddler #1 is a frightening yet irresistible tale. It removes the restraint from a character that can often be considered comical or ridiculous, turning him into something terrifying. The usual format that Batman and Riddler stories usually unfold with is fractured and it means that it is very difficult to predict what is happening. It is an achingly pretty one-shot as Gerads brings his evocative style to the book. This is a creative partnership that only leads to gold.

Batman: One Bad Day - Bane #1 is another excellent addition to the one-shot series. It's a comic that truly matches the personality of its subject, filled with violence, pride, and venom.

Batman: One Bad Day - Two-Face #1 tries to delay the inevitable. It is a brilliant depiction of a tragic character, one that always seems close to reconciliation. Whilst the story sets up a mystery that isnt a complicated one, it is as Tamaki created it as a beacon of false hope. This book strives to find positives within a world that is so far past dark it is pitch black. This is not a nice comic, it is frightening and horrifying. But it is also very difficult to look away.

Batman: One Bad Day - Penguin #1 is an incredible look at one of Batmans most distinctive foes. The story itself is stunning, but the character development of Oswald Cobblepot balances, making him frightening and sympathetic. Its not just the character but his relationships with the city of Gotham and the man who seeks to protect it. Its a comic with layers and emotion, brilliantly encapsulated by a fantastic art team. For those that may not understand what Penguin brings to the crime community of Gotham, this one-shot beautifully demonstrates why he may be the one you keep onside.

Batman: One Bad Day - Clayface #1 is one of the most intense additions to the series. Other books in the series have attempted to give redeeming qualities to the characters, showing them as more than villains. But with the Clayface chapter, it is the opposite.

Batman Secret Files: Clownhunter #1 is an excellent character focus. Something that these Secret Files comics have excelled at is using a very limited cast. Everything centres around the primary characters and it does not leave them for a second. This means that everything is about the protagonist. Brisson and Kmpe bring so much character development to this book, which an in-depth and powerful story allows the chance to do so. It also gives Phao the opportunity to go down several different pathways, all of which will provide some glorious stories.

Batman Secret Files: Huntress #1 is a fantastic horror story featuring one of DCs best characters. This is an intense book that doesnt shy away from making the reader flinch or avert their gaze. But this is also a beautifully written investigation into the mind of Helena Bertinelli. Tamaki tells a wonderfully woven story thats intimate, never leaving the main character for a second. And the magnificent art team creates insidious imagery that is glorious despite the revulsion it instills in the mind.

Batman Secret Files: Peacekeeper #1 may be the best of the series. This is an excellent introduction for someone whose knowledge of Peacemaker-01 is limited. As a relatively new character, a standalone issue where they are the main character is a fantastic method of boosting their popularity. It has an awesome plot and Brissons script in both current and past timelines is sublime.

Batman Secret Files: The Gardener #1 is a gorgeous comic. The story is investing and the reader will come away with so much more knowledge on the strongest characters this universe has to offer. There is more in than just backstory, with politics rife towards the end. But the issue is just simply bewildering to look at. Wards art style is achingly lovely and so fitting for a character reveling in nature. It allows for this incredible display of affection and beauty. There will not be a prettier comic out this week.

Ben Reilly: Spider-Man #2 is a terrific second part. The best thing about this issue, in particular, is it demonstrates just how different Ben is going to be than Peter is as Spider-Man. From his personality to his mental state to even the relationship between protagonist and plot, this is a unique hero. DeMatteis didnt just replace Peter Parker in a like-for-like swap, this is a story about one of the most unique and beloved characters in comics.

Birds of Prey #1 is a wonderful first issue. The chemistry between the characters is delightfully funny and heartfelt, with the potential to go dark and menacing at a moment’s notice. There’s a whirlwind of action from start to finish.

Birds of Prey #2 is a brilliant mix of dialogue and action. Thompson is the perfect fit for this book; he is superb at creating connections between the characters. It’s an expansive and inclusive comic, making it a fun read.

Black Adam #1 is an incredible start. The character is already one of the most imposing that DC has created, as well as being unpredictable. And yet Priest, Sandoval, and Herms shatter expectations.

Almost every page in Black Lightning #1 (2024) is a conversation about how Black Lightning is constantly trying to be a good father and protect his daughters, who have grown up and are on opposite ends of their lives. The blending of the superhero and family life is fantastically written, making it a book of excitement and emotions.

Black Manta #1 is a powerful first issue. Brown embraces the main character for who he is, letting the readers get comfortable with the villain that they know. This is a comic filled with water and piracy, where the assassin feels at home. Yet the story seeks to send him and the audience into uncharted territory. The lack of real information encourages us to read more. Without Aquaman, it will be interesting to see if Black Mata can carry a series on his own. The art team is fantastic for the character and for the dark world this book takes place in.

Black Panther: Blood Hunt #1 is visually and viscerally spectacular.

Black Panther: Blood Hunt #2 must be respected for its ambition. The direction in which it has travelled is completely unexpected but not unwarranted.

Black Widow & Hawkeye #1 pushes an old friendship to its limits. This partnership is built out of tension and difficulty. Natasha and Clint will always search for each other in their worst moments, even if they don’t recognise the person they find. The start of the plot is unorthodox and complicated, but when the comic straightens out, it excels.

Black Widow & Hawkeye #2 keeps the relationship central to the story. Natasha and Clint are clearly their own individual people. Together, however, their connection drives the plot.

Blade #1 is a new start that defies any expectations. The first half of the comic almost leans in on tropes and cliches, using a similar starting scene to what the Blade movie contains.

Blade #2 gives the vampire hunter much more to hunt. Beautifully balanced when it comes to its structure, the comic takes its time delivering the story.

Blade: Red Band #1 draws fresh blood. After Blood Hunt provided a full stop to the previous Blade series, this new chapter shed much of the burden and complications.

Blood Hunt #4 is too disjointed to land its most powerful punches. MacKay’s idea of spreading the event across the books affects individual issues. The art is excellent, and the dialogue has some bite to it, but the pacing and structure of the penultimate chapter zaps all of its energy.

Blood Hunt #5 makes the whole event worthwhile. Blood Hunt has not been the most accessible event to keep track of, but this final issue captures the excitement and the magnitude that the crossover deserved.

Blood Hunters #1 shows how heroes adapt to the most dramatic situations. There is also a fantastic showcase of how creators can use the same concept and change it thoroughly depending on the main character.

Blood Hunters #2 collectively sinks deeper into the darkness. Throughout the issue, the scenarios are getting bleaker.

Blue Beetle #1 is a shining example of a first issue. It has a perfect balance of everything that could be wanted to start a new series. It’s a perfect jumping-on point for those who have found Blue Beetle from the blockbuster.

Blue Beetle #2 is spectacularly supercharged. The energy within the book, once activated, is intoxicating.

Blue Beetle #3 continues to build upon an extremely exciting series.

Blue Beetle #4 is achingly beautiful. There is much less action, but that is only so more time can be spent with the characters and giving them all the development they need.

Blue Beetle #5 is so much fun. The book is filled with personality and passion, with the action and colors of a Power Rangers episode. The dialogue and the art are simultaneously stunning, and the slow inclusion of Starfire was a stroke of genius.

Blue Beetle #6 is an extraordinary ending to the first arc. The series never fails to be breathtaking and the emotional range existing within the storytelling is sublime.

Blue Beetle #7 is a chaotic celebration of a career. The issue is more of a touching tribute than a coherent story, which is acceptable for a creator like Keith Giffen. This book has both fourth-wall-breaking madness and some genuine and gentle family moments, which have just as much power.

Blue Beetle #8 is sensational. While much of the issue is exposition, the storytelling never feels tedious or cumbersome. When it is heavy, it is due to the beautiful art and the emotion that lingers in every word. The departure is heartbreaking, hitting like a freight train.

Blue Beetle #9 is built around important conversations. A supporting cast has been built that is so tight-knit and connected that stories can be designed around all of them.

Blue Beetle #10 is a boss battle for the ages. The spectacle is astounding, and the fight scene is terrific. All the unease and mistrust bleeding into every issue of the run reaches a peak.

Blue Beetle #11 ends the most energetic book in DC’s arsenal. Having followed the series from start to finish, the personality and passion within the comic have been enthralling.

Buffy the Vampire Slayer: Faith #1 is an intriguing yet confusing read. The concept of the issue, using the theme of cinema and movies to tell the story is a fascinating one. But the constant time skips and bad pacing make it hard to focus. I appreciate the writing and art as so much experimentation is on display, but the structure can make your head spin. What is admirable about the comic is how much it revolves around Faith. This feels like her own world and her own story with none of the Scooby Gang to divert that attention. And if the story starts to streamline then the creators have a gem on their hands.

Canto II: The Hollow Men #1 is a lovely fantasy comic that takes inspiration from the Wizard of Ozs heartless Tin-Man and creates its own world filled with unique characters. The art is so amazing to look at, with designs that look new and original. The story has a powerful identity and depth. The cuteness of the design can easily lead to misconceptions about the emotional power the story has. But there are themes starting to emerge that really resonated with me as I read. Cantos anxiety makes him a really effective main character and his tale should really be one of legend.

Canto and the Clockwork Fairies is a brilliant one-shot comic... The theme of captivity in this one-shot is very powerful and poignant, and the dialogue had a large impact on me at times. Canto is a fantastic hero to follow who has been given a brilliant personality by Booher and amazing design by Zucker. His look has always conjured up images of him as a playable character in a video game, and the dungeon crawling he partakes in during this issue makes it feel all the more possible.

Captain America #750 celebrates two Captains for perhaps the first time in one of these milestone issues. And the collection achieves that superbly.

Captain America #1 brings layers to an old man who has to be everywhere. For a man so stoic and permanently poised, perhaps even labelled as boring by some, Straczynski leans on that and sees if that can be tested.

Captain America Anniversary Tribute #1 is a lovely homage, combining the past and the present. This is a celebration of not just Captain America, but also of art and the creators that have impacted the characters history. This is the comic book version of a jam session... There are over 50 creators involved, and each is of a superb caliber. This is a very touching and clever idea that beautifully captures the soul of a comic book character, one that became one of the most important of them all.

Captain Carter #1 is a brilliant start. For McKelvies first foray into writing, the script is excellent and full of both drama and emotion. The writer is establishing a voice already and it is fantastic to see. Learning more about a character we have only spent a brief period of time with is exciting as it shows that the potential of Captain Carter is thriving. With gorgeous art accompanying the writing this comic is a pleasure to read.

Captain Carter #3 is a beautiful book. McKelvie is really proving himself as a writer with this series as this issue contains an excellent script and terrific drama. Other stories are adapted to make Peggys her own. It is her personality that is the drive of the comic and is unique to this universe. That is partnered with stunning artwork that brings several amazing fight scenes to life, giving it a cinematic quality. Every issue is introducing someone or something new, and the slow exploration of this timeline makes me desperate to discover more.

Captain Marvel #1 brings old stories back for new characters. Evolving the concept for this particular Captain Marvel generates a fascinating twist to the tale, and the book itself is fresh.

Carnage #13 raises the level of the crossover even further. Passing the ball to the villain, Paknadel embraces a new form of horror within the world of Carnage.

Carnage #14 is another great view from the villain's side of the story. Even with more heroes and other costumed characters wading in, the focus of this issue is the man pulling all the strings.

Carnage Reigns: Alpha #1 sets a high bar for the rest of the crossover.

Carnage Reigns: Omega #1 is an epic conclusion.

Catwoman #57 is the best issue of the crossover so far. It’s a character-driven issue that revolves around a fascinating setting.

Champions #1 is a tremendous first issue for the series. Ewings script is fantastic at tapping into the brilliant characters at her disposal, and she clearly takes young characters seriously. Both Di Meo and Blee both bring very unique styles that result in the book looking completely different than anything else around, and all parts of the creative team work together to cram as much suspense and nerves into the comic as possible. OUTLAWED is similar to Civil War in tone and premise, but the use of only young characters adds a new dimension to the discussion and had a much more personal effect on me. The next issue cant come soon enough.

Champions #2 follows a brilliant first issue with another fantastic chapter. Ewing takes four of Marvels best, young heroes and uses them to explore dark themes. Their personalities are very likable and will surely be explored as the event picks up momentum. The art is stunning and influential in creating the tense atmosphere the pages radiate.

Champions #3 is a brilliant addition to one of the best-written events in years. Ewing fills each character with both strength and vulnerability as they are pushed to breaking point. Each voice that is heard is unique and individual. During the quiet moments, the pages are brimming with suspense, but when things get lively the pace turns frantic. Each issue cant come fast enough.

Champions #4 brings fun to the event in a beautiful issue. The darkness of the issues needs positivity as a palette cleanser as it accentuates both emotions. If that claustrophobia and darkness continued, the reader might have found themselves drowning in it. A team up in the middle of the event connects the crossover to the rest of the Marvel Universe while also serving a purpose within the story. But the event isnt over, and there are still those who need their Champions to save them.

Champions #5 is a stunning end to a terrific event. By the end of this issue, the story feels complete. Every part of the creative process is used to make the readers feel. For the first three issues, there is a dread that hangs over every page. In #4, there is relief when the main characters are rescued. And within this final comic, there is hope that works as a brilliant final emotion. The colours and art style make this a terrific event for young adults to enjoy, whilst the heavy themes and subject matter resonate due to always being relevant. There are glimpses into the future in the final pages, showing there is much more to come from the Champions.

Champions #6 is an excellent continuation instead of a fresh start. This issue tackles the fallout of the earlier five issues. The writers do have their own identities, but the plot threads that Ewing left behind are picked up and continued by Lore as their own plot takes shape. The characters shine, five profoundly different personalities complementing and clashing with each other. The art style and bright colours are exactly what the book needs to draw the attention of younger readers and is superb at helping tell the story.

Champions #7 is an outstanding superhero comic. There is more character development and theme exploration within this one issue than there are in whole volumes within other comics. Lore has captured the voices of the heroes very quickly and is telling a powerful and impactful story. The themes of social media and its effect on society are more important now than ever, and it is laid out through intelligent methods and ingenious storytelling. The art is sublime and covers the comic with brightness and energy.

Champions #8 is a stunning issue for character development. One of the best aspects of Lores writing is that they treat the target audience with the respect they are owed. Some comics directed at teens can feel patronising or out of touch. Yet Champions recognises their intelligence with large amounts of dialogue filled with drama. The art makes this comic a delight to look at whilst the themes add a powerful emotional depth.

Champions #10 is a wonderful comic. Not just the end of one arc, the relief from this issue stems to before the start of Outlawed. Lore has told a story absolutely brimming with heart, emotion, and thematic relevance. Some of the statements and moments within this comic are so powerful they are like a gut punch. These characters have felt alive and full of souls, and the reader finishes every issue caring deeply for each of them. Whatever comes next for the Champions is eagerly awaited.

Checkmate #1 is an entertaining start to the series but struggles to find its feet. The characters involved possess huge potential, the partnership of Maleev and Bendis reuniting is definitely exciting. However, the plot lacks forward momentum and true clarity. The art is stunning but most of the characters are yet to get involved. This comic needs to get moving to prevent readers from losing interest.

Checkmate #2 would be brilliant if we understood what was happening. The story is awful for new readers, with no explanations for any part of the plot. The time jumps have had no starting point, and there are so many characters involved that is impossible to get a bearing over whether you are interested in them.

Checkmate #3 is beginning to show its quality. Bendis character work is superb and that becomes clear with how some of the heroes and villains are written. But the massive ensemble cast is unruly and hard to manage. The story may still be causing confusion but the reader is not left with their head-spinning quote so fast as it did in the last issue. The art has been terrific since the start. With some sense starting to be made of what is happening, the remaining issues should possess some real excitement.

Children of the Atom #1 is an energetic and exuberant first issue. These brand new characters are easy to like. Whilst they may bear a resemblance to existing mutants, just from a first glance, they are very much individual heroes. The action is fun, displayed by fantastic art that also provides us with unique designs.

Children of the Atom #2 is a superb follow-up and potentially even better than the first issue. We are getting to know more about the five heroes, and they are so much fun to read. This book is so deeply entrenched within the X-Men world. Not just from the guest stars and plot, but the references in the dialogue too. This creates the impression that any character can appear at any time, which fills each issue with the potential for surprises.

Children of the Atom #3 is an intense yet anxious book. Ayalas understanding of young characters is exceptional, depicting their struggles in exciting and sensitive ways, implementing them in dynamic storylines. The plot is confusing and the time jumps may throw certain readers, especially when the change of structure comes out of nowhere. At times the pressure within this comic is uncomfortable and yet you can't stop reading. Despite this, the story itself never ceases to be engaging, always leaving the reader demanding to know more.

Children of the Atom #4 is a wonderful book brimming with energy. Ayalas understanding of these characters makes them brilliant to follow. Throughout the miniseries, the readers have felt like they have known a lot about these five, yet they are also constantly learning more. But their secrets have been laid bare and may get them further into trouble. The art and coloring styles of Medina and Curiel are perfectly suited to capture the extravagant excitement of superheroics and the stark reality of high school to equal effect.

Children of the Atom #5 is a superb issue. Ayala has told a terrific story using these characters. They have felt natural and real from the start, and all with feelings and troubles that are relatable to almost everyone. Themes of identity and exploring said identity to discover the truth is an important message, using a powerful allegory in order to tell it. The art has been tremendous, propelling the book forward with infectious energy. It may be difficult to know where these characters may be used going forward, but the issue creates as many questions as it answers.

Children of the Atom #6 finishes the series with the best issue. This is the chapter that truly gives this miniseries a soul. As relationships are tested and identities are discovered, the book explores important themes in a way that will blow readers away. Ayalas script is powerful and touching and the art is incredible. This is a fantastic comic for young adults.

Cosmic Ghost Rider #1 brilliantlybrings us back to an obscure corner of the universe. This wholly unique character, existing out on his own, brings with him a hardcore take on the cosmos and dealing vengeance.

Cosmic Ghost Rider #2 brings a lot more chaos and brilliant storytelling to the table.

Cosmic Ghost Rider #3 has kicked into gear. Bringing in figures like Valkyrie has pumped energy into the comic, with some terrific battles unfolding in multiple locations at the same time.

Crime Syndicate #2 is an extraordinarily fun read. Schmidt and the art team are creating a parody of the Justice League whilst also telling an effective origin story that can stand on its own. Brimming with energy and violence, this series is perfect for new readers to learn about the Crime Syndicate. We have seen this group at the peak of their powers and at the end of their reign. But this is a new and updated piece of history. Much of the darkness is in the dialogue instead of the action, and the world-building is done through subtle comments instead of huge montages. Even within the second issue, the readers have discovered a lot about this Earth just from references and hints.

Crime Syndicate #3 is an epic battle filled with incredible characters. The readers arent routine for many figures within this comic, as everyone appears to be a monster. So the excessive violence is more enjoyable because there is a lack of concern for whoever it is being inflicted on. Despite this, Schmidt does include lines of dialogue that briefly pull at the heartstrings. But there is something important about this group that is maintained throughout this series. They are not and will never be good people. The fight itself never gets boring, the extensive cast resulting in awesome displays of powers and personalities.

Crime Syndicate #4 is a fantastic addition to the miniseries. Schmidt has made this world his own, the characters within it too. There is a massive amount of depth inside the comic, with a sense of mythology and a wider universe to the story. At the same time, there is intricate detail into the backstories of the major characters involved. The art team continues to be exceptional and capture the spectacle magnificently.

Crime Syndicate #5 is another incredible addition to the series. The plot is full and action, whilst keep the violence dark and unforgiving at the same time. All of the different characters involved give this world a huge depth, bringing with it personalities and opportunities for battle. Schmidt is exploring their own world now, and the great art by McKeown and Vines is providing special changes to each and every one of them.

Crime Syndicate #6 is a powerful conclusion to the series. Understated is not a word this comic knows, and Schmidt ensures that the series ends with the same amount of action it began with. What started as something that could have been considered a tongue in cheek reimagining of a Justice League origin story, but with bad people blessed with incredible superpowers. Instead, Schmidt completely reinvented a world that was filled with conflict, depth, and politics. The little backstories at the end of each chapter, visually enriched by Hitch and Sinclair, provided history to a new world. The ending is left open and this seems to be just the start of a new beginning.

Cult of Carnage: Misery #1 finally gives Liz Allen a comic of her own. Since her father-in-law and even her son have been given titles, it is only fair that she gets the spotlight shone on her too. She is powerful in her own right and Pirzada captures the chaos and the spectrum of disasters happening to her, before ramping it up even further.

Cyborg #1 is powered by an incredible story. The plot is driven by one massive inciting incident, something that shatters the story of Cyborg and will change this series massively. Hamptons put Victor Stone in a position where hes never been, and that unchartered territory is exciting. But it should be said that there are multiple mistakes on both the writing and art side that stop this book from being impeccable.

Cyborg #2 is very hard to stick with. At its core is a great story and a fantastic lead. The plot is fascinating, altering the concept of Victors critical father into something more intense and fitting for a science-fiction comic. And the mysteries within Solace are intriguing. But the repeated gags arent working and the unappealing art style makes the comic unpleasant at points. They are weighing the book down and getting in the way of the extremely likable elements.

Daisy #1 is a first issue that makes an impact unlike any other. The plot is fascinating, with Lorimers clues to where the story could be taken still perplexing the reader hours after reading. The twist is one of the most powerful this reviewer has seen, breathtaking in its strength. The art is a great style that is able to share both brutality and beauty.

Damage Control #1 is a bit too weird. It is easy to understand what Goldberg was trying to accomplish with this first issue, but it sticks the landing horribly. You cant get a foothold when the story moves too fast, but when it slows down, the explanations are repetitive yet ultimately empty.

Daredevil and Echo #1 plunges the heroes into something totally different. Taboo and Earls subseries of mixing the street-level heroes with a magical, horror aspect has proved effective before, and the early signs of brilliance are here as well.

Daredevil and Echo #2 needs to be an outlier. The issue takes the momentum of the first and almost instantly dampens it, putting the brakes on to litter the book with exposition and dialogue.

Daredevil and Echo #3 welcomes back the weirdness. Its just the refresh the miniseries needed, offsetting the exposition of the last issue with action and craziness.

Daredevil and Echo #4 will leave you brilliantly bewildered. All of the foibles within the first issue become clear, and ultimately the whole series is better when read as a whole book, not individual chapters.

Daredevil #6 is a brilliant character issue. It allows those that have just arrived a chance to demonstrate their personality in what is quickly growing into a large cast of eccentric figures. Those at the heart of the story, Matt and Elektra, have spent a while building an army with the ability to take on the Hand, and it is great to see the strains that becoming a leader has on those with the world on their shoulder. Their time at their base has often seemed like one of training and tranquility. But with one final page, Zdarsky introduces a figure that is the opposite of tranquil.

Daredevil #20 is an incredible issue that cements the title character as one of the most badass heroes in comics. The creative team stunningly produce brilliant illustrated and well-choreographed fight scenes, while keeping the momentum always moving forwards. After everything the protagonist has been through, this feels like an expulsion of frustration that the reader cant help but get sucked into.

Daredevil #21 is a fantastic issue that beautifully bookends one arc before unleashing the readers on another. The writing by Zdarsky is among his best of his run, and his understanding of the character Matt Murdock is evident in every page. Both Checchetto and Iacono fill this issue with emotion and atmosphere. So many of the panels are achingly sad, but they are so well crafted that you cant help but be in awe of it. Daredevils ordeal is far from over.

Daredevil #23 is an edition that fans of the character will adore. The Man Without Fear has moments within this comic that will make the audience smile, frown, and sob. The art and colours continue to be hauntingly beautiful and fit the book perfectly. Zdarsky is a master of dialogue, which is extremely prevalent here. As we get closer to the trial, it is clear an emotional rollercoaster may be on its way, and Im not sure Im prepared.

Daredevil #24 is a powerful issue. So much of the threads that Zdarsky has been unraveling are tied up, while more appear to keep the reader even more invested than they were in the last issue. The constant change in Daredevils thought processes and personality as his dilemma gets worse shows the writer's ability to explore characters in depth.

Multiple heroes have taken over as protector of Hells Kitchen while their Guardian Devil is unable to defend it. Spider-Man and Black Panther have spent time within its streets, and Iron Fist wore the Daredevil suit for a small amount of time. But Elektra is possibly the most perfect fit as Matts successor.

Daredevil #27 is an enthralling, action-packed second part to the tie-in. Zdarsky has successfully managed to combine the plot of his run with the event to the benefit of both. It has allowed for some important character development with some plot threads that are sure to be continued. There is a strong emotional core to the issue and the artists express themselves with new and fun designs.

Daredevil #28 is another amazing issue. Combining important social commentary with an investing storyline, Zdarsky and the art team return to their regular plot with ease. At the same time, the consequences of King in Black are heavy and preserving. This is a beautiful character-based comic, focusing heavily on the figures that are driving the story forward. Twinned with the revelations and action, this comic is an emotional rollercoaster.

Daredevil #29 shows that this series keeps getting better. Within this comic is a lot of characters, fighting and surprises, but each scene is purposeful and atmospheric. Zdarskys script is full of poetic dialogue whilst Checchetto and Menyz creates stunning and energetic fight scenes that make the heart pump. And the war for Hells Kitchen continues to be waged in secret.

Daredevil #30 is yet another perfect edition in this run. The story is gripping and bursting at the seams with twists. The three leads, Daredevil, Elektra, and Kingpin, are moving independently of each other. Their individual stories have different themes, pacing, and emotions, and yet they still feel combined. The art is sublime, whether it be presenting an all-out brawl or a simple punch.

Daredevil #31 is a phenomenal start to a new arc. With a high tempo and thrilling story, the series shows no sign of slowing down. Characters stride into the comic with a tremendous presence. There are no weak voices, no forgettable faces. The art is sensational and keeps the intense energy going from start to finish. Elektra and Daredevils greatest enemy is loose, and the possibilities of what that can mean are hair-raising.

Daredevil #33 is a fantastic, action-packed issue. This comic is fraught with danger and the readers are left nervous. Zdarsky continues to tell a deeply captivating story with constantly increasing threats seeking to cut one of those stories short. There are also some fascinating pieces of dialogue and plot threads around the other characters involved in the book, including one that will take the comic in a completely different direction.

Daredevil #35 is a thrilling conclusion to the arc. Zdarsky has ensured that other plot points have been put to the side so that this war with Bullseye is streamlined and entirely captivating. The use of characters that know each other so well shows an incredible understanding of this small corner of the world. The fights in this run have been drawn out and exhausting sometimes to wear down the reader. Great heroes and great villains are brought together in an expertly choreographed action thriller. Zdarsky and the brilliant artists are creating a new classic before our eyes.

Daredevil #36 is a beautiful bridge of an issue. It is more joyous than what we are used to with this character and his world, with this chapter not feeling quite so heavy.

Daredevil #1 is a stunning start. It tries to close the door on Daredevils time in Hells Kitchen by having one last adventure in it. Zdarsky knows all of these characters completely at this stage, yet still tries to bring out new aspects to their personalities. From the start, it is evident that Murdock and Elektra come into this book with tortured souls and troubled minds. The art is gorgeous and it is so exciting to see this creative team back again.

Daredevil #2 is a gorgeous celebration of 650 issues for the character. Within it is a story that shockingly tries to alter history whilst paying homage to it. It may not be filled with supporting cast members or rogues gallery, but it glorifies one of Marvels greatest heroes.

This is a book that knows when to talk and when to fight, with incredible power emanating from the page when both happen. Daredevils attempt to wrap up in New York is revealing more and shows the depth that Zdarsky has generated in his time writing one of the best series currently on sale.

Daredevil #4 combines both the old and the new. Many of the characters involved in this issue have been in the series for years, with The Hand being one of Daredevil's most prominent foes. But that history has been supplemented with recent additions to the supporting cast, and the circumstances are very different... It is a perfect blend of familiarity and tearing up expectations.

Daredevil #5 is a great issue. It enjoys the past while subtly hinting at a dangerous future. The Fist appears to be an organization set up to repel the Hand, but it is just as mysterious with as much potential for darkness. Daredevil never comes out of these dealings unscathed and is already showing signs of instability. And the creative partnerships in this comic are jaw-dropping in all aspects.

Daredevil #6 is a brilliant character issue. It allows those that have just arrived a chance to demonstrate their personality in what is quickly growing into a large cast of eccentric figures. Those at the heart of the story, Matt and Elektra, have spent a while building an army with the ability to take on the Hand, and it is great to see the strains that becoming a leader has on those with the world on their shoulder. Their time at their base has often seemed like one of training and tranquility. But with one final page, Zdarsky introduces a figure that is the opposite of tranquil.

Daredevil #7 keeps the storyline moving with a terrific issue. Whilst all part of the same plot, the artists taking different parts gives layers to the story. The Hand and the Punisher have felt far away, only mentioned as an outside force. This issue brings them very close. I admire the voice this comic is developing, actually addressing key elements of superhero comics and society as a whole.

Daredevil #8 is a masterclass of a battle. This is each creator functioning at an elite level. It's a fantastic fight issue that has an intoxicating atmosphere.

Daredevil #9 is a disturbing book that cant look away from.

Daredevil #10 is an issue powered by heartache. Friendships and alliances are erased in this comic as both Daredevils haven and his reputation disintegrate.

Daredevil #11 pulls the hero up from one of his deepest lows. That guilt and sadness that fills Matt radiate from him in this issue, wallowing in grief. Zdarsky is a master of pace and subtle storytelling. Sometimes its difficult to see the machinations and the journey hes taking characters on until the end of an issue.

SummaryDaredevil #12 is a poetic masterpiece.

This entire comic transcends what I thought Daredevil comics were capable of whilst still feeling true to not just Zdarskys run, but the character as a whole. Its mindblowing, but enough foundations had been laid to feel earned.

Daredevil #14 is a stunning end to one of the greatest-ever creative team runs. It's difficult for modern comics to fit alongside those classic runs and tales that formed the foundation of everything that came after.

Daredevil #1 is a unique first issue. Being the newest creator developing the next steps for a huge character like Daredevil is never easy, and Ahmed has simply blown up all the expectations and conventions.

Gang War: Daredevil #1 is a fantastic tie-in. It isolates Daredevil whilst also making sure it's an integral part of the whole event. If there is a character that could be left alone to protect a whole area of New York, it is the world's deadliest assassin.

Daredevil: Gang War #2 is one of the best Gang War tie-ins due to the strength of its lead character.

Daredevil: Gang War #3 is pushing its key characters closer. The agony both women have endured and unleashed on others ties them together. Whilst it is deeply connected to the main book, there is constant communication with the other heroes.

The combat in Daredevil: Woman Without Fear #1 is one of the best fight scenes in months, constantly changing and gripping to see unfold over many pages.

Dark Crisis #2 is a powerful challenge for the next generation of heroes. Without backup, the fascinating story puts the characters to the test against villains that even the Justice League could have struggled against. The Crisis has barely begun and the enemies the Titans and others have been facing threaten to destroy all of them. With glorious art that refuses to pull any punches, the comic is impossible to look away from until the final page. And the Crisis will only get more intense as it deepens

Dark Crisis #3 is beautifully atmospheric. As the heroes are delivered punch after punch, Williamson is truly embracing the all-encompassing scale of an event comic. With the usual figureheads out of the picture, this is a beautiful portrayal of those left trying to pick up the pieces. The insecurity and nervousness is heartbreaking. And it is being brought to life by an incredible art team.

Dark Crisis on Infinite Earths #4 has everything an event issue needs. It has some characters rallying to arms and some shrinking under the pressure. It has unlikely allies being made to face horrific, monstrous enemies. It has shining beacons of hope before that is submerged in darkness. The art is jaw-dropping and the battles are intense. And then an ending that could threaten everything on a universal scale. The name change of the event has just elevated the stakes to an extreme level.

Dark Crisis on Infinite Earths #5 releases what has been building the entire event. There have been confrontations, battles, and showdowns before, with huge amounts of damage done to the heroes and their community. But there was always a sense that a battle that dwarfed those skirmishes was coming. And here it is with the fate of a universe in the balance... with the nature of this comic, there is possibly something even bigger around the corner.

Dark Crisis on Infinite Earths #6 is a powerhouse of a penultimate issue. It carries with it so much expectation and delivers wholeheartedly.

Dark Crisis on Infinite Earths #7 goes out with the same incredible magnitude it entered with. This is a book that is a beautiful mix of heartfelt character moments and some of the most epic set-pieces of the year.

Dark Crisis: The Dark Army #1 is a one-shot that struggles. From the beginning, it looked like an energetic and entertaining comic, and it absolutely has periods where it is. The character choices werent wrong, but I dont think they all had the impact that they could have.

Dark Crisis: Worlds Without a Justice League - Superman #1 consists of conflicting quality. Both stories are interesting to read but not what I expected from this alternate universe take. Whilst there isnt a Justice League and the tonal shifts in the book are clear, both maintain a recognisable core of characters.

Dark Crisis: Worlds without a Justice League - Green Lantern #1 has two amazing character stories. What makes the Green Lantern and the Hawkgirl story stand out is both of them are succinctly focused on their main figures, whereas the previous one-shot was happy to explore the supporting cast too.

Dark Crisis: Young Justice #1 is an atmospheric masterpiece. The delicacy in which Fitzmartin adjusts the emotions the characters are feeling is phenomenal. The blending of dialogue and exquisite art gives the book a damaged soul, matching that of the young but traumatised figures inside. But there are some really fun aspects of the book as well, especially after the twist in the middle of the issue.

Dark Nights: Death Metal The Last 52: War of The Multiverses #1 is a fantastic idea with superb execution. The story has so many interpretations of the same battle, allow so much more to be covered than what may be seen in the main event. The different creative teams result in contrasting tones for the stories. Some have comedic elements, others more grotesque. A few focus on hope while there are some much darker. Brimming with content and detail, this is a must-read book.

Dark Web #1 is a celebration of the past whilst exploring the present. It may not be entirely welcoming to new readers but it is rife with callbacks and reunions.

Dark Web Finale #1 closes the crossover with consistency. It goes out with the same energy that it came in with. It is clear on every single page that these creators love comics. This is a celebration of the characters and the format. Its so enjoyable to read, with lovable characters and fights full of excitement. And yet the story is meaningful, carrying massive consequences. Its a very rewarding comic and one that was a delight to read.

Dark Web: X-Men #2 is a great inclusion to the crossover. It features fantastic writing and phenomenal art. The book changes the face of the whole story by going from a spiritual Inferno sequel to a unique book that is the culmination of years of pain and heartbreak. Noto and Reis are an artistic match made in Limbo, fitting together seamlessly. The tie-ins of this crossover are being allowed to zone in on smaller parts of a larger, cross-dimensional tale that constantly adds more.

Dark Web: X-Men #3 shows a mother's strength and vulnerability. It is a story steeped in specific history, which has left pain and scars. Its an exciting issue, with a fantastic fight between two of Marvels most powerful women.

Dark X-Men #1 is needed when times get as dark as they are…It’s one of the most epic lineups, with some of the mutant world’s most malicious, repulsive, and awesome representatives. But it’s demonstrative of where the Fall of X storyline is.

Dazzler #1 is a proud statement. This subject is perhaps as timely as ever, with the immense pressure being put on anyone with a microphone from either side.

DC All In Special #1 is a unique concept. Heralding in a new era, a new world is introduced using heroes and villains.

Sgt. Rock Vs. The Army of The Dead #1 is an impressive intro by a horror legend. There arent many figures more knowledgeable about the genre than Bruce Campbell. There are a few imperfections, but they can be forgiven for a relatively new foray into the format. This is an exciting Nazi Zombies tale featuring one of DCs cult heroes. It is creepy and action-packed does successfully merge the classic comic with a horror twist. The levels of darkness these creators are capable of are only hinted at, but this series makes me eager to discover more.

DC Horror Presents: Soul Plumber #1 is a divisive book that will not be for everyone. Inside this comic is a brilliant commentary on religion; those that can be affected by it, and those that affect people with it. There is also the beginning of an unsettling but deeply interesting crossover between fantasy, and sci-fi. But the intensity of the language may repel off, but what could be perceived as messy artwork will be a bigger influence to driving the audience away.

DC Mech #1 is unflinching. What I initially believed to be a fun robotic romp turned brutal and dark instantly. This is shocking but a strong method of establishing the comic, forcing you to take it seriously. The energetic and intense mech madness is still there as the action in this comic is nonstop, but Porter does not shy away from violence, nor does Rivas pull any punches drawing it.

DC Pride 2024 #1 is a huge celebration. The fact that some characters weren't included demonstrates how many choices there are now, a distinct difference from just a few years ago.

Deadly Hands of Kung-Fu: Gang War #1 brings another player onto the board. Initially wanting to be isolated from the rest of the event, it is evident that circumstances do not want that to remain the case. The notion of implications for what happens within this crossover is consistent with the majority of the tie-ins, giving the whole event more weight and edge.

Deadly Hands of Kung Fu: Gang War #2 threatens Shang-Chi’s balance. Poised between being a gang leader and a superhero, the turmoil sends the martial artist back and forth between armies like a tennis ball. He can’t trust anyone and no one can trust him. The different sides of the character are on display to reflect who faces him, and that variety is exciting to explore.

Defenders #1 is a great start to an epic adventure. Ewing is the best writer around in regards to crafting a tale with the scale that this one has. There are a lot of factors at play. And the small cast allows the comic to be swamped by the magnitude of its settings. This is a book that revels in both magical grandiosity and universal majesty, and Rodrguez makes both look absolutely stunning.

Defenders Beyond #1 is an awkward start. It is a comic with a lot of history and a lot of exposition for the future of the series. It is a lot of baggage for Ewing to move, and it isnt all dealt with easily.

Dega is a mesmerising sci-fi comic. McDaid's script and his art are equally gorgeous as this long project explores more than just a planet. The depth in writing, implementing an extremely high concept while being contemplative about existence, expands the mind.

Devils Reign #2 is an outstanding second issue of a fantastic event so far. Zdarsky and Checchetto maintain what made their Daredevil run great but expand it to envelop the entirety of New York. But it should be stressed that having a knowledge of that story isnt crucial to enjoying this crossover.

Devils Reign #3 maintains the high quality of the event. Zdarsky has mixed the emotional weight and melodrama of his Daredevil and elevates it to a city-level event. None of the characters are here as a cameo, they all have meaning because this is their home.

Devils Reign #4 is one of the best issues yet. The script is phenomenal, packed with pure emotion and drama. The emphasis placed on Kingpin makes the comic so inviting to read.

Devils Reign #5 shows that this event gets better in every issue. Its a hectic comic, filled with action and dramatic changes. Even with the chaos and the larger than life characters, Zdarsky keeps the dialogue grounded and moments of quiet remain heavy.

Devil's Reign #6 brings multiple brilliant stories to a close...The battle is epic, and Matt and Wilson's showdown was worth waiting for. Devil's Reign has been a good event, filled with fantastic drama and intense action.

Devils Reign: Omega #1 is a brilliant closing issue. This is partly due to the fact that the creators understand how to transition between the stories. It adequately closes out the big event, allowing the pivotal moments to be wound down with poignant writing yet with a slight twist in the tale. This is not interrupted and is really well orchestrated. But then there is this reset and an escalation of excitement for Cages tenure as mayor. For the amazing journey that this character has been through, to finally end at such a high point, it deserves this spotlight.

Devils Reign: Spider-Man #1 is a fun breath of fresh air to what has been a very dark event so far. It still contains threatening moments for our hero, but the tone of the dialogue and the cartoonish art lighten the mood whilst reading it.

Devils Reign: Winter Soldier #1 is a fantastic spy-thriller.

Devils Reign: Moon Knight #1 is a superhero fight club. Its a heavy metal, ultra-violent one-shot that releases a lot of the pent-up tension that has come from this event. MacKays writing is disturbing but darkly funny and shows why Moon Knight is respected but not liked. The art is sensational and is influential in denoting the tone of the comic.

Devils Reign: Superior Four #1 is a bizarre comic. On the one hand, it is a very fun, character-driven story. However, there appears to be no connection to Devils Reign at all.

Devils Reign: Superior Four #2 is a much better issue. The reader is comfortable with the plot now. The dimension-hopping aspect is fun and Thompson is adventurous with his decisions. The character is explored by using alternate versions of himself to highlight the key themes of his personality. The art is amazing and the battles are chaotic. What damages it is that it still seems so far removed from Devils Reign that its actually in another universe. No Daredevil, no Fisk, not even a Moon Knight or Purple Man. On its own, its an effective story, but as a tie-in it lacks a connection.

Devils Reign: Superior Four #3 is the last part of a very conflicting comic. There is a good story here, as well as an excellent character study through an inventive method. And the art has been fantastic in all three issues. However, The dialogue and the script are far too messy and bloated to really fall in love with. The large speeches from every character weigh the issue down and its very hard to really focus on what is being said. And to only have one page of three issues that actually ties it into the main book shows how adrift it is from anything relevant.

Devils Reign: Villains For Hire #1 is a fun tie-in with glaring issues. As a collection of villains going around murdering people, there is an exciting plot with some exhilarating action. The characters are powerful villains that are often considered C-list, but that is often the charm of comics like this. But the art can be off-putting in several instances, even if it is great in others. Using multiple inkers can be fine for adding variety to the page, but it also results in inconsistencies in the line art.

Devils Reign: Villains for Hire #2 is conflicting. The story is exciting and has a lot of possible routes for it to take, with characters that are worth following. Whilst they may not all be A-listers, Chapman has already shown their ability to draw the readers in. And the fight scenes are brutal but altogether fun in a morbid fashion. But the art is simply not good enough, and can even be off-putting.

Devils Reign: Villains for Hire #3 is not a good ending at all. This is because it doesnt feel like one. The drop-off from what is a plot acting within its own comic to suddenly becoming an explanation for the main Devils Reign book is so sudden and so violent that it instantly ruins any excitement for the comic. Any subplots are pointless and dont have a sniff of a conclusion. It is like it ran out of time to tell its story, perhaps an extra issue would have helped. But the art and writing arent really good enough to warrant it, leaving a curious and disappointing dilemma.

Devils Reign: X-Men #1 is an excellent tie-in. In the main book, the involvement of the X-Men was teased, but it was difficult to know how they could get included. Duggan uses a very clever method of not only connected the characters to the event but adding a powerful arc uniting many of the events crucial figures. There is a great script that depicts a story with several layers to it and Notos art is simply stunning to behold.

Devils Reign: X-Men #2 is a shining example of what tie-ins can be. The story is beautiful and meaningful, altering events from Marvels history. And it is a deeply emotional tale containing a collaboration between two characters. The art and writing are stunning as both character development and awesome comic book action come together.

Devils Reign: X-Men #3 completes a remarkable tie-in. Duggan and Noto have created a comic that would not be out of place if Devils Reign did not exist.

Doctor Strange #1 brings the Sorcerer Supreme back in a marvelous first issue. The energy and exuberance of the comic make it very easy to sink into, whilst that ability to descend into darkness gives the book weight and unpredictability. The book instantly cements Strange as an important part of the Marvel Universe, easily interacting and fitting in with whichever hero Mackay includes.

Doctor Strange #3 is a great example of how different this book is from other superhero comics. The job that Doctor Strange has is vastly separate from that of Spider-Man or Daredevil.

Doctor Strange #4 focuses on an investigation. It initially seemed like an odd choice to separate this issue from Strange himself and put more emphasis on Wong and Pandora. It could come across as filler or a side story. Instead, it is about as on track as the plot could get

Doctor Strange #5 is a confrontation of control. It takes the highly anticipated wedding and turns it into an intense, uncomfortable showdown between the most powerful magical beings without them even fighting one another.

Doctor Strange #15 is a show of intent. MacKay does not hold back in the early part of the comic. It highlights the damage the writers are willing to do to some of the most integral superheroes within the Marvel Universe.

Nexus of Nightmares #1 is out of place. The plot and dialogue are classic in their tone and structure, which can be enjoyable. The magic battles are visually fascinating, and the art team excelled in creating a Doctor Strange book that looks different. But the slow beginning and the lack of context around current comics prevent me from really developing an interest in the book.

Doctor Who: Empire of the Wolf is a wonderful blend of old and new. Although these characters have been seen before, Housers exploration of them brings something fresh to all of them. There is a beautiful understanding of where these people are in their separate lives and it really changes the dynamic when they are together. There is a real warmth to the books that stem from the heartfelt dialogue and adoration all of the creators appear to have for the figures on the page. This is a special comic and so rewarding to those who loved Rose.

Doctor Who: Time Lord Victorious #1 is a fantastic Doctor Who comic that feels like the opening few scenes of an adventure. Houser is an expert at writing the Time Lord and that has not changed within these pages.

Doctor Who: Time Lord Victorious #2 is an ending that doesnt quite fulfill the potential that the first issue started. The art team is talented, but it was disappointing to not explore more of the Dalek homeland. Two of the most famous nemeses in fiction being forced to join forces isnt as exciting on the page as it should be. Houser has the personality of the Tenth Doctor nailed down; especially as the Time Lord Victorious, and it is fun reading any comic with him in. But its unfortunate the small series wasnt given more images to get more out of a terrific idea.

Dracula: Blood Hunt #1 is the Generation Game with fangs and stakes. It packs mystery and gothic horror with youthful energy.

Dracula: Blood Hunt #2 excellently explores emotions.

Elektra #100 is a lovely celebration of a wonderful character. The anthology perhaps isnt as big as I would have liked it to have been, as there is definitely potential for more stories inside it. But the ones that made it in help showcase the depth that is within the assassin-turned hero.

Empyre: Avengers #2 is an incredibly enjoyable tie-in issue to the exciting event. Zub s wone of the best writers is coordinating huge casts of characters, and this small series is very reminiscent to his work on Avengers: No Surrender and Avengers: No Way Home, two comics I adored. I am a huge fan of comics that pit rare groups of heroes together against minor villains as it creates unique interactions and combinations.

Justice League: Endless Winter Special #1 is a brilliant first issue of a comic that is perfect for winter reading. It is a book filled with magnificent superheroes and large-scale battles, but there is a holiday feel to it all the same. Marz and Lanning have written a lively and investing script while Porter and Hi-Fi adorn the pages with energy. For the first part of an epic, the bar has been set high.

Teen Titans: Endless Winter Special #1 is another important comic in the crossover. Though there may be too much exposition at times, the book shines due to its fantastic characters. This new character that has been introduced hasnt had a chance to show themselves off yet, but the first impressions are excellent. It was interesting to see how the Titans were involved in the event, and it will be interesting to see what impact they have on the crossover in future issues

Superman: Endless Winter Special #1 is a warm, heartfelt issue that fantastically captures what the character and his stories should contain. It feels like you are reading a classic Superman cartoon, while still following this very modern crossover. The themes hit hardest after a terrifying year, but this would be a timeless story anyway.

Black Adam: Endless Winter Special #1 is the best issue of the crossover so far. Lanning and Marx have saved Adams fury until now, unleashing all of it in one comic. The fights are frantic and the stakes keep getting higher. And Black Adam is almost as much of a monster as the Frost King. The art team did an incredible job of letting the action tell most of the story.

Endless Winter was an enjoyable event overall. The stories, set almost a thousand years apart, are a tale of family and hope. The art team has provided various styles and villain designs and has done superbly in nearly every issue. The first half of the event does start to drag, but the energy soon picks up. And when it does, it doesnt run out again.

Eternals: Thanos Rises #1 is a celebration. This comic lovingly pays tribute to the brilliance of creators such as Jim Starlin and Jack Kirby with the modern mastery of Gillen and Weaver. It has painstaking details in its text and its art, using history to tell a new story. Its sad and even brutal, but that is inevitable considering what is created. It is also nice to get more of Gillens Eternals, and this hopefully will not be the last.

Exceptional X-Men (2024) #1 is a beautiful book in both art and writing, with a genuine heart and growing towards something crazier.

Extreme Carnage #1 has the potential to be a brilliant horror comic. The plot has a promising trajectory that could have multiple possibilities. It is unclear how much of a role Iron Man will have in this series, but his inclusion and the actions he takes dont bode well for Flash and his allies. What really let this comic down is the art. Clever ideas and attempts to horrify work well, but the unpleasant presentation of characters may turn readers away from continuing with the book.

Extreme Carnage: Scream #1 is a fantastic second issue of the crossover. The issue feels like a story solely dedicated to another plot, only for Carnage to appear and hijack it. Scream is practically dragged into the event, going from hidden to involved in a second...Even in a story where the details may not be relatable to the reader, the emotions are palpable. The art team have a style that may create flashbacks to the 90s, leaving a nostalgic feel without getting too obsessed with it.

Extreme Carnage: Phage #1 is another impressive chapter of Extreme Carnage. The energy, the violence, and the brilliant characters crossover no matter who the writer and artists are. But it feels like the title is wrong, as it creates the assumption that Phage will be the central figure. Especially considering how Screams tie-in almost entirely revolved around her. This does not detract from the overall impact the comic has on the reader, and fans of the Symbiotes will enjoy the showdown.

Extreme Carnage: Riot #1 is a brilliant transition issue as the second half of the crossover is underway. The different players involved are converging, and whilst this may have taken time, it will be fascinating to see what Carnage finally has planned... The Symbiote action has been glorious in every issue, and the art has been phenomenal in its grisly depictions, but the actual story needs to keep moving forwards as well. With this appearing to happen, the crossover has regained its momentum.

Extreme Carnage: Agony #1 is the best issue of the series so far.

Extreme Carnage: Lasher #1 has great action but is lacking something special. A lot is going on within the issue, and yet some parts feel stale. More Symbiotes are joining the fray, and that may be the problem. It doesnt feel like each one has been given a distinct voice and personality, so they have begun to be interchangeable.

Extreme Carnage: Omega #1 is a limp conclusion. The momentum of the entire event has been fluctuating and the speed slows down far too early in the issue. The comic lacks clarity and character definition, throwing as many Symbiotes at a wall as the writers can and seeing which ones stick. And out of nearly ten, probably two achieve this. For fans mindless Symbiote on Symbiote violence, this event may be up your alley. Even then, there are many other storylines that fulfill that with a better plot and characters attached to it.

Extreme Venomverse #1 is a great barometer of how a similar story can change with minor tweaks.

There are a modicum of reasons why losing Kamala is so gut-wrenching, and I think the whole comic encapsulates that.

The Flash #767 is part of a larger event but feels small and intimate. While there are guest stars and cameos, it is centered around just one character in the Flash. His heroism and determination bring a smile to the readers face as they read it. Black Adam as the other major part of the comic is fantastically written, unpredictable in what he will do next. The brilliant interactions and action is brought to life through terrific lines and colours. With the Flash moving further into the crossover at full speed, so are we.

The Flash #770 is a comic pulsating with adventure. The story is pure fun and very easy to pick and read from any chapter of the current arc. The setting and use of characters in this issue led to exciting circumstances. But Wallys strength as a character needs to return instead of solely being a mouthpiece for exposition. The artists are all talented creators despite the criticism but the book should be picked up if you just need a chaotic time travel story, or are a Flash fan.

The Flash #771 is a solid issue for three-quarters of its duration. There is constant enjoyment to be had for this part of the comic as Wallys adventure is always giving us new opportunities. But when it starts to slip it becomes so difficult to keep up with, which is annoying at this stage in the narrative. Any cliffhanger ending loses its impact because the reader is still three pages behind. The art is the biggest selling point of this issue, full of top-class creators, but the dialogue and nostalgia trips to classic stories additionally make this book worth trying.

The Flash #772 is a fun fresh start for Wally that is slightly let down by some artistic choices. The plot is exciting and nostalgic, harkening back to a classic Flash comic, and the energy that exudes when the characters are happy in this comic is infectious. But too much exposition and bizarre designs on the main character prevents the comic from really shining.

The Flash #773 brings the speedster back to his best. There is resurgent energy inside this issue that is infectious from the very first page. The first half of this comic, featuring Wally living his life and being himself, plants a beaming smile on the face of the reader. But there are some sadder moments towards the end that are poignant and just as powerful as the positive side to the book. The art creates a visual delight and exciting selection of action as Wallys new life looks set to be in good hands.

The Flash #774 is a fun and fantastic issue. Adams taps into the energy and the positivity of the silver age comics, but with modern writing styles and artwork from Duce. The superheroics that the Flash must partake in are always secondary to the importance of his family and the people around him. Wally is an extremely likable character, leaving the reader with a smile on their face whenever they see him. The art matches the positivity and the energy, resulting in exciting set pieces.

The Flash #783 needs a run-up to build excitement. The beginning of this new arc threatened to zap the momentum right from the get-go, from a start that could feel overly filled with exposition. Once the mission unfolds and that sense of adventure starts, the energy sizzles through the comic.

The Flash #784 is a brilliant injection of pace to the series. The three separate stories that are running parallel to each other bring with them unique settings and characters. The energy this comic contains is infectious and so much fun. It is full of content and incredibly exciting events brought to life with gorgeous art that is able to adapt to fit the needs of the story.

The Flash #785 brings all stories to the finish line and avoids tripping over itself. Adams shows a terrific understanding of structure as he is able to control such a huge plot and a dozen speedsters while having the emotional core shine through. All of this is presented through intelligent and magnificent artistic skills.

The Flash #787 is glorious madness. This comic feels like a time-out issue after long story arcs and events, allowing for a gap before the next one with an incredibly fun adventure. It captures the carefree nature this series can have that makes it so easy to fall in love with. Not every comic needs doom and gloom, some can just be a delight

The Flash #789 is a brilliant reinvigoration of the series. The last two issues, bringing the Rogues back and using previous events to move the story around, have given the story a new purpose and a heap of excitement. The supporting cast is growing further with brand new plot threads that will forever change Wally West and his family. It is constantly moving and always filled with energy. And with hints of something massive on the horizon, my confidence in the series remains high.

The Flash #790 is an excellent example of an opening gambit. The atmosphere is constructed beautifully, shifting in tone from the previous issues of the series and again mid-issue. The suspense is huge and the art is terrific, with a final page that proves that Adams is not willing to mess around.

The Flash #791 is a heartbreaking sign of intent. The One-Minute War very much gives depth and weight to a comic that has been light for a while.

The Flash #792 is a stunning mixture of tones. It starts incredibly sad and incredibly exciting, and Adams balances that transition beautifully.

The Flash #793 keeps the comic moving at full speed.

The Flash #794 blends the dark and the light. It has those streaks of hope that will always be present in a Flash comic, coming from such strong and unrelenting characters. But there is also a deep sadness to the book that Adams brings that is both gorgeous and devastating.

The Flash #795 is hurtling towards its conclusion, shining as it does. The One-Minute War has been a powerful story arc; this issue is another excellent inclusion.

The Flash #796 ends the One-Minute War with a fantastic finale. The new concept is clunky and odd within the context of everything else included in the book, but the last battle itself and the action of the issue as a whole are magnificent. And by the end of the story, the classic energy and hopeful feeling of classic Flash books have returned.

The Flash #797 is brilliant, youthful fun. The kids have to save the day independently, with barely an adult to be seen.

The Flash #798 is a book of new lives and new horizons. The birth of a child in a fictional world can be significant in many ways, even more so when they are the child of a superhero. The baby becomes a target, a plot device, but also the very beginning of a new legacy hero. The story can move forward in incredibly dramatic ways with a joyful time travel romp that uses all of the runs loose threads, hinting that they will all be wrapped up soon.

The Flash #799 is a very different second half. The comic flings us straight into the action and doesnt let up until the end. Its frantic and dramatic and has ramifications that could affect the entire West Family and their future. This is why the way it ends feels so bittersweet. Its positive and intriguing, but not the knockout blow this full-throttle fight deserved.

The Flash #800 brings an era to a close and fires the starting gun for the new one. The transition happens through the course of the comic, signaling a shift in the tide. That tonal difference is one that will be fascinating to see if persists on a more consistent basis.

The Flash 2021 Annual #1 ends this arc with an energetic and emotional finale. Adams latches on to an existing tragedy to fuel his own story, with tremendous results. It does not feel like Kings work is being trampled on, simply tributed. Whilst there are a few issues with the art, the fight scenes are phenomenal and the comic is filled with heart.

The Flash 2022 Annual #1 is a love story full of warmth. A novel plot concept that uses another story as a way of bringing the best out of the main characters. Lindas book may lack proper stakes, but it carries those same themes of love and fun that this run of the Flash thrives off. This is a comic that isnt afraid to delve deep into romance as Adams really encapsulates the happiness of this pairing. In a dark world, that light is always welcome.

The Flash: One-Minute War Special #1 is a massive tie-in powered not just by Adams but by a whole host of amazing artists that demonstrate speed in their own unique ways.

The Flash #1 changes everything. The book is such an emotional shift from what came before, uprooting the feelings of comfort and safety, which was a crucial aspect of the previous run. Now every part of the book is unsettling.

The Flash #2 rips up the rule book of the fabric of the DC Universe. What was believed about the physics and even the spirituality of the Speed Force is being upended with the introduction of something new.

The Flash #3 is mesmerizing. Every time we try to learn more about the forces of the DC Universe, the mysteries within it get deeper.

The Flash #4 is incredible. This whole series is absolutely unique, taking not just the Flash to another level but the whole superhero genre in general. Using Irey grounds the comic, providing both a tether to bring Wally back home and, as an adventurer herself, running off into danger.

At the very core of the comic is a family, and the complications within that family can strike a pang of guilt and sadness into everyone’s heart.

The Flash #6 celebrates confusion. The book is at an impasse. Spurrier is telling a cosmic horror story within the confines of the forces that control the Flash. And while reading it is mesmerising, comprehension of what is happening is on the verge of slipping away.

The Flash #7 catches everyone up. The book has moved at such a speed lately that it has been hard to hang on to, so this issue explains those left behind. Wally’s absence from the picture allows exploration of some of the neglected figures in the series, such as Barry and the other speedsters.

The Flash #8 is a cacophony of chaos. There is so much to love about this series and the inquisitive nature with which it tries to break reality and time. But it can also be tough to stay with it.

The Flash #9 helps the series find its feet again. The clarity within the storytelling allows us to enjoy the dialogue and the intricate details of Spurrier’s script further, which has never faltered.

The Flash #14 is refreshing and deceptive. What starts as a cheerful camping holiday quickly becomes enthused with hidden agendas and mysteries. There is an eagerness to jump into action, which makes the issue lively and adventurous while also linking back to the family at the story’s root

The Flash 2024 Annual #1 takes Wally to the edge of everything. This story needed to be told in an annual, as it needed space to go as far as it did.

The Flash: Fastest Man Alive #1 is an excellent reminder of what to expect from the Flash movie. Porter recaptures the tremendous chemistry that Flash and Batman had in Justice League and toys with it again, revitalizing the characters. While the story itself is drastically close to one already told, it is a relationship built within a different world that gives the book a heart. It's a book pulsating with energy and enthusiasm, and fans wanting a prelude before the movie should check it out.

Flashpoint Beyond #1 begins a new story by clarifying an old one. This comic taps into one of the most important subplots of the previous story, but one that was never truly wrapped up. And to do so, the script is excellent, and the art is phenomenal. Although there is an ending, that may not be the conclusion of that story, and it is only the start of something much more significant because Flashpoint possesses a great mystery

Flashpoint Beyond #2 is static but atmospheric. As a story, there are many points where it doesnt succeed. The emotional weight of Batmans mental surrender is heavy, which is not necessarily a negative. But that is twinned with the slow pace which just bogs the issue down. There is slightly too much standing around and looking at things while discussing what has happened or what is to unfold. Thomas Wayne and the other characters in Flashpoint are interesting to know, and the differences from Earth-Prime are getting bigger. And the art is sensational. But the overall negativity of the book does not make it enjoyable to read.

Future State: Swamp Thing #1 features brilliant characters but is let down by its confusing beginning. The script is terrific, as is the art. Swamp Thing and his followers are all immensely likable and leave the reader eager to read more. The opportunities for conflict are already ripe. But the first few pages take several attempts to understand fully. More will probably become clear as the series grows, and the comic absolutely has promise.

Future State: The Flash #1 is disappointing. While tackling very interesting ideas, the events happen so fast that the reader is left disjointed. Some huge events occur but arent quite given justice within the page. Barry himself is well-written, but some of those around him behave strangely. Each member of the Flash Family has a unique personality, and that isn't present here. The issue is so bleak its hard to get through. The art is good, but it's not got the power to carry the issue by itself. A poor start to the new series, it's hard to see where the series will be taken next.

Future State: Superman vs Imperious Lex #1 is an enjoyable first issue. The comedy within the dialogue allows the reader to skim the book first before going back to look for potential details they missed. This increased connectivity between Earth and the rest of the universe is a great concept to use within a DC story as there are so many possibilities. The art adds to the fun of the issue as there are fantastic fights and beautifully drawn planets.

Future State: The Flash #2 has improved but is still disappointing. Darkness and misery absolutely have a place within superhero comics and have often been dealt with well by writers. But this comic is far too bleak. The pacing, characters, and dialogue arent doing enough to keep you invested in the plot. The art is brilliant and the fight is enthralling but the reader may find themselves tuning out from it. Fan-favorite characters have been killed off in this series but its hard to care about that fact when its almost a side note within the issue. However, the end of the comic provides some context to this world, so hopefully what comes next is worth the torment.

Future State: Superman vs Imperious Lex #2 is set in the future but feels like a classic Superman comic. The plot is exciting while having a narrative using real life as a basis to tell the story. Each of the characters is so true to themselves. To the reader, Russell instills the idea that these three have been part of each others lives for so long, whether they like it or not. The art feels classic as well while generating new ideas. With the twist happening much sooner than expected, it leaves one wondering where the series will go from here

Future State: Dark Detective #4 is frustrating. The stories within have been fantastic. It truly has felt like the world of Judge Dredd has infiltrated Batmans life. Tamaki has generated interesting moral quandaries and used themes that are fascinating. But the ending leaves a bad taste in the mouth because it doesnt feel final. Perhaps the readers could have benefitted from an extra issue, as the sudden stop is jarring. Red Hoods part of the issue is also great but may belong within its own series. The art is superb, in particular the stunning colours from Bellaire, but one cant help but be confused as to how the series concludes.

G.O.D.S. #1 is gorgeous and gigantic. The series’ ambition must be commended, willing to slice into the fabric of a dimension to find new stories. And when doing that, it’s not going to be easy to explain what’s happening.

Gambit #1 is an untold story clarified. It is amazing that Claremont was brought back to tell a tale that possibly only he knew the true details of. And it could be possible that this history remained hidden in his own planning for decades. Whilst the characters' futures can be read about in hundreds of comics that succeed when this one is set, that is not the point of this issue The relationship between the characters is being demonstrated, with the dynamic between Gambit and the young Storm being beautifully written and deeply investing. Perhaps the title is misleading, as the focus of the plot appears to be Ororo (which is not a complaint) instead of Gambit.

Genis-Vell: Captain Marvel #1 is a brilliant reunion with some old friends. We relive these old characters and follow their new adventures at the same time. And this is being created by David, a man who knows these figures like the back of their hand. This blend of classic and modern is fused wonderfully as so much of this area of the Marvel Universe felt lost and forgotten. The issue isnt obsessed with history nor does it ignore it. Instead, it uses it to enrich the present.

Ghost Rider: Vengeance Forever #1 celebrates 50 years of a premise that embodies many captivating characters. For there is a terrific understanding that celebrating the existence of Ghost Rider shouldnt only be centred around Johhny Blaze or Danny Ketch. Whilst some have had more issues of been more integral to the lore, every single one of them have been involved in something huge and had fantastic stories told about them. This is done by a clever idea for a plot and wonderful art. But it also solidifies the fact that there is potential for another 50 years of Ghost Rider comics.

Ghost Rider/Wolverine: Weapons of Vengeance Alpha #1 is an excellent opener to the crossover

Giant-Size Spider-Man #1 is conflicting. The first in a set of 50th-anniversary one-shots, the idea is magnificent whilst the execution is strange.

Gold Goblin #1 is well crafted but lacks personality. The concept of having Norman Osborn go straight is interesting and has been treated well in other Spider-Man books. But the first issue needs to define what he is like now, otherwise, his old, villainous self will be wanted back.

Gotham: Year One #1 is a fascinating exploration of the past. Whilst set in the history of the city, this is a really engrossing new story. Brilliantly pastiching the genre of a noir tale to tell an unseen, potentially shameful hidden origin creates a fantastic atmosphere. Both the artists and the writer do a superb job of toying with the homage before mixing in both their own flair, ripping up any expectations.

Green Arrow #14 enlists everyone to the event. The book is so exciting because it takes off in unique directions whilst still staying integral to the Absolute Power series.

Green Arrow #15 embraces its slice of the DC Universe.

Green Arrow #16 is not ready to make things right. The issue reunites the heroes for a moment, but that does not mean they are all friends again. Even among his family, they can’t test Green Arrow’s resolve.

Green Lantern #1 is a great way of starting again.

Green Lantern #2 has the best of both worlds, with two stories that show that there isnt a wrong direction to travel in a Green Lantern comic.

Green Lantern #3 returns to its regular storytelling. After the Knight Terrors distraction, the book seamlessly transitions into Sinestro’s revenge and Hal’s attempt to figure out his new ring.

Green Lantern #4 brings The Brave and The Bold back together. This whole series has a refreshing return to classic Green Lantern stories, and this issue expands that idea

Green Lantern #5 is a tremendous issue. The decision to ground both Green Lantern and his greatest enemy was genius, as it localized the storytelling. One of the most famous rivalries in DC’s history is reignited and reforged, with the damage their battles caused being felt by people who are just spectators.

Green Lantern #10 puts Hal back home. The art gives the Green Lantern Corps the grandeur it deserves, even at its lowest moments. The book also regularly reminds us that Hal is not the only Green Lantern, and all must work towards liberating the cause they all cherish.

Green Lantern #13 feels full. There are so many levels to the story being told by the creative team on this issue alone. The story jumps between the characters to showcase how many directions the plot is moving in but reamains easy to follow.

Green Lantern #14 is a vital part of Absolute Power. It is involved in the event in many ways, with Lanterns included on Earth and beyond.

Green Lantern #15 cements the character’s importance. Hal has been a significant event feature outside the main book, bringing weapons and reinforcements. But branching the story out through the supporting cast has broadened the crossover range immensely.

Green Lantern #16 escalates the war. The loss of Thanagar has scattered the forces and completely changed the conflict. But at least in this near era, Hal Jordan is not alone.

Green Lantern #17 is a merger of two series: Green Lantern and Green Lantern Corps. Yet Adams keeps the story tethered and understandable, cutting through the universe with a scythe.

Green Lantern Civil Corps Special #1 is rewarding. The United Planets storyline has been progressing for a long time, and this issue directly addresses and dismantles the lengthy saga. The Green Lanterns shine together, feeling big and expansive.

Green Lantern: War Journal #1 expands the story into something much bigger. The book is intensely creepy and atmospheric, with the overriding feeling that something awful is about to happen. This feels like the last moments of peace for John before bringing him into the action.

Groot #1 is a wonderful and emotive book. Abnett is tapping into a piece of Marvels history that is very much under-explored.

Groot #2 shows a distinct change in its characters. The book is thrilling and emotional, as I found myself getting attached to the little tree and those that have chosen to try and keep them safe.

Groot #3 features excellent storytelling from all of the creators. Every person involved in making the comic had a crucial, irreplaceable part to play in controlling the tone and tempo of the book.

Guardians of the Galaxy #1 is a great new start for the team.

Guardians of the Galaxy #2 continues to set a new tone for the group.

Guardians of the Galaxy #3 is the best issue of the series so far. It explores the theme in a way that respects the history it is borrowing from whilst making an impactful story.

Guardians of the Galaxy #4 shows the aftermath of losing a best friend. It is gorgeously solemn and expressive.

Guardians of the Galaxy: Bane of Blastaar #1 is a fun cosmic adventure. So easy to pick up and enjoy, it is a fantastic example of how this cast of characters just makes any story they are in enjoyable.

Hallows Eve #1 is a delightful first issue. The character is new and is such a brilliant idea. Schultz has picked Janine up after Dark Web and Amazing Spider-Man and given her space to shine.

Hallows Eve #2 continues to be an exciting breath of fresh air. This is a book that is going out on its own with a lot of new, unexplored characters, and that is what makes it a really underrated book.

Hallows Eve #3 ramps up the energy of the series. The growth and development are gradual but noticeable. And whilst the story loses some of its real power by the end of the issue, this great cast is what keeps it interesting.

Hallows' Eve #4 gives the inexperienced hero a real test. The issue creates the biggest stakes so far, penning the heroes in and giving them a showdown with the villains of the book. It continues to be an exciting comic with a small cast of fascinating characters.

Harley Quinn #1 is an energetic start to a new series. There is a unique art style that absolutely captures the tone of the issue. Harley is starting again, but there is also a recognition of history. Batman as a guest star within this series is a fantastic foil to Harleys positivity. Phillips provides a fresh take on both heroes, adding new attributes to their personalities. At the same time, they are authentic and their voices are natural. The book relying less on chaos and madness shows just how much Harley has changed over the years.

Harley Quinn #2 is building into a phenomenal buddy-comedy, but one that includes moments of deep sadness. Every one of the creators has made sure that all of the aspects of the comic match the personality that Harley exudes, from the diversity in moods to her whiplash-inducing changes of pace. Kenny is a perfect partner for her in this series as it gives Quinn a project, someone that she can help make better whilst she does the same for herself.

Harley Quinn #3 is another energetic delight. There are layers within this comic that leave the reader wanting to go back and find more. This is a fun and humorous book, but there are sad scenes that show just how in-depth Harley is as a character within her own series. Phillips explores every aspect of her personality; the clown, the tortured soul; the friend; the fighter; the psychiatrist. The art style gives the comic a unique world to live in that compliments the title character beautifully.

Harley Quinn #4 is a stunning book. This is a gorgeous exploration of the character, with Phillips providing Quinn with a Multiverse of dimensions. There is a deep maturity to the discussions had inside these pages, which contrasts superbly with the silliness of the rest of it. The characters all feel big and energetic, and the art gives the comic a unique look that makes it stand out against anything else currently available. This is a celebration of who Harley Quinn is, as she finds out who she is.

Harley Quinn #5 takes this rollercoaster for one last fantastic spin. The story itself may not have left a lasting impression, but what has shone from the first to the final page is are the characters and the dialogue. Phillips mastery over language means that every single piece of conversation or word balloon is delightful. The art style is truly unique and captures the attention terrifically. The desire for more Harley from this creative team has evolved from a want to a need.

Harley Quinn #6 is a fantastic start to a new arc. Phillips bridges the gap between what has already happened. But the expertly crafted double-act with Selina allows the story to stand on its own without the foreshadowing. The writer has an awesome style that makes any conversation stunning. The new art team settles in brilliantly. As Harley Quinn falls into the umbrella of the Fear State crossover, it will be interesting to see which direction this book goes.

Harley Quinn #7 is a tie-in that maintains its soul. The comic feels attached to the Fear State story without losing track of its story. What has helped is that Phillips has built up to this for a long time in the series, so it would not appear to have suddenly turned in a new direction. In fact, some of the reveals in this comic show just how long Phillips has been foreshadowing events. The heart within this series creates a beautiful connection between the reader and the comic.

Harley Quinn #8 is a lovely issue. Harleys first hug with Ivy is a reward, as if part of what she has been looking for has been achieved. The comic is so exceptionally emotional, relying on its heart for strength. Phillips may be one of the best dialogue writers in the business, whether it be philosophical narrations or hysterical quips. The reader can hear Harleys voice in their head when they read her lines. And with the brilliant and unique art, this comic is so characterful.

Harley Quinn #9 remains a delightful comic. The issue is cartoonish, filled with over-the-top action, drama and characters. The art style is fun and goofy and leaves the reader grinning. But within that cartoon is a book filled with depth and heavy emotions. Phillips succinctly portrays love that makes the heart sing and fear that can make it sink. This is a comic that is just as grown-up as it is childish.

Harley Quinn #10 is a love story to rival the greatest. This appears to be a transition issue between arcs, but it is in no way filler. There are incredibly important events that occur in this chapter that will change the course of many series to come. Phillips dialogue is so engaging to read, the art is fantastic, and the notion that they care about these characters is evident.

Harley Quinn #11 is a bundle of energy and power. We as readers have grown to adore these characters and Phillips has written them superbly from the beginning.

Harley Quinn #13 is a re-energized delight. The book starts a new arc brilliantly as it flings Harley into an entirely different set of circumstances. And yet Phillips keeps the same themes running throughout the series in a way that revisits yet constantly reimagines.