Mahfood is a fan of the exploitation genre, and this doesn't really rise above it. Daphne's redemption character arc isn't meaningful, the slang and obscenity-laden dialogue feels forced, and the villian's positioning as a manifestation of the evils of social media celebrity doesn't add up to very much. Everything here has been done better elsewhere – by Frank Miller and Jamie Hewlett in particular (and btw the comic is wrong to suggest that Grant Morrison's Invisibles is better than his Doom Patrol). All that's left is the art, which Mahfood is justly acclaimed for, but that's just a celebration of babes, bongs and b-movies. All well and good – just don't expect anything more from this book.