Archive for March, 2020

Page 45 Temporarily Switches To Mail Order Only. We Ship Worldwide!

Monday, March 23rd, 2020

Page 45 is still open for business but now switched temporarily to mail order only, with all our gorgeous graphic novels, comics and children’s picture books available to buy online at for Worldwide Shipping!

That’s quite a front page!




If a graphic novel or picture book doesn’t say “Out of Stock” then it’s in stock!


ONE: the above remains true. However, if a graphic novel is out of stock it will now say “OUT OF PRINT” until distribution resumes, simply so that you cannot accidentally purchase that item. It probably is still in print, but we cannot restock on ANY ITEMS AT ALL until Diamond and Gardners re-emerge from limbo. For the duration of this pandemic, once an item is gone, it’s gone for good.

[UPDATE UPDATED mid-May 2020: distribution has now resumed with restocks regularly arriving each week; new comics and graphic novels each fortnight – hooray!]

TWO: IT IS ENTIRELY ETHICAL TO SHOP ONLINE AT PAGE 45. Since March 24th I am the only one entering Page 45 HQ. There I work solo, picking your orders, processing them and packing them on my own. I walk into work; I walk back from work – even at 10pm at night – so that no one else is endangered including myself. No one is coercing me. I do this simply because Page 45 is my baby. I created Page 45  out of love for this medium and its creators who weren’t receiving the shelf space and recognition they deserved, and I’ve curated it for over 25 years into an award-winning success which is culturally cherished by thousands. I am not, repeat not, going to allow a tax-dodging, careless and callous corporation like Amazon to stream-roller over an independent business like Page 45 simply because it is given preferential treatment to continue operating under far less stringently safe conditions than Page 45 by the authorities.

[UPDATE UPDATED mid-May 2020: Jonathan’s now back processing mail order too, but we work on separate days so it’s still 100% safe, but even faster!]

Thanks very much for your support. – Stephen

We now return you to your regular viewing…

You can explore by category and sub-category here or pop creator names, titles or bits of titles into our search engine. You could explore Page 45 Comicbook Of The Month Club and our Always Recommended section, clicking on any cover in the grid for reviews.



You could even trawl through ten full years of the illustrated Page 45 Reviews Blog, but if you’re still genuinely stuck then we can offer personal recommendations tailored to your taste when you fill in Page 45’s Want A Recommendation form (but please only do this if you’re honestly interested in buying: it takes us quite a long time to answer each of you thoroughly – thanks!).


We will reopen our physical doors on 9 Market Street, Nottingham, NG1 6HY, UK, the very second that it’s safe for you and for ourselves.

In the meantime we’ll be take delivery of new stock and restocks and dispatch as much mail order as possible.



If you’re used to picking your regularly reserved Page 45 Standing Order comics up in person, please contact us by email if you want to arrange for us to ship your comics straight to your burrow, where you can read and then make a nice nest out of them.



Perhaps you’d like to create a Page 45 Standing Order of comics you want reserved as they come out, either for collection later on or dispatched weekly, monthly or every other month? That would certainly help us gauge demand, and browsing Page 45 Previews will help you keep up to date with what’s coming out soon. It looks as if new comics have been delayed for a month or so, but they are only delayed, not cancelled!



Folks, we thank you enormously for your support both now, into the future, and over the last twenty-five and a half years.

There will almost certainly be further announcements before we’re through with this awful pandemic, and we’ll bring you up to speed each time as soon as possible. I’m certainly not quitting Twitter in a hurry (however much that might come as a blessed relief to you all!), so you can find me @PageFortyFive. We also have Facebook and Instagram.



Please look after yourselves, and please look after each other.

We’re already cooking up ideas for the website, and for the shop floor where we will see you once this has passed.

Huge Hugs,


Page 45 is a comic shop. We are:

Stephen L. Holland
Jonathan Rigby
with Jodie Paterson





Page 45 Graphic Novel Reviews 12th March 2020

Thursday, March 12th, 2020

Featuring Steven Appleby, James Tynion IV, Werther Dell’Edera, Paul Pope, Paul Jenkins, Jae Lee, Sean Phillips…

Dragman h/c (£18-99, Jonathan Cape) by Steven Appleby.

“Did I mention I can fly? Oh. Sorry. That’s rather important.
“When I put on women’s clothes I can fly.”


Only Steven Appleby could or would lob in such a profound statement of elevating empowerment and celebration disguised as a superhero sub-plot.

He can do this, hilariously, because DRAGMAN is no more a macho superhero mag than Fraction and Aja’s HAWKEYE or King and Gerads’ MISTER MIRACLE. Indeed few who’ve read even those left-field comedic triumphs – let alone the more corporate claptrap – are going to be looking in Steven’s infinitely more demure direction.

I far more and fully expect fans of CASSANDRA DARKE’s Posy Simmonds and WHEN THE WIND BLOWS’ Raymond Briggs to be sallying forth instead, because that’s the strength of the book’s aesthetic and the breadth of its appeal. It is a very British book, in part about how we treat each other, ourselves and our souls, and the way the corporations ain’t half taking over. Also, the very idea of British superheroes is ever so silly, and there will be plenty within to make you grin. Like this wonderfully well placed “Welcome” mat!



Drawn in what Posy Simmonds refers to as his “nimble, nubbly line”, then washed over by Nicola Sherring’s warmest watercolours, Steven Appleby’s infectiously affectionate art leaves one feeling as safe as if in the hands of an English village’s road-straddling lollipop lady.

Freed from the confines and constrictions of panel borders, the gentle, fluid forms and wibbly-wobbly gesticulations don’t so much control your reading as liberate it from harm. Even something as far-out as flying full-pelt from the cloud-covered city of London to race trains past the patchwork, hedge-seamed farmland of bucolic Britain is rendered as regular as popping down to the corner shop.




The truth of this contention becomes clearer when you’re left to experience the graphic novel without the graphics: those dozen or so pages interspersed within the full three hundred others which are pure prose, bleak and bereft, unadorned – and emphatically unmitigated – by Steven’s dainty doodlings.

For when the pictures disappear, so does any trace of the fanciful, as we slip into a subplot which will shimmer queasily below the surface, in and out, on and off, until its relevance becomes all too terribly clear.

“The tide is in and the police tape droops down into the water, rising and falling as a fresh breeze sweeps in off the sea, rocking the boats on their moorings. Waves slap-slop up and down the grooves in the concrete slipway while far out in the estuary birds bob on the surface in dotted flocks.”

Arresting, no? At one point the prose and sequential art criss-cross oh so tantalisingly close – no further apart that the width of a crowded club – but the fleeting opportunity goes unnoticed for what it unexpectedly is.

“All in all, no one at Pretty Pretty can work out if they knew any of the victims or not, because all the trans-girls and most of the guys in the room, including himself, use scene names, meaning their secret lives and their real lives, or whichever way round you want to think of it, don’t connect up.”

It’s also more difficult for the police to connect the smudged trail of bloody dots, and so very much easier, therefore, to get away with murder.

“The man leans deeper into the shadows and watches until the meeting breaks up, the lights are dimmed, the music comes back on and the crowd return to their hedonistic pleasures. At which point the new arrivals disappear into the office with Filly and the man suggests to Cindy that she take him back to her place, to which she greedily agrees, so they collect their coats and slip out into the real world, where the real murders take place.
“And no one notices them go.”

Brrrrr… I told you that you’d miss the art.

It’s time for a superhero secret origin!



Many moons ago a teenage Augustus Crimp – and indeed his creator, Steven Appleby – discovered a stocking down the back of a sofa and put it on, instinctively, without thinking. Immediately they felt that they were floating on air, but in Augustus’s case the effect was far from just figurative for yes, my dears, he found he could fly!

And he promptly cracked the back of his bonce upon the plaster ceiling.

Neither looked back as they further explored the natural fit of wearing more women’s clothing, but they did look over their shoulders because, you know, society… And some mothers…




You’ll learn more about Steven’s trajectory in the Afterword, but for August the second pivotal point came while enjoying a quiet cup of tea, several floors up in the local art gallery, only to spy young Cherry Mingle, who lived opposite Augustus and his Mum, playing on the cafe balcony outside. Just as August is fretting as the prospect of being recognised by Cherry in a wig and women’s clothing… over the railing goes Cherry!

And in leaping immediately, selflessly after her, that’s how Augustus became the reluctant superhero called Dragman. Briefly.

“Mr Crimp?”
“Sssh. Don’t tell.”

Things… didn’t work out. It was a territorial thing. Some people are dicks.

Since then Augustus has retired, met a lady, got married and had a baby boy. (Did I mention that Augustus likes ladies? Oh. Sorry. That’s hardly important, but Augustus likes ladies.) And I’m so sorry to fast-forward so swiftly, but his missus must never, ever learn that Augustus was once Dragman because oh you’ll see, and now Cherry needs Dragman’s help yet again!

People are selling their souls.



It’s not some covert Faustian Pact for the few, it’s the very latest equity-freeing opportunity for the many, and the masses are selling their souls to huge corporations for cash. It’s all over the TV…

“You know how we all sometimes get the feeling that the world is an illusion and nothing is real? Well, if you sell your soul you’ll find that alarming feeling GOES AWAY… Pop into a Black Mist store today…”

There’s tidy.

“Souls are valuable. You can get a great deal of money for your soul…” observes Augustus. “Better to have a new car than something ancient and invisible. Only, when your soul was gone… nothing made much sense any more. Except jumping out of a plane.”

They’re doing that too: buying a plane ticket and jumping…

And Cherry’s parents have sold their souls.

Everything I’ve told you about ties together; every single element, I swear – apart from the lollipop lady.

It’s so deftly done, each episode so diverting that you won’t spot it all creeping up on you, and the central concern really couldn’t be more topical, because every day we make decisions about money, and who we’re prepared to give it to in the full knowledge of what they are likely to do with it and how that in turn will affect what happens to us within our wider society.

“It’s so much easier to run a business without scruples.
“Principals are painful.
“Without a soul the pain simply fades away.”



I leave you with the exquisite endpapers – August Crimp’s ‘Finding Myself’ Journey of the Unknown, Unimagined, Not Yet Invented or Unexplored – because I’ve just reminded myself that this is an astutely insightful comedy, as all the interior art here will attest, full of the feel-good and the funny.

And, of course, the nimblest and most nubbly of lines.


Buy Dragman h/c and read the Page 45 review here

Something Is Killing The Children vol 1 s/c (£10-99, Boom!) by James Tynion IV & Werther Dell’Edera…

“You getting off here, hon?”
“Archer’s Peak. You getting off?”
“Terrible about those children.”
“I wish somebody would do something about it…”

Fortunately for the terrified residents of Archer’s Peak, who have suffered the horrifying tragedy of nine dead children in just two weeks with more going missing every day, the puzzled police trying to pass it off to people as the attacks of a rabid bear, someone is about to do something about it…

Meanwhile, here’s the publisher to perturb you even further…

“When the children of Archer’s Peak begin to go missing, everything seems hopeless. The few children that return alive have terrible stories – impossible details of terrifying creatures that live in the shadows. Their only hope of finding and eliminating the threat is the arrival of a mysterious stranger, one who believes the children and claims to be the only one who sees what they can see.

Her name is Erica Slaughter. She kills monsters. That is all she does, and she bears the cost because it must be done.”

Indeed. Which actually makes this sound a tad one-dimensional when in fact it’s anything but with the character of young James – who’s about to insist with near-suicidal determination on becoming Erica’s sidekick – very firmly and brilliantly established in three distinct scenes in ten of the opening fourteen pages.

Our scary story opens very late at night with three pages of James and his friends Noah, Karl and Robbie on a sleepover playing truth or dare and James spinning them all a spooky yarn about a nearby ravine. Which promptly induces them to go out for a midnight meander to check out his story.

We then immediately cut to two pages of a totally distraught James at the police station recounting to the sympathetic officer just how he became separated from his mates and then heard them screaming their heads off. Well, screaming whilst they had their heads bitten off probably…

Returning to school (after a wonderfully surreal four page interlude to introduce us to Erica) James immediately finds himself vilified by the local bully and promptly ends up in the very understanding principal’s office who simply expresses to James his wish that James had punched the bully in the face. If only all headmasters were like that! Meanwhile all the locals are utterly baffled, horrified and struggling to make any sense of it all. If only someone were arriving on the next bus to Archer’s Peak to do something about it… Ah wait!

What follows is most definitely full of delightful terror but also beautifully bizarre black humour, including Erica irritably conversing about the monsters with her cuddy toy octopus, in what must surely be a nod to the possibly alien hand puppet in THE KUROSAGI CORPSE DELIVERY SERVICE. James seems to think it’s just one of Erica’s strange foibles, because let’s face it, if you’re a professional monster hunter you’re bound to have the odd screw loose. But when the octopus starts talking to him, well, perhaps that’s a sign that his sidekick related problems are about to start rapidly escalating…

Excellent lean, pointed artwork, in fact slightly mean-looking art at times in an entirely appropriate way from Werther Dell’Edera, who looks like he has sharpened his line and tidied up slightly since taking over on the second volume of Brian Wood’s brilliant BRIGGS LAND. He was really great there anyway but this has definitely taken it up a notch. Some highly varied textural shading work and colouring from Miquel Muerto too, combining the subtle and the striking to superb effect, which all serves to give this book a very distinct feel of its own indeed.

I’m intrigued to see what happens in volume two as I can’t see this being a book that runs and runs given how quickly events seem to be unfolding… I mean, they’re going to run out of kids shortly if they’re not careful for starters!

Which they probably are for the monsters, just a starter that is…


Buy Something Is Killing The Children vol 1 s/c and read the Page 45 review here

100% s/c (£22-99 Image) by Paul Pope –

A book Page 45 loves so much we’ve reviewed it twice already and its back once again so let’s have both!

First up here’s Mark’s original review…

“Anyway, it’s just a business arrangement. It’s just money. There’ll be time for my serious work later.”
“Eloy, the last thing in the world that you should do is what they’re asking! Sure, they’ll let you into their rotten little club! All you gotta do is let ’em change you so much, you won’t be you anymore. Then who gets the acclaim — and who’ll deserve it?”

Eloy’s ready to… well maybe not ‘sell-out’ but change his vision for a little piece of the funding pie. The installation that he’s been working on for so long will get the money if he changes one aspect. But then it won’t be his, it’ll be theirs. In his head, you’ve got to do what you’ve got to do to survive.

Kim felt the same way a few days ago. A girl she knew from the Catshack turned up dead. Assaulted and left in an alley, naked apart from her gold trainers.



She & Kim have (had) the same shoe size. She’d tried those sparkling trainers on weeks back. Suddenly the city seems too real, too predatory so she acquired a gun just to be safe. Hopefully she’ll never need to use it but she feels safer with it in her pocket. The comfort of cold metal that fits in her palm. Strel went with her to buy it but she thinks that it’s a bad move. Violence isn’t her thing and she’s seen enough of the underworld working as the dance manager of the Catshack. It’s not where she wants to be though. She’s got this dream of a coffee grinding company but she needs a regular wage to look after her kid now that his father’s touring the world. She doesn’t approve of Haitous boxing, doesn’t like the violence and doesn’t want Ben growing up with that influence. 



The book starts off with the death of the gold trainer girl before opening up for the story of three couples. We’ve got the beginnings of a relationship (Eloy & Kim), a couple estranged (Strel & Haitous) so we need one more, something with a little fire. Enter Daisy. Arriving at the Catshack, first day as a dancer, ready to get on stage and show her all. She starts a passionate affair with one of the dishwashers, a mild diversion for her but an obsession for him. John’s tired of his job, ready to move on or ready to share his life with someone else. A better choice could have been made.



This project started out as a series of shorts with a shared location. The city, and the Catshack, are big enough to be intimate with each of the threads we’re presented with. It’s set in the near future, just enough technological advances to make it different but enough similarities to keep it recognisable. The dancers are wired to show their insides floating above them. After stripping and gynaecological porn this is the next vicarious thrill ahead, seeing what’s inside a girl when she dances. The boxers use it too. The city, possibly the same one we’ve seen in Pope’s previous HEAVY LIQUID, is cluttered and multi-cultural, akin to the San Angeles of BLADE RUNNER but lighter and more alive.

On John & Daisy’s first date, he tells her the story of Tristram & Iseult (or Isolde), a tale of romantic love. She immediately bats it back by telling a soured story of love, addiction and abuse using the same names. We’re allowed to see her outward disgust with romance even as she’s feeling herself falling for John. John either ignores this and her use of sex to avoid difficult questions or is oblivious to it, captivated by her charm. It’s doomed. We know it, Daisy knows it. Rather than keep this as the main story, Pope balances it out with the other two relationships to avoid it becoming too dark. And it’s not just a romance book, there are themes of love, money, escape and trust running through the whole thing.

“Words. It’s full of little black words.
I can almost read ’em when I do this…
I could break the lock…
…pry it open…
Bet it wouldn’t even be hard.
I could read her diary…
…I could…
…if I really wanted to…”


Now here’s Jonathan’s review when the book was reprinted the first time…

”Wake up and it just hits you. Someday, you’re gonna die… Such a terrible thing, and for what? Why life? Why this life? What’s it all mean? Deep down, you fear nothing. But you still hope something. Either way, you’re not really sure. That’s my crisis. I don’t wanna die. But if I gotta die, first I’m gonna live. I’m gonna peel life like fruit, and use it up. I’m gonna light up an’ burn. I’ll burn and burn until I’m snuffed out. Then I’ll just fade away. But until then, I’m gonna live! ‘Im ready. I’m gonna do it! Come what may, one hundred percent…”



And so we meet John the busboy humping crates of beer and washing dishes in the Gastro Bar, where he meets Daisy the new dancer who’s comfortable with up to fourteen centimetres gastro-penetration, no problem. Gastro being the latest burlesque craze for seeing right inside the human body to the internal organs of a near-naked dancer because mere flesh isn’t enough anymore.



Daisy has been hired by Strel the manager of The Catshack, who with a young child and an absent partner is getting by but who dreams of getting out of Gastro and running her own coffee-roasting company. Strel is more immediately concerned, however, with ensuring Kim, her waitress and best friend, doesn’t get ripped off whilst buying herself a gun for protection; a gun Kim thinks she needs because of the girl with the weave-in white braids and gold trainers who somehow ended up dead in the trash cans behind the club last night. And also for setting Kim up with Eloy her cousin, or Kettlehead as he’s known for his obsession with creating a truly insane avant-garde piece of art with one hundred boiling kettles all tuned to whistle at the same note over multiple octaves, an impossible orchestra creating a one-note symphony.



However, Eloy can’t get the money to complete his masterpiece without compromising his artistic beliefs… except there’s Haitous, the Frankenstein-faced second-ring fight master returned from a year on tour fighting in Eurasia who might be able to help. Haitous has got a scheme to make some money out of his last fight with the much younger and brutal up and coming Wallman.



This is the Haitous who happens to be the father of Strel’s little boy and who would very much like to be part of their lives again, except Strel won’t even acknowledge his comm-threads to her, let alone speak to him.



Thus the lives of our six central characters intertwine and twirl around a Chinatown in New York City with hot happening venues like the Klube which has “generated a fair share of crooning from uptown Sikhs to downtown freaks” and seedy bars with private four-dee booths allowing you sample your drinks sat on a solar panel of a satellite orbiting the earth, or in the midst of an ostrich stampede in the desert depending on what sort of ambience you’d like to create, or yarn you’d like to spin your companion.

For me 100% is Paul Pope’s finest hour to date, exceeding even the mysterious HEAVY LIQUID, the pathos-filled ESCAPO, the genuinely spooky BATMAN: YEAR HUNDRED and the haunting and sadly long-out-of-print BALLAD OF DOCTOR RICHARDSON, all of which are superb comics in their own right. I can’t actually bring myself to talk too much about THB, something he has described as his Dune (presumably for how long it’s taking), because it still rankles me mightily to this day that he seems unwilling to finish it. What’s your problem Pope?!!!(* & **)

100% is a truly engrossing tale of desire, romance, passion and heartbreak, set amongst a city that never pauses to take a breath never mind sleeps. Where Pope pulls his master-trick is to leave some blanks for us to fill in along the way, apparently cutting small portions of scenes where we’re left to ponder the meaning of what we’ve just seen, to surmise exactly what might be happening, and not until the very end is everything made clear. Even then we are left with possibilities, not certainties, nothing is quite 100%. The story never ends and their destinies are left in the characters’ own hands to shape as they will.

I haven’t even mentioned the art yet which is just masterful, masterful work with not a line out of place and not a square millimetre of space wasted which just further adds to the non-stop whirring insanity of Pope’s future New York City. Think Blade Runner squared and you’re not even halfway there. 100% is such a beautifully drawn book it’s very difficult to say which parts are my favourite, but some stand-out sequences are the dialogue-free negotiation for Kim’s gun conducted in the middle of the Klube filled with pounding Indian music…



… or the first date between John and Daisy in the four-dee booth where we start to realise Daisy might just have a few issues, Daisy dancing Gastro in her flaming firecoat and blonde wig in the transparent dance cube, Eloy’s passionate demonstration of his artwork to Kim in an abandoned grain silo, and John’s closing scene (again split masterfully into two short staccato sequences by Pope) which just so perfectly brings 100% to a conclusion of sorts.


* [THB is due out from First Second as a complete work sometime in the unspecified future – Ed] **

** [Wrote Stephen in April 2009 hahahahahaha!]

Buy 100% and read the Page 45 reviews here

Batman: Jekyll And Hyde h/c (£11-99, DC) by Paul Jenkins & Jae Lee, Sean Phillips

Quick tip of the hat to June Chung on her charnel-house colouring, with its green/blue-greys and splatters of cardinal red, which unites the surprisingly well matched art of Jae Lee on the first half and Sean Phillips on the second. Monumentally gothic in every aspect, Jae’s jagged art fills each page with far more substantial forms than many; similarly, when I have ever referred to Sean’s characters other than in half-light / shadow? I don’t suppose for five seconds the 50/50 split in art chores has anything to do with the duality that lies at the heart of this nasty little number, but hey, it provides a neat link to Two-Face and his own personality split visibly down the middle.

His respectable half is Harvey Dent, besuited ex-lawyer trying desperately to control his acid-scarred, vitriolic other half who spits out green-lettered bile at anyone stupid enough to try reasoning with him. But what if Two-Face doesn’t want to be controlled? What if he’d rather be freed from inhibition and let loose all that his sick heart desires? What if he’d perfected an hallucinogenic drug to do just that? Well, he’d probably want to field-test it on someone else first: someone with own history of demons in check, who secretly wants to be unshackled himself. Some things can never be unlearned, and Bruce Wayne is about to discover more about himself than he’d ever want to.



Despite the direction you think this may be going in (“Oh no, not another mad dash to close down Gotham’s water supply!”) which is a deliberate misdirection, you can add this to the list of dozen superior Bat-books with more meat than gristle. Just like Ennis’s take on The Punisher (PUNISHER MAX and MARVEL KNIGHTS PUNISHER), Jenkins suggests that a simple accident with acid couldn’t have been enough to induce this degree of trauma. Indeed Harvey’s memories of life with his brother Murray would indicate that he’d an early fixation on relinquishing control – and responsibility – to fate in the form of a toss of a coin. Chocolate or vanilla? Life or death? It’s all the same thing, surely?

But what was the trauma?



Paul gives Two-Face some lines so monstrously direct that they’re funny, whilst Alfred’s on form with his weary, wry asides. Also, Commissioner Gordon gave me a chortle in the aftermath of one of several psychotic episodes here resulting in mass murder and cannibalism.

Crime Scene Officer: “This is what we found once we got inside. Most of the victims were battered with the blunt end of an axe. What’s left of the husband is downstairs. The perp’s over there on the sofa. She decapitated herself with a fork.”

Commissioner Gordon: “Mmm. Might make her reluctant to testify.”

For more Jae Lee, please FANTASTIC FOUR 1,2,3,4 and INHUMANS; for more Sean Phillips, please see noir masterpieces KILL OR BE KILLED, FATALE, CRIMINAL, THE FADE OUT and, if you insist upon capes with your crime, SLEEPER.


Buy Batman: Jekyll And Hyde h/c and read the Page 45 reviews 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’.

Becoming Horses s/c (£16-99, Drawn & Quarterly) by Disa Wallander

Embarrassment Of Witches s/c (£17-99, Top Shelf) by Sophie Goldstein & Jenn Jordan

Goblin Girl h/c (£22-99, Fantagraphics) by Moa Romanova

The Deep & Dark Blue s/c (£9-99, Little Brown) by Niki Smith

Thoreau And Me (£14-99, SelfMadeHero) by Cedric Taling

The Web Of Black Widow s/c (£14-50, Marvel) by Jody Houser & Stephen Mooney

Bunny vs. Monkey Book Seven (£8-99, David Fickling Books) by Jamie Smart

Familiar Face h/c (£16-99, Drawn & Quarterly) by Michael Deforge

Grass Kings vol 3 s/c (£15-99, Boom) by Matt Kindt & Tyler Jenkins

Hyperbole And A Half (£17-99, Gallery Books) by Allie Brosh

Jim Henson’s The Power Of The Dark Crystal vol 3 s/c (£14-99, Boom) by Si Spurrier, Philip Kennedy Johnson & Kelly Matthews, Nicole Matthews

The Pirate Tree h/c (£11-99, Lantana) by Brigita Orel & Jennie Poh

The Song Of The Machine h/c (£22-99, Black Dog & Leventhal) by David Blot & Mathias Cousin

The Song Of The Tree h/c (£14-99, Particular Books) by Coralie Bickford-Smith

The Wicked + The Divine vol 4 h/c (£58-99, Image) by Kieron Gillen & Jamie McKelvie, Matt Wilson

DC Super Hero Girls vol 10:  Powerless s/c (£8-99, DC) by Amy Wolfram & Agnes Garbowska

Absolute Carnage s/c (UK Edition) (£14-99, Marvel) by Donny Cate & Ryan Stegman, Mark Bagley

Annihilation Scourge s/c (£22-99, Marvel) by Matthew Rosenberg,  others & various

Fantastic Four vol 4: Point Of Origin s/c (£17-99, Marvel) by Dan Slott, others & Sean Izaakse, others

History Of Marvel Universe s/c (£26-99, Marvel) by Mark Waid & Javier Rodriguez

A Tropical Fish Yearns For Snow vol 2 (£6-99, Viz) by Makoto Hagino

Dr. Stone vol 10 (£6-99, Viz) by Riichiro Inagaki & Boichi

Dragonball Super vol 8 (£6-99, Viz) by Akira Toriyama & Toyotarou

Jojo’s Bizarre Adventure Part 4: Diamond Is Unbreakable vol 4 h/c (£12-99, Viz) by Hirohiko Araki

Pleasure And Corruption vol 1 (£11-99, Den Pa) by You Someya