April and Mark have been revealed as villains – and their presence in Jen’s life as more than coincidental. Yet even after the cliffhanger in issue seven, which saw them kidnapping Jen, we still know nothing about who they are, how they came to be so bizarrely changed – and what they want. That changes here.

This issue keeps readers in suspense as to Jen’s fate, instead choosing to rewind a bit and fill us in on April and Mark’s backstory.

It’s a smart choice by writer Rainbow Rowell; previously, both characters seemed kind of inexplicable and came out of nowhere – this issue helps to significantly strengthen what felt like a weak element of the otherwise excellent She-Hulk series.

The art style – and the artist themselves, with Takeshi Miyazawa illustrating – change this issue, but the more muted style suits the less colourful, more tragic events that unfold.

It’s another strong showing for a series that had one or two shaky moments at first, but Rowell’s She-Hulk has really found its feet – and is rapidly becoming one of my favourite She-Hulk runs ever.

Which is quite something, when you consider the defining runs by both John Byrne and Dan Slott; Rowell has definitely put her own stamp on the character, however – and I’m totally on board.