The Pull List: 5 September 2018

The saga of Esther and Ed's awkward will-they won't-they romance hits that stage where Rachel finally decides she loves Ross, but then he comes back from China with Julie in the Season 1 Friends finale. We all know how that ended, and I'm sure there will be a similar resolution here. Giant Days is that kind of comic book, after all. It has the familiarity of a old, worn blanket, and is just as warm.

We don't praise John Allison's writing enough. He develops superb characters, feeding on archetypes, but he also allows them to gradually mature and develop. He tells funny stories that are often done in one issue, but they all feed into longer-term dramatic arcs as his characters fall in and out of love, make mistakes, have little victories, and so on. It feels effortless, but I suspect it's a much trickier job than most of us realise.

Max Sarin's expressive, cartoon-like artwork simply increases the appeal, as do Whitney Cogar's very effective colours. It looks sweet, and that's the perfect tone for these sweet, enchanting stories. A specific shout-out to the Babylon 5 advent calendar: this is a comic with broad, populist appeal, but Allison's a proud nerd at the core. (4/5)

Giant Days #42. Boom Studios. Written by John Allison. Art by Max Sarin. Colours by Whitney Cogar.

Under the cut: reviews of Avengers, Batman, Green Arrow, Immortal Hulk, Justice League, and Star Wars: Doctor Aphra.

The Pull List: 15 August 2018

One day soon, when The Wicked + the Divine has concluded, I am going to go back and re-read the entire series from issue #1. It is such an exceptionally developed and presented work that it just begs for additional scrutiny, and time to really appreciate what an excellent work of narrative art it is. The story is complex and has gradually unfolded in the most effective of ways. The artwork is among the best being published today.

In the 38th issue, a lot of questions are raised. Someone dead may be alive. Someone may be giving up godhood. Someone else has gone missing from, well, pretty much everywhere. Things are clearly nearing the ultimate climax, and it's all getting rather intense.

Every time I praise this series I find myself compelled to start with Jamie McKelvie's artwork. Simply put, there's no one in the industry who captures emotions on face than he does. He accentuates the emotion of Gillen's scripts immeasurably. He makes the characters seem real. I don't know how many more issues we've got to go, but he's making every one of them an absolute treasure. (4/5)

The Wicked + the Divine #38. Image. Written by Kieron Gillen. Art by Jamie McKelvie. Colours by Matthew Wilson.

Under the cut: reviews of Aquaman, Batman, Batwoman, Beneath the Dark Crystal, Doctor Strange, Justice League, Ninja-K, Star Trek: The Next Generation, Star Wars: Poe Dameron, Usagi Yojimbo, and The Wild Storm.

The Pull List: 8 August 2018, Part 2

Rice and Mac break all manner of laws pursuing their alien suspect, and enter the spaceport for the first time. Some period later, their encounter is discussed on the news, and some difficult questions are asked.

There is a superb slow build to Port of Earth, as each issue pushes the core narrative forward to the next surprise and then comments on and illuminates the action via the framing device of a television interview. This drip-fed world building makes this an addictive read, as well as a smart and political slice of science fiction.

I am particularly liking Andrea Mutti's artwork, which has a semi-realistic, rather scratchy style that enhances the drama nicely. This is a very dramatic, straight-faced work, without much room for comedy in Zack Kaplan's scripts. It's been progressively getting better too; it's worth getting the first two trade paperbacks to catch up. (4/5)

Port of Earth #8. Image. Written by Zack Kaplan. Art by Andrea Mutti. Colours by Vladimir Popov.

Under the cut: reviews of Catwoman, Daredevil, Detective Comics, Doctor Who, Hawkman, Invader Zim, Mech Cadet Yu, Oblivion Song, and Spider-Man.

The Pull List: 1 August 2018, Part 2

Journalist Jacqueline McGee is on the hunt for a story: the apparent resurrection of Dr Bruce Banner, aka the Incredible Hulk. Joining her on her assignment this issue is Walter Langkowski, better known by his own alter-ego Sasquatch and also Banner's former college roommate.

We're now four issues into The Immortal Hulk. The first three issues have had an almost anthology-esque structure to them, with each story using a darker, more threatening version of the character to tell horror stories. This issue feels like a much more conventional superhero comic, firming up an ongoing narrative and reconnecting Banner and the Hulk back into the Marvel Universe. It is a perfectly solid approach, but I do hope writer Al Ewing can strike a balance between the horror stories and the superhero ones. The first three issues were just too good to lose. Joe Bennett provides excellent illustrations with inker Ruy Jose. (3/5)

The Immortal Hulk #4. Marvel. Written by Al Ewing. Art by Joe Bennett and Ruy Jose. Colours by Paul Mounts.

Under the cut: reviews of Doctor Who: The Seventh Doctor, Giant Days, and Green Arrow.

The Pull List: 1 August 2018

Seven to Eternity returns after a break with its 10th issue. I am happy for the book to take its time, because the intricately detailed artwork of Jerome Opeña must take an absolute age to compose - and I'd rather it look great that come out on a monthly schedule.

We pick up where we left off, with Adam Osidis having betrayed his companions to rescue the Mud King. Now they travel towards the mysterious Springs of Zaal, where Adam may finally receive a cure to the disease that is slowly killing him. That journey is interrupted by pirates who descend upon them from balloons.

It isn't just the artwork that makes this book so strong; it's the rich and distinctive fantasy world that Rick Remender has developed with which to tell his story. It's familiar in many respects, but peppered with superb original concepts and cultures. Want a great fantasy comic book? Look no further. (5/5)

Seven to Eternity #10. Image. Written by Rick Remender. Art by Jerome Opeña

Under the cut; reviews of Batman, Delta 13, Doctor Who: The Seventh Doctor, Giant Days, Green Arrow, The Immortal Hulk, Justice League, Mister Miracle, and Scales & Scoundrels.

The Pull List: 11 July 2018, Part 2

It feels a weird choice on DC's part to have Brian Michael Bendis write both Superman and Action Comics. Perhaps it was Bendis' demand when negotiating to come over from Marvel to write for the company. Perhaps DC's editors simply wanted to have a unified pair working in synch. Either way it feels like a weird redundancy.

It's an enjoyable first issue, picking up threads from the Man of Steel miniseries, but at the same time there is an unsatisfactory dourness about things. Superman performs best as an upbeat character, and to see him in both books as a morose and unhappy character feels tonally wrong. Hopefully it will pick up in the coming months, but for now Superman feels like what it is: a DC title getting written by a Marvel writer. You just want Clark to be having a better time. The art is very strong, thanks to the immeasurably talented Prado and Reis.

There's a mixture of the good and the predictable going on here. A conversation between Superman and the Martian Manhunter, in which Superman keeps zooming away to fix momentary crises, feels overly familiar, and the Manhunter's suggestion that Superman should become the world's de facto leaders feels tonally very wrong indeed. Other moments feel stronger - particularly the pretty awesome cliffhanger ending - but overall this remains a very good issue that never quite manages to be the great one that DC promised. (4/5)

Superman #1. DC Comics. Written by Brian Michael Bendis. Art by Joe Prado and Ivan Reis. Colours by Alex Sinclair.

Under the cut: reviews of The Crow: Memento Mori, Detective Comics, Isola, The League of Extraordinary Gentlemen, Mech Cadet Yu, Port of Earth, Rat Queens, and Transformers: Unicron.

The Pull List: 4 July 2018, Part 2

Spinning off from the events of Batman #50 comes an all-new volume of Catwoman, featuring its first-ever all-female creative team of writer/artist Joelle Jones and colourist Laura Allred.

While attempting to lie low in Mexico, Selina Kyle is in trouble with the law once again - not for anything she has done herself, but because of the two police officers shot dead by an apparent copycat. Despite having enough issues on her own, she is reluctantly dragged back into costume again.

Joelle Jones has been doing sensational work with Tom King over in Batman, and Laura Allred is a well-established and strong talent in colouring, so the visuals of this new ongoing were never in doubt. Nicely dense panel layouts get a lot of story into one half of the book, while the other half loosens out to accentuate the action. It's a superb balance, and the art and colours match the slightly grittier aesthetic that Jones has chosen.

The big surprise is in the writing: Jones absolutely nails both the story - it's intriguing and intelligent - and the characters. It gives Selina a great sense of both agency and humanity. This is a superb opening chapter to what I suspect will be a big success. (5/5)

Catwoman #1. DC Comics. Story and art by Joelle Jones. Colours by Laura Allred.

Under the cut: reviews of Giant Days, Justice League, and Prism Stalker.

The Pull List: 4 July 2018, Part 1

So after much build-up and anticipation, Batman reaches the wedding of Bruce Wayne and Selina Kyle. It is kind of impossible to discuss this issue without spoilers, so if you haven't read Batman #50 but plan to, head beneath the cut and read the reviews of the other books instead. This one's is going to be spoiler city.

When the big day arrives, and with the happy couple choosing to do it with two witnesses and a judge on a Gotham City rooftop, Selina leaves Bruce at the altar. No wedding ensues. Batman and Catwoman are not married. The titular event does not actually occur. Two immediate thoughts come to mind. The first one is that this is not a surprise. The Joker explained last issue how Bruce being happy will destroy Batman, and Selina's best friend Holly explains it again here. Both are correct: with Batman being the brooding monomaniacal creature of the night he's been portrayed as for the past three decades, being happy would absolutely ruin him. Anybody expecting a happy ending simply hasn't been reading Batman comics for a long, long time. The second thought is that whatever went through the minds of comic readers who did expect an actual wedding that led to writer Tom King being sent enough credible death threats that he spent the whole of San Diego Comic Con with an honest-to-god bodyguard is genuinely a worry. It's just a comic book, guys. In a few years DC will launch a line-wide crisis and reboot it all anyway.

You can see what's being attempted here, with full-page narrated splash pages allowing a range of guest artists to contribute work to the celebration, and it is remarkably clever that King uses unreliable narration to flash back to conflicting back stories of years past, but it also makes the book a little bit of a drag. It actually feels a little dull, and it's only the concluding cliffhanger that actually gives the book the spark that it needs. As an issue in its own right, it is a little underwhelming, but it does kick off what look like another great 50 issues of King's run. (3/5)

Batman #50. DC Comics. Written by Tom King. Art by Mikel Janin. Colours by June Chung. Guest art by Jose Luis Garcia-Lopez, Trish Mulvihill, Becky Cloonan, Jason Fabok, Brad Anderson, Frank Miller, Alex Sinclair, Lee Bermejo, Neal Adams, Hi-Fi, Tony S. Daniel, Tomeu Morey, Amanda Conner, Paul Mounts, Rafael Alberquerque, Andy Kubert, Tim Sale, Jose Villarrubia, Mitch Gerads, Clay Mann, Jordie Bellaire, Ty Templeton, Keiren Smith, Joelle Jones, David Finch, Jim Lee, Scott Williams, Greg Capullo, FCO Plascencia, and Lee Weeks.

Under the cut: reviews of The Avengers, Beneath the Dark Crystal, Delta 13, The Immortal Hulk, and Lowlifes.

The Pull List: 13 June 2018, Part 2

With the war against Apokolips reaching a cease-fire, Scott Free and Barda sit down to negotiate peace terms with Kalibak. The offer from Apokolips, however, may just be too high for Scott to accept.

Mister Miracle has been an absolute stand-out for DC Comics since it commenced nine months ago, combining a smart, complex script by Tom King with stunning and innovative art by Mitch Gerads. There is an insidious sort of underlying threat that has run beneath the entire book, and as the series marches towards its 12th and final issue the truth of what that threat actually is feels viscerally close. It is remarkable how tense everything is becoming.

Tom King is really demonstrating himself as DC's most valuable creative at the moment, with his intelligent and provocative work both here and in Batman. He's become one of those writers whose work you simply buy and read regardless of subject matter. This series has been pitch-perfect, and as it enters its final stretch it is difficult to imagine it's going to falter now. (5/5)

Mister Miracle #9. DC Comics. Written by Tom King. Art and colours by Mitch Gerads.

Under the cut: reviews of Copperhead, Mech Cadet Yu, Oblivion Song, and Port of Earth.

The Pull List: 6 June 2018, Part 2

Back in Marvel's crossover event Civil War II, Bruce Banner (aka the Incredible Hulk) died. Now he's back. How? Quite simply, he's the Hulk - and the Hulk is too powerful to die.

The Immortal Hulk brings back the original and best Hulk (apologies to recent stand-in Amadeus Cho) with a fresh coat of paint and a deliberate skew from superhero adventure to comic book horror. Writer Al Ewing takes what is - let's face it - a pretty lazy reason to bring the Hulk back, and transforms it into something genuinely horrible. When we first see Banner, he's about two pages away from a fatal gunshot wound to the head. No matter how many times that happens, however, night will fall, his body will rise and the Hulk will emerge. It's a nicely bleak set-up for this new volume.

Joe Bennett and Ruy Jose give the book a nice aesthetic, giving everything a slightly old-fashioned edge. Bennett's art comes into its own in one climactic moment - you'll know it when you turn the page. Between this and Doctor Strange's current sojourn into space, it seems Marvel is playing with fresh and innovative angles on its long-running characters. Hopefully they're successful enough to allow these new set-ups to play out in full. (4/5)

The Immortal Hulk #1. Marvel. Written by Al Ewing. Art by Joe Bennett and Ruy Jose. Colour by Paul Mounts.

Under the cut: reviews of Exit Stage Left: The Snagglepuss Chronicles, Giant Days, and The Man of Steel.

The Pull List: 2 May 2018, Part 1

It's time for another periodic soft relaunch for DC Comics. Justice League is getting a new issue #1 in the aftermath of Dark Nights: Metal. Batman and Catwoman are about to get married. Brian Michael Bendis is coming in to overhaul the Superman books. Heralding these changes, and acting as a kind of prologue, is DC's 25c special DC Nation (also, I believe, going for free on Comixology).

The book's divided into three sections. The first, "Your Big Day", sees the Joker waiting at a random man's house for a mail delivery. It is brilliantly written and illustrated, with a Joker that is simultaneously funny and scary in equal measure.

"Office Space" foreshadows Bendis' new Man of Steel miniseries with a new character and a new status quo. Of the three prologues, this feels the weakest. It's obviously too early to say what Man of Steel is like, but this taste feels as if it's changing a little too much of the status quo between recent Superman books and whatever Bendis has planned for the future. "No Justice Prelude" is pretty much an excuse for some nice artwork and colouring, and a preview of the new expanded (and oddly improbable) Justice League.

It's a little odd scoring a three-part prologue; it's effectively like giving a score to an advertisement. All that in mind, it's one must-read little Joker short, plus two easily missable bonus strips. That pretty much leads to a score of (3/5).

DC Nation #0. DC Comics. "Your Big Day" written by Tom King. Art by Clay Mann. Colours by Jordie Bellaire. "Office Space" written by Brian Michael Bendis. Art by Jose Luis Garcia-Lopez and Dexter Vines. Colours by Alex Sinclair. "No Justice Prelude" written by Scott Snyder, James Tynion IV, and Joshua Williamson. Art by Jorge Jiminez. Colours by Alejandro Sanchez.

Under the cut: reviews of Batman, Exit Stage Left: The Snagglepuss Chronicles, Giant Days, and Spider-Man.

The Pull List: 4 April 2018, Part 3

As his appointment approaches with the House Un-American Activities Committee, closeted gay playwright Snagglepuss struggles with his friends, his lover and his increasingly unhappy wife.

Police brutality, gay-bashing, identity crises, the tension between art and commerce, cold war paranoia, anti-communist crusades - these are all powerful and worthy subjects to cover in a 1950s period drama. That they're being expressed through a post-modern remix of Hanna Barbera cartoons just makes it deeply weird and unsettling.

It feels as if it shouldn't work, and every issue seems to put more pressure on top - how ludicrous can it get and maintain an authentic sense of drama? So far so good: this is the most surprising book of the year so far. Mark Russell's script is smart, literate and self-aware. Mark Morales and Mike Feehan's art and colours are unusual but effective. This book is just so strange - and strangely wonderful. (4/5)

Exit Stage Left: The Snagglepuss Chronicles #4. DC Comics. Written by Mark Russell. 

Under the cut: reviews of Batgirl and the Birds of Prey, Demigod, Mech Cadet Yu, Monstro Mechanica, and Sonic the Hedgehog.

The Pull List: 4 April 2018, Part 2

Her underground adventure complete, Luvander wanders into a regional conflict between two human dukedoms - and a mercenary of elves hired to win the conflict for the highest bidder.

In this excellent one-shot we get to see more the world of Scales & Scoundrels, as well as more back story for Lu: who she is, where she has come from, and the position her people take in the world around them. It is a difficult thing to write a one-shot: with only 20 pages free to write a story with beginning, middle and end, it is the sort of task that can divide a decent writer from a truly exceptional one. Sebastian Girner more than passes the test here. The issue is to-the-point, rich in detail, and satisfying on its own merits. It is the best issue of Scales & Scoundrels so far.

Galaad's artwork is elegant and simple, with a pleasing European style. It's particularly good in terms of colour, with nothing every feeling too overwhelming or busy. It's the perfect complement to the writing. (5/5)

Scales & Scoundrels #8. Image. Written by Sebastian Girner. Art and colours by Galaad.

Under the cut: reviews of Giant Days, Superman, and The Wicked + the Divine.

The Pull List: 14 March 2018, Part 1

The world above is ending. The world below has one last chance, and even that now appears to be lost. It's the obvious place to begin this final issue of Boom Studios and Archaia's 12-part sequel to The Dark Crystal, one based on the never-filmed screenplays by Craig Pearce, Annette Duffy and David Odell. It has been marvellous stuff, and it ends on a beautiful note.

The greatest achievement of Simon Spurrier and Phillip Kennedy Johnson's comic script is that it has really felt appropriate to the world of The Dark Crystal. The emotional tone, the settings, and the dialogue all feel authentic and well-matched, while expanding the story into new environments and situations. Had this ever been produced on-screen, it would have likely been a satisfying follow-up to the beloved original.

Kelly and Nichole Matthews' artwork is particularly strong for this final issue, with some bold panel layouts and brightly vivid colouring. It has helped make it a wonderful reunion for this reader with a childhood favourite. (5/5)

The Power of the Dark Crystal #12. Archaia/Boom Studios. Written by Simon Spurrier and Phillip Kennedy Johnson. Art and colours by Kelly and Nichole Matthews.

Under the cut: reviews of Action Comics, Darth Vader, and Judas.

The Pull List: 7 March 2018, Part 1

The Roto and the Paznina face each other in one final battle - unless Thea can stop them both. With Shiloh transformed, that may not even be possible any more.

Extremity ends, after 12 sensational issues, and it's almost certainly the best comic of its genre from the past year or two. It's combined a sort of Miyazaki-esque sensibility with a stunningly developed post-apocalyptic world, strong characters, and Johnson's striking and deliberately rough, emotive artwork.

The entire series has been based around the damage caused by war, and the futility of violence, so it is not a surprise that the climax would be focused so closely on one final pitched battle. While unsurprising, it is absolutely not a disappointment: instead it feels perfectly appropriate and hugely satisfying. In essence, Extremity ends the way the reader should want it to. There is a resolution. There is heartbreak. Things are both won and lost. While one could conceivably keep some sort of story going from this point, it would never be as strong as leaving this world and characters right here. This has been one hell of a good series. (5/5)

Extremity #12. Image. Story and art by Daniel Warren Johnson. Colours by Mike Spicer.

Under the cut: reviews of Batman, Giant Days, She-Hulk, and The Wicked + the Divine.

The Pull List: 28 February 2018, Part 1

Archaia have enjoyed huge success over the years with a string of Jim Henson-derived titles, including comics and graphic novels based on The Dark Crystal, Fraggle Rock, The Storyteller and even long-forgotten unfinished Henson works like A Tale of Sand. Last year they hit a creative goldmine in adapting the abandoned sequel The Power of the Dark Crystal, and for a follow-up they have understanding gone to Henson's beloved feature film Labyrinth for an all-new 12-issue maxi-series.

On the face of it, it all seems like a wonderful idea. They have hired excellent writer Simon Spurrier to script the new project, and decent artist Daniel Bayliss to illustrate it. Sadly once you begin reading the first issue, it all falls into a bit of a heap. It's a prequel.

Yes it's decently written, and yes the art is solid, but at the end of the day no reader needs to know the origin story of Jareth the Goblin King, memorably performed by David Bowie in the original film. Prequels do not provide drama or suspense; at their best - and I find that rare - they offer character insight, but most often they deliver trivia. The hard-core may adore the chance to see how he got to the Labyrinth. For me it's a mystery I never wanted solved. (2/5)

Labyrinth: Coronation #1. Archaia/Boom Studios. Written by Simon Spurrier. Art by Daniel Bayliss. Colours by Dan Jackson.

Under the cut: reviews of Darth Vader, Detective Comics and Doctor Strange.

The Pull List: 14 February 2018, Part 4

Brothers-in-arms Zedo and Gogi have been separated. Gogi finds himself drawn into a new family of orphans on the ruined surface, dodging giant monsters while discovering a better life. Zedo is still trapped underground, hoping to use his discoveries to curry favour with a local violent gang of youths.

Both storylines play out in parallel, and each has its own combination of character development and action. This has been an excellently paced miniseries, with efficient and intriguing world-building combining with solid and engaging characters. One scene in particular stands out, as Gogi comes face to face with an injured giant hiding in a cave. The Valderrama brothers absolutely nail the tension and awe of the scene.

Their artwork is tremendous: it shows quite a strong influence from Japanese writer/artist Katsuhiro Otomo, who is one of the more interesting artists upon which to develop one's own style. A typically subtle colour palette allows the moments of big action to really pop out and show contrast. If the last two issues of Giants are as good as the first three, then this could wind up being one of the top comic books of 2018. (5/5)

Giants #3. Dark Horse. Story, art and colours by Carlos and Miguel Valderrama.

Under the cut: reviews of The Black Monday Murders, Deadman, Judas, and Rocko's Modern Life.

The Pull List: 14 February 2018, Part 3

As Oracle, Barbara Gordon has been using the Calculator's own network to stop his criminal enterprises. Now the Calculator is striking back, going to murderous lengths to discover Oracle's true identity - and it's up to the Birds of Prey to stop him before there's a body count.

I figured it was well worth shining a spotlight on Batgirl and the Birds of Prey this time around. It's never the greatest book on the shelves, but it's also at least very good. It has a pair of great writers in Julie and Shawna Benson, and they have a strong sense for what makes their all-female super-powered cast work. There is a continuing story arc - and it seems to be heating up - but what gets me back each and every month is the interplay and warmth between Batgirl, Black Canary and Huntress.

Roge Antonio's artwork is fairly strong, and well coloured by Marcelo Maiolo. The art in this book is generally always good and always tells the story effectively. This is the sort of superhero comic that knows what it's supposed to be and fulfils its remit wonderfully. (4/5)

Batgirl and the Birds of Prey #19. DC Comics. Written by Julie Benson and Shawna Benson. Art by Roge Antonio. Colours by Marcelo Maiolo.

Under the cut: reviews of Port of Earth, The Power of the Dark Crystal, Sleepless, and Star Wars: Darth Vader.

The Pull List: 7 February 2018, Part 3

Another one-shot special for The Wicked + the Divine, showcasing the Pantheon of a former generation. In this case it's the immediately preceding group from 1923. I really love these WicDiv one-shots, partly because they offer other artists the chance to play in the series but partly because it allows Kieron Gillen to experiment with storytelling style and format.

He goes all-out here, with a lengthy issue that's half comic book half prose short story. It's a technique I've seen before - Grant Morrison did a sensational issue of Batman like this once - but in this case Gillen really knocks it out of the park. It's one big Agatha Christie pastiche, with comic images used only to showcase the climactic moments. Aud Koch's artwork is superb, and fits the tone and style of the book perfectly.

Gillen captures the 1920s perfectly. His prose is purple - it feels deliberate - and his cast of gods reflect numerous literary identities and works of fiction. It is tremendously clever stuff and, coming just as the main storyline seems primed to wrap up, it's perfectly timed too. (5/5)

The Wicked + the Divine: 1923. Image. Written by Kieron Gillen. Art by Aud Koch.

Under the cut: reviews of Armstrong, Green Arrow, Mech Cadet Yu, Scales & Scoundrels, and Walt Disney Showcase.

The Pull List: 7 February 2018, Part 2

Leonardo Da Vinci has built a sentient wooden automaton, and used it as part of a siege of the town Volterra. He dispatched his apprentice Isabel to oversee it in action - just as he assigned Isabel to reset the automaton's memory each time it was used. Isabel failed to do the latter, and it may destroy her chances of doing the former, since the automaton has learned - and the only thing it has been taught is war and violence.

I am really enjoying Montro Mechanica, a Renaissance-era fantasy from creators Paul Allor and Chris Evenhuis. The dialogue is smart and the historical setting well researched. The artwork is crisp, clean and well-proportioned. Sjan Weijers' colours have a soft sort of pastel quality to them that has an unusual and interesting effect.

Monstro Mechanica is out via independent publisher Aftershock, which means it's not going to be in every local comic book store and it's not going to have a huge marketing budget. If it sounds like your kind of a book then order a copy in, or grab a copy via Comixology. It's one of the best new books out at the moment. (4/5)

Monstro Mechanica #3. Aftershock. Written by Paul Allor. Art by Chris Evenhuis. Colours by Sjan Weijers.

Under the cut: reviews of Giant Days, She-Hulk and Spider-Man.