Page 45 Comic & Graphic Novel Reviews December week two

Featuring Lucas Harari, Michael Green, Mike Johnson, Andres Guinaldo, Molly Knox Ostertag, Ed Brubaker, Sean Phillips, Jake Phillips, Al Ewing, Joe Bennett

Swimming In Darkness h/c (£21-99, Arsenal Pulp Press) by Lucas Harari…

“So you’ve read all my books?”
“Yes, for my thesis. I studied architecture in Paris.”
“You’re interested in thermal establishments?”
“Yes, but Vals, most of all.”
“And your thesis was about Vals?”
“I’d very much like to read it.”
“Unfortunately, that’s impossible…”
“And why is that?”
“It’s kind of a long story… I lost all my research.”

It is indeed a long story, involving a temporary psychotic break and descent into insanity just for starters… before a temporary psychotic break and descent into…

But lest you go bonkers trying to guess what on earth is going on… here’s the publisher to prickle your curiosity further…



“Pierre is a young man at a crossroads. He drops out of architecture school and decides to travel to Vals in the Swiss Alps, home to a thermal springs complex located deep inside a mountain. The complex, designed by architect Peter Zumthor, had been the subject of Pierre’s thesis. The mountain holds many mysteries; it was said to have a mouth that periodically swallowed people up.

Pierre, sketchbook in hand, is drawn to the enigmatic powers of the mountain and its springs, and attempts to uncover the truth behind them in the secret rooms he discovers deep within the complex. But he finds his match in a man named Valeret who is similarly obsessed, and who’d like nothing more than to eliminate his competitor.”

Indeed, and before I commence attempting to assemble a few pieces of the puzzle for you with my thoughts, I suppose I better let Pierre and Valert finish their dinner conversation…

“But I’ve started working on Vals again. That’s the reason I’m here.”
“Then we have something in common.”
“You’re writing a book about Vals?”
“Mmm… you know, Pierre, last night… I couldn’t help but look through your sketchbook. Your drawings of the baths are very beautiful. But what surprised me most of all are the plans… because they’re all wrong! Still, they seem to respect the composition of the existing building perfectly.”
“Ah, so you noticed that… Let’s just say they’re interpretations…”
“Interpretations? I see… is that the object of your research? What the building could have been?”
“Yes… what it might become.”
“Forgive me but I don’t understand.”
“It’s only just a theory…”
“Then explain it to me. I’m listening.”
“Really, it’s just speculation. Nothing serious, you know.”
“But I’m telling you, I’m interested…”
“No, really, it’s not…”



Yes, both men are seemingly becoming utterly obsessed with finding out the secrets of Vals…



Have you ever anticipated something, expecting it to be a certain way, and then when you actually experienced it, found it to be something completely different…? Pierre certainly has… and so did I. For, from the suspense laden, mildly sinister cover and peculiar publisher blurb I thought I was going to get something akin to Charles BLACK HOLE / LAST LOOK Burns, whereas in fact what I got was much more like Manuele THE INTERVIEW / BLACKBIRD DAYS Fior. Who, as a complete aside judging from the cover of BLACKBIRD DAYS really ought to be getting a design credit on Elon Musk’s new Cybertruck…

Harari lures the unsuspecting reader ever deeper and deeper into his mystery through our competing duo who become increasingly desperate, indeed frantic, to crack the conundrum before their rival, for it seems, according to legend at least, the answer isn’t something that can be shared. Valeret in particular will seemingly stop at no ends to ensure the mountain reveals its secret to him and him alone…



This is an intriguing story which is far more about the imperfectly formed personalities of the protagonists, including an eclectic supporting cast, than it is the supernatural or otherwise surroundings of the mountain and the hot springs themselves.

Art-wise the subdued palette of black, blues and hints of pinks and reds evokes a suitably spooky atmosphere of altitude and isolation. Harari also perfectly captures a sense of the hour of day or night including a plethora of pink-tinged sunrises and sunsets which only add to the alluring charms of this work.


Buy Swimming In Darkness h/c and read the Page 45 review here

Blade Runner 2019 vol 1: Los Angeles s/c (£13-99, Titan) by Michael Green, Mike Johnson & Andres Guinaldo…

“There’s a part of me in you…”

Well, there will be when you’ve read this review anyway…

When I heard there were going to be Blade Runner comics, my initial thought was… “Is this a test designed to provoke an emotional response?”

Because media tie-ins to all-time film classics have had some difficulties… shall we say… replicating the appeal and quality of the original…

Happily, this new material isn’t contributing to an itch you can never scratch… No, it hits the scabby, grimy, deeply dystopian oozing spot right from the opening confrontation between Los Angeles’ most feared Blade Runner Aahna ‘Ash’ Ashina and Replicant Benny.



Well, not so much of a confrontation as the coup de grace as we quickly establish Ash isn’t all she seems either, as she’s planning to harvest Benny’s valuable body parts for sale to body sharks for cold hard cash to satiate a rather desperate need of her own.



It’s not drugs, but when we find out precisely what it is, which also goes a long way to explaining her own fervent hatred of Replicants, well, you can understand why she’s trying to keep it very, very quiet indeed from absolutely everyone.



I think a not inconsiderable part of Blade Runner’s enduring appeal is the ever present fear of the ‘other’ and its very uncomfortable current analogue in a certain section of our own society’s rabid fear of immigration. It’s not that much of a stretch from Blade Runner’s speculative fictional premise of a workforce created to allow the population not to have to do all those unpleasant jobs suddenly getting declared illegal trespassers and being hunted down like dogs, to where we find ourselves today, not least given the Windrush scandal, never mind Brexit.

Given we are now officially past the 20th November 2019 which is when the original Blade Runner film was set, it’s slightly sobering to find that the posited dystopian future has seemingly come to pass, in part at least.



No flying cars, sadly, though at least we have Elon Musk’s Cybertruck as inspired (in my head) by Manuele BLACKBIRD DAYS Fior…

Anyway, despite being most definitely very well grounded in the original milieu, the main reason this new material is so good is that it is first and foremost a gritty noir thriller with its own dark secret at its pulsing, synthetic heart. As Ash begins to investigate the abduction of the beloved wife and child of a close business associate of Eldon Tyrell, it quickly begins to become clear that she’s about to uncover something considerable more complicated… which the powers that be would rather prefer she didn’t… They probably shouldn’t have press-ganged one of the city’s best detectives onto the case then, should they?!



Nice crisp, clean art with a fine line from Andres Guinaldo who has done some similarly decent work on Captain America and Doctor Strange for Marvel in recent years. Marco Lesko also does an excellent job colouring too, I must say, managing to capture the perpetual gloom of climate change challenged future LA whilst still keeping it all remarkably well lit with electric neon tones.

We had to wait thirty five years for a cinematic sequel to the original film. Happily the next story arc in these comics is out imminently with a glorious main cover by no less than Paul Pope to boot!! I wonder if we’ll have the next issue of THB in less than thirty five years on from the previous one…? Now waiting for that is a test designed to provoke an emotional response…


Buy Blade Runner 2019 vol 1: Los Angeles s/c and read the Page 45 review here

The Midwinter Witch s/c (£11-99, Scholastic) by Molly Knox Ostertag…

“The way the tales tell it, magic is a wild force.

“It is the province of spirits and demons, and they can use it as easily as we breathe.
“It does not come naturally to us, but a few rare human families can see magic.
“Over many generations, we have learned to shape it.
“Through runes and potions, spells and shifting, we put it to use for good.
“To help and defend those without magic.
“But magic is not ours and it never was.
“Uncontrolled, it can turn to darkness when wielded by human hands.
“There is a reason we stay in close-knit families.
“The safeguards must be passed down.
“Magic is a gift, a blessing… and a great responsibility.
“Which means, Ariel Torres, that young witches need to pay attention to their magic lessons.”

Err quite. We certainly wouldn’t want something going horrifically wrong purely just for our entertainment would we…? Now, if you’ve been paying attention, you’ll know that this is the third (and final) spellbinding instalment from Molly Knox Ostertag following on from THE HIDDEN WITCH and THE WITCH BOY in this warm-hearted series which celebrates being tolerant of differences, encouraging acceptance of diversity and building friendships with people who aren’t simply exact copies of yourself. Plus of course, spell-based situations that always, but always, seem to spiral rapidly out of control…



Here’s the publisher to ply you with some verbal prestidigitation so that before you know what’s going on you are cash in hand ready to purchase…

“Magic has a dark side…

Aster always looks forward to the Midwinter Festival, a reunion of the entire Vanissen family that includes competitions in witchery and shapeshifting.

This year, he’s especially excited to compete in the annual Jolrun tournament – as a witch. He’s determined to show everyone that he’s proud of who he is and what he’s learned, but he knows it won’t be easy to defy tradition.

Ariel has darker things on her mind than the Festival – like the mysterious witch who’s been visiting her dreams, claiming to know the truth about Ariel’s past. She appreciates everything the Vanissens have done for her. But Ariel still craves a place where she truly belongs.

The Festival is a whirlwind of excitement and activity, but for Aster and Ariel, nothing goes according to plan. When a powerful and sinister force invades the reunion, threatening to destroy everything the young witches have fought for, can they find the courage to fight it together? Or will dark magic tear them apart?”

Given this is the concluding part of the trilogy I’m going to go with happy ending rather than apocalyptic misery all round, but you know, it’ll take some serious sorcery to get everyone there relatively unscathed! Good job Ariel was paying attention during her magic lessons instead of being a cocky know-it-all then…



Buy The Midwinter Witch and read the Page 45 review here

My Heroes Have Always Been Junkies s/c (£11-99, Image) by Ed Brubaker & Sean Phillips with Jake Phillips…

“I was much further out than you thought

“And not waving but drowning.”

 – Stevie Smith, ‘Not Waving But Drowning’,1957

“Hey, I never said I had a drug problem…
“That’s everyone else’s opinion.”

–  Ellie to eighteen-year-old Skip, inside.

Inside a palatial, five-grand-a-week rehab clinic, to be precise, with colonnades and balustrades, encircling protective wings, poplars and locked gates.

To herself: “And I sure as hell am not planning on getting sober.”

That’s a lot of money to throw away without any intention of detoxifying. So what’s Ellie really up to, and why did she scope out every other patient’s private files the night that she was admitted?



Also, what sly revelation further down the line makes this completely self-contained, original graphic novel an official addition to the CRIMINAL series?

A few years ago, Sean Phillips – Ed Brubaker’s creative partner on the emphatically noir CRIMINAL, FATALE, THE FADE OUT and KILL OR BE KILLED – asked Ed to write him a romance comic. Sean: “And this is as close as he could get.”

Previous efforts haven’t been promising for the protagonists involved. Romance in comics rarely ends well in any event, but FATALE proved particularly problematic for the men caught blinking in Josephine’s headlights, while the whole crux of CRIMINAL: LAST OF THE INNOCENT was one man’s attempt to reverse his wrong romantic turning at the crossroads of life by running over his wife… metaphorically speaking.



But this is indeed, on the surface at least, a strikingly different beast, so Sean Phillips has shifted gears accordingly, and startlingly, away from the twilight world of long shadows and motive-masking, half-lit faces to spot-blacks for some clothing, but otherwise crisp lines and clear forms. These are left open for Jake to dapple and daub with sprays of light blue, silky cream, pinks and admittedly bruised purple. I love that the walls have almost been sponged.

Is it just an affectation of innocence? Surprisingly, predominantly, no – it’s the evocation of a youthful innocence retained against all odds.

The first surface we encounter is the cover. I could be wrong but it bears a striking resemblance to Andy Warhol’s ‘Shot Blue Marilyn, 1964’, only less lurid. That was rendered after her death, and innocent the image is not. Here all the knowing guile is gone, replaced by wide-open eyes, the face-on portrait bathed under watery waves of light – although it is still quite the poker-face, no?

Young Ellie’s not lost, but she is perhaps rudderless, without an anchor, parental, guardian or otherwise.



Inside the combined effect of clean line and colour, as well as Ellie’s hair, smacks to me of 1970s fashion advertising and romance comics, as evoked / referenced so often by Posy Simmonds (LITERARY LIFE, TAMARA DREWE, GEMMA BOVERY and especially the relevant, pastiche passages of the MRS WEBER’S OMNIBUS). Innocence, once more.

All this in unexpected and clever contrast to the central theme of drug dependency: that’s what they’re all holed up in rehab for after her all, and Ellie’s heroes have indeed always been junkies, including Van Gogh. As they drive off into a sunset (of course they do – at least, halfway through) there’s a page dedicated to the artist’s perceptions as enhanced by absinthe and digitalis, and Jake Phillips earns every penny that I hope you’ll throw their way in the most arresting, full-colour, Vincent Van flourish.



So yes, you may perhaps have spied a few preview pages before now and believe you’ve caught Ellie and Skip, thrown together and on the run from a society which simply doesn’t understand their mutual intoxication and drug-addled ways, then taken Ed and Sean at their word that this is a traditional romance / crime combo. And there is romance in being outside the law – all the romance in the world in setting yourself contra mundum.

However, however, this is Ed Brubaker.

While Ellie may be romancing 18-year-old Skip in the clinic, she’s more than a little perturbed to find herself falling for him. Also, as I’ve suggested, she’s more interested in romanticising her own past and all the soulful singer-songwriters whom her dead junkie mum once worshipped. It’s her rebellious inheritance, if you like. Ellie’s not above singing their praises, either, in group therapy, extolling the virtues of that which everyone else is in there to quit.

“It’s like Keith Richards said… The worst thing you can say about heroin will still make somebody want to try it… I mean, talking about dope just makes you want to do it… It’s like a worm in your brain. And it seems like being sober is just constantly talking about all the times you got high. So how stupid is that?”



Group leader Mitch is getting ruffled, but Ellie is just getting started. She’s on a roll.

“And why do we automatically assume that getting clean is this great thing?
“What if drugs help you find the thing that makes you special?”

I do love the way in which young, be-quiffed Skip is enjoying these iconoclastic moments, with quiet, corner-mouthed smiles to himself. Hey, he’s a teenager, a virtual synonym for rebellion, and Ellie knows precisely what she is doing, twitching that particular, fly-adorned, hook-hidden line.

She’s going to cite Lou Reed and David Bowie in a moment, isn’t she? I remember an interview with Bowie some 35 years ago in which he refused to apologise for the promise that he would never again put take such elephantine quantities of horse simply to create another ‘Scary Monsters’ album. And I can’t say I blame him – it wouldn’t have been us who’d have to suffer the subsequent withdrawals – but a world without ‘Hunky Dory’ or ‘Scary Monsters’ doesn’t really bear dreaming about.



Anyway, in stark contrast to the feathered, sky-bright colours of blue and yellow and pinks which radiate Ellie’s seemingly unclouded optimism, her recollections are framed in funereal black and shaded in a grey which we associate with the past. There she laments the fate of the recording artists featured on a mix-tape her mum made for her dad who was languishing in prison. They were every one of them drug addicts. One of her mum’s favourite albums was recorded by Billie Holiday who was arrested in a hospital bed for possessing narcotics, and died handcuffed, under police guard, after they’d forced the doctors to stop giving her methadone. Holiday’s own dad had fared little better, having been refused treatment at a ‘Whites Only’ hospital. The link between them was the song ‘Strange Fruit’, and mum would listen to Billie Holiday while staring out of at the rain, when Ellie was four-years-old.

“That was the year I learned what a junkie was.”



And you’d be forgiven for thinking that both you and Ellie were finally going to be forced wide awake by a brutal memory to puncture Ellie’s almost determined dreamlike reverie, but instead you are treated to yet another rose-tinted spectacle of almost supernatural beauty.

So what did Sean Phillips mean, by “this was as close as he could get”?

Where is the come-down, the crash, the fatal flaw which almost always propels the protagonists in noir to fuck things up for themselves, good and proper?

It’s all there if you read carefully enough, early on, only to resurface a little later.



“It’s a dream, living like this… But I start to think, why do dreams have to end?
“I hear Judie Garland in my head, singing about a faraway land, where troubles melt like lemon drops… and bluebirds fly.
“Judy was caught in the pull between downers and amphetamines as she sang that, of course. Maybe that’s why it sounds so true.
“But anyway, my troubles aren’t the kind that melt away.
“They’re the kind that follow you.
“Even over the rainbow.”


Buy My Heroes Have Always Been Junkies s/c and read the Page 45 review here

Sandman Overture (30th Anniversary Ed’n) s/c (£16-99, Vertigo) by Neil Gaiman & J.H. Williams III

“Everyone kills, little brother.
“They even kill their dreams.
“And you have waited too long.”

Everything is ending: life and afterlife, birth and rebirth. Eternity will be extinguished because Morpheus made a mistake born of compassion. When he failed to cauterise the chaos in time the universe itself went mad.

He has one last Hope and an unexpected ally. But then what greater driving force is there than the will to live?

Neil Gaiman returns to SANDMAN with a prequel which is integral and reminiscent in so many ways of Alan Moore’s PROMETHEA whose metaphysical musings on the nature, power and achievements of the human imagination weren’t just illustrated but illuminated by one of comics’ most inventive artists, J.H. Williams III. Once more Williams brings his very best to bear on a script which would have overwhelmed many others and sheds the most spectacular light on some pretty dark matter.



SANDMAN Synopsis: Morpheus is the Lord of Dreams, his family are The Endless. Each of them is older than you can comprehend, though some are older than others. They are as gods to mortals, though they can surely die, and they change as we change for they are aspects of our everyday existence. Drawing on so many elements of prior mythologies, this was one of the 20th Century’s very best comics and Neil Gaiman’s prose readers will love it.

In a story which leads straight into the original book, SANDMAN VOL 1: PRELUDES AND NOCTURNES, long-time devotees will discover so many answers to questions they may not have realised existed. For example, if Destiny holds in his hands the book of everything that was, is, and ever will be, then who gave that legacy to him? Who gave birth to the Endless? You will finally meet Morpheus’ mother and you will meet his father. So will Morpheus after such a long time. Their last encounters didn’t necessarily end too well. Parents and their children, eh?

You’ll meet Delirium when she was once known as Delight. Indeed, you’ll meet all of The Endless once again but before you first did so. Including the one they don’t speak of who went away.



I promise you a complete and satisfying pay-off during the fourth, fifth and sixth chapters regarding the siblings, their relationships with each other, themselves (“Despair is now another aspect of herself”) and with those who gave them birth. Their parents have very specific names and very specific roles and they both make so much sense.

But perhaps most satisfying is the further exploration of Morpheus. Both of his nature as Dream itself…

“It is the nature of Dreams, and only Dreams, to define Reality.”

… and as an individual, and how that impacts, has impacted and will impact on his role both here and hereafter.

“Am I always like this?”
“Like what?”
“Self-satisfied. Irritating. Self-possessed, and unwilling to concede centre stage to anyone but myself.”
“I believe so, yes. In my experience.”

And he of all people should know.



I’d love to about talk responsibility – which is key both here and throughout SANDMAN – and specifically about someone whom Dream deems his self-serving opposite in that respect. I’d like to talk about promises too which are not unconnected, but I made you a promise and I keep them.

As for this comic’s exquisite beauty, I remind you of the most inspired choice of artists imaginable in J.H. Williams III.

Like Will Eisner, Jim Steranko and Dave Sim, Williams truly experiments when constructing individual pages or sequences of pages from the most unusual, often organic panel compositions which are additionally apposite to the proceedings. As in, you’ll be presented with a defiant predator on the prowl through panels constructed from teeth when teeth are both that protagonist’s signature aspect and the enamelled elements between which he literally perceives what surrounds him. You’ll see!



Then, like David Mazzucchelli, within and beyond that backbone Williams also ensures that as many constituent components of comics storytelling as possible serve the story itself.

Please don’t think that colour artist Dave Stewart of lettering legend Todd Klein have been slacking, either.

You’ll relish being astonished by Williams’, Stewart’s and Klein’s contributions while immersing yourself in this book. That’s all you could really want. But when you turn to this edition’s considerable back-matter material including interviews with the artistic orchestra and composer Neil himself, you will surely need to reacquaint yourself with that misplaced mandible currently residing on your carpet.

Such are the elaborate lengths they all went to achieve specific effects for individual sequences as a team that you will wonder no longer why this series took so long to materialise before you as one of the pinnacles of comics’ construction.



As I always say on the shop floor when a project’s delayed, quality is worth the wait.

No one wants to read something cobbled together without caring for the sake of a corporate cash-cow. No one wants their treasured dreams diluted by the shoved-out second-best when what we desire above all is a comic which lives up what we once loved.

Prepare to have your expectations exceeded.

You will travel through time and you will travel will space, as will Morpheus himself. If not of his own volition.

That’s how this begins and that’s how it ends, which is where it all began in the first place.

“And I am pulled halfway across the universe in one fraction of forever, with a pain that feels like birth…”



Don’t miss the epilogue. *shivers*


Buy Sandman Overture (30th Anniversary Ed’n) s/c  and read the Page 45 review here

Immortal Hulk vol 5: Breaker Of Worlds s/c (£14-50, Marvel) by Al Ewing & Joe Bennett…

“Bruce Banner of Earth. I am the Sentience of the Cosmos… and you are its last survivor.

“You have been baptized in the energies of creation. And now, we two will become a new form of life.
“As Galan of Taa was to the Seventh and the Eight… the Devourer, the Galactus… you shall be to the Ninth.
“You and I will merge, and together… we will become what must be that new age.
“But what will that be, Bruce Banner of Earth? What will you become?
“What will you… who is that?”
“Who? Mr. Immortal? His real name was Craig. He was homo supreme, the ultimate evolution of mutant power.
“He thought that made him special. But in the end, he was just a back up. Someone to stand here, meet you, do… this… if the anointed prince, Franklin Richards, couldn’t make it.
“I killed Franklin Richards two billion years ago. The same way I killed Craig. And your Galactus. And all the rest of them…”
“… How?”
“Like this.”
“NO! No, this isn’t… this isn’t right! This isn’t how it happens! This isn’t what’s meant to be! Something is wrong with… with everything… SOMETHING IS WRONG…”




I do keep telling everyone… this is a horror comic… and until Jonathan Hickman’s HOUSE OF X /  POWERS OF X… chunky tinsel-covered hardcover collecting both the six issue series out today (11th December) in one huge hit for those of you looking to buy a present for your Marvel- lovin’ beloved… spontaneously popped into existence it was by some considerable distance my current favourite Marvel read. This is now the fifth volume of what is effectively one gargantuan horror story arc… (all previous volumes in their own section HERE).

However with that said… the above conversation, at the heat death of our universe, at its pivotal moment of potential transformation and rebirth Marvel-stylee into the next, is but merely a prologue to one of the strangest, most sci-fi, single issues of Marvel comics I think I’ve ever read (Immortal Hulk #25). It’s in effect a weird and wonderful sidebar What If story. Which is basically… What If the Hulk went completely bonkers and decided to devour the entire universe?



Seen entirely from the point of view of the strange, fluttery being called Observer Par%l floating round what little remains of the universe in his solar-powered Berth ship, it is a stylish, engrossing yarn which, upon a little reflection, appears to complete itself quite neatly… At least I think so… And let’s be quite frank, that’s not something Marvel comics make you do very often… think, that is.



On that point please see Jonathan Hickman’s HOUSE OF X POWERS OF X

Did I mention that was going to be a swish snow-kissed hardcover collecting both six issue series due out 11th December  for those of you looking to buy a present for your Marvel- lovin’ beloved….? Christmas is coming and all that…

PS At time of typing we still have three copies of the single IMMORTAL HULK #25 single issue for those merely wishing to dip a tentative toe into gamma-infused galactic gluttony…


Buy Immortal Hulk vol 5: Breaker Of Worlds s/c and read the Page 45 review here

Arrived, Online & Ready To Buy!

New reviews to follow, but if they’re new formats of previous books, reviews may already be up; others will retain their Diamond previews information we receive displayed as ‘Publisher Blurb’.

The Boys Omnibus vol 6 (£26-99, Dynamite) by Garth Ennis & Darick Robertson, Russ Braun, John McCrea, Keith Burns, Richard Clark

Firefly vol 2: Unification War Part Two h/c (£14-99, Boom!) by Greg Pak & Dan McDaid

Five Years vol 1: Fire In The Sky s/c (£14-50, Abstract Studios) by Terry Moore

Ghost Tree s/c (£14-50, IDW) by Bobby Curnow & Simon Gane

Lumberjanes vol 13: Indoor Recess (£10-99, Boom!) by Shannon Watters, Kat Leyh &  Dozerdraws

Pearl vol 2 s/c (£14-99, DC) by Brian Michael Bendis & Michael Gaydos

Rumble vol 6: Last Knight s/c (£17-99, Image) by John Arcudi & David Rubin

Sharkey The Bounty Hunter s/c (£17-99, Image) by Mark Millar & Simone Bianchi

Strangers In Paradise Omnibus Slipcase h/c Signed Bookplate Limited Edition (£159-99, Abstract Studios) by Terry Moore

Strangers In Paradise Omnibus Slipcase s/c (£98-99, Abstract Studios) by Terry Moore

The Sons Of El Topo vol 2: Abel h/c (£17-99, Humanoids) by Alejandro Jodorowsky & Jose Ladronn

House Of X / Powers Of X h/c (£49-99, Marvel) by Jonathan Hickman & Pepe Larraz, R.B. Silva, other

Silver Surfer: Black – Treasury Edition s/c (£26-99, Marvel) by Donny Cates & Tradd Moore

Test vol 1 s/c (£15-99, Vault) by Christopher Sebela & Jen Hickman

Dead Dead Demon’s Dededede Destruction vol 7 (£9-99, Viz) by Inio Asano

Dragonball Super vol 7 (£6-99, Viz) by Akira Toriyama & Toyotarou

Jujutsu Kaisen vol 1 (£6-99, Viz) by Gege Akutami

One-Punch Man vol 18 (£6-99, Viz) by One



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