Moon Knight: City Of The Dead #4 - Marvel Comics

MOON KNIGHT: CITY OF THE DEAD No. 4, December 2023

Disconcertingly depicting Marc Spector (once again) relieving his origin in becoming the Fist of Khonshu and battling the ghost of Raoul Bushman, many a bibliophile probably felt this fourth instalment to David Pepose’s “Moon Knight: City Of The Dead” mini-series was a bit of a filler issue. In fact, it’s hard to shake the impression that the American author couldn’t have simply reached this particular comic’s cataclysmic conclusion with just a mere handful of pages or less, rather than use the cowled crime-fighter’s mental doubts and emotional insecurities to pad out an entire twenty-page periodical; “You may think of yourself as a monster… But you should know… I forgave you a long time ago.”

To make matters even more bemusing though, this book’s secondary plot-thread features Layla El-Faouly rather unimaginatively just flying across the mythical Egyptian metropolis, determined to reach the Gates of Osiris before her poor young ward expires. Admittedly, this headlong dash through toppling tower blocks and the shifting sands makes for a pulse-pounding experience. But its pacing is so intrinsically linked to that of the titular character’s haunted recollections of murder, collateral damage and death that the chase sequence arguably feels like it's only been penned to help break up the monotony of Spector’s sedentary storyline.

Indeed, it will debatably have come as no surprise to any within this publication’s audience, that Moon Knight somehow manages to recover his wits and successfully slice his way out of the gigantic Ammut the Devourer’s bloated belly at precisely the same moment a badly battered Scarlet Scarab finally falls to the ground just a few feet away from her goal. This ending is sadly ‘telegraphed’ straight from the comic’s opening, and resultantly there’s rarely a moment where either super-hero genuinely feels as if they’re in peril – even when Marc imagines receiving a loaded hand-gun from his god and makes a suicidal move to end his own life.

Much more enthralling than this book’s narrative is probably therefore its artwork with returning illustrator Marcelo Ferreira doing a first-rate job in providing many of ghouls and demons the mentally-scarred vigilante encounters with plenty of gruesomeness. In addition, there’s a real sense of speed to El-Faouly racing across the sky, and hefty impact to all the tall buildings crashing into one another as she passes them by.

Writer: David Pepose, Penciler: Marcelo Ferreira, and Inker: Jay Leisten

DC Vs. Vampires: World War V #5 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 5, February 2025

There can surely be little doubt that Matthew Rosenberg’s revelation towards the end of this twenty-four page publication’s plot had its readers genuinely gasping in revulsion at “the horrifying secret” behind how the vampires were still defeating the human resistance. In fact, many a bibliophile will probably find themselves unable to move along from Green Arrow’s discovery and its “shocking connection to the Speed Force” without at least re-visiting the disturbing scene a couple more times; “They’re doing something with all that food they grow. If they’re not feeding a large group of people. What are they feeding.?”

Impressively though, this eye-opener isn’t the only surprise Issue Five of “DC Vs Vampires: World War V” has in store for its audience, with the comic’s American author clearly still having a few more trump cards tucked up his sleeves. Foremost of these disclosures is probably Big Barda’s sudden emergence from out of a dark, winter night’s sky to absolutely clobber the blood-drinking fiends intent on murdering her husband (and potentially harm their infant baby). To say Jack Kirby’s creation completely annihilates the likes of a heavily-fanged Power Girl and Raven is a massive understatement, and genuinely helps imbue this comic with some truly palpable energy at a time when its other simultaneous story-threads are undeniably dialogue-driven.

Likewise John Constantine’s ill-advised visit upon the convalescing vampire queen, Barbara Gordon, doesn’t pan out quite as some onlookers might have expected – albeit the Hellblazer is seemingly a little too cocksure for his own good when it comes to antagonising Gorilla Grodd. In fact, the anti-hero’s decision to visit the dark heart of the Nosferatu Empire appears suicidally insane straight from the start, largely due to him not actually having anything tangible with which to bargain for his life.

Prodigiously pencilling all these sense-shattering shenanigans is Otto Schmidt, who really imbues Big Barda with all the momentous muscle a member of the New Gods is expected to wield. Furthermore, the Siberian-born artist does an incredible job of capturing Batgirl’s myriad of emotions using just her eyes and mouth - a talent which is particularly impressive considering that the undead creature’s entire body is covered with unsightly burns and blemishes, so it must have been extra hard providing the figure with even the smallest of facial expressions.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #5 by Otto Schmidt

Moon Knight: City Of The Dead #3 - Marvel Comics

MOON KNIGHT: CITY OF THE DEAD No. 3, November 2023

Whilst few fans of Marc Spector’s cowl-wearing alter-ego will surely disagree with "Marvel Worldwide" that “the First of Khonsu brings the fireworks in this action-packed new chapter”, it is similarly difficult to believe many followed the comic’s word-heavy storytelling without needing to reread certain panels, pages and even entire set-pieces. Furthermore, the executive decision to have Sean Damien Hill ‘step in’ as penciler doesn’t debatably do the publication any favours either, with the Alexandria-born illustrator’s style seemingly struggling to convey much of eye-catching spectacle needed for a story set in the Egyptian City of the Dead.

Indeed, despite the American artist doing a stellar job of imbuing Moon Knight’s dastardly brother with all the dynamic villainy a bibliophile might expect from a despot bitterly twisted by his ghastly demise in the real world – including being able to instantaneously summon a veritable army of green-hued ghostly minions, the “character designer” frustratingly draws Ammut the Devourer as simply an unimpressive-looking crocodile with a mane of dark green hair. This lack of deity-like detail for the giant Sphinx arguably fails to sell much of the demon-beast’s menace, especially when the creature’s surprisingly thin, somewhat floundering figure is repeatedly sketched up against a boring, disappointingly bare background.

Perhaps what makes this mini-series’ instalment most disheartening though is David Pepose’s decision to populate every situation with numerous thought-boxes containing Spector’s plans, feelings and the history of whoever the costumed crime-fighter is currently confronting. Ordinarily, this technique would probably have landed rather well. But because the smart-mouthed vigilante, as well as the rest of the cast, are also all persistently talking and hurling wisecracks, it soon becomes frustratingly unclear as to which balloon or bubble the audience needs to read so as to follow the correct flow of the action; “Because if there’s one thing I’m good at… It’s coming up with bad ideas.”

Despite all these criticisms and complaints however, there is still plenty to enjoy with the former “Newsrama” editor’s penmanship. The way Spector and his beloved Layla El-Faouly outwit the Jackal Night’s numerous henchmen is quite convincing, as is the revelation that everything is going sour within the City of the Dead because Osiris has decided to once again pay a visit to the Land of the Living. Indeed, even the schizophrenic entrepreneur’s sacrifice at the end of the comic makes perfect sense as a last gamble to ensure his mission is an overall a success. Yet sadly, much of the book’s impact is ultimately lost through the aforementioned gripes and groans.

Writer: David Pepose, Penciler: Sean Damien Hill, and Inker: Jay Leisten

Dune: House Corrino #8 - BOOM! Studios

DUNE: HOUSE CORRINO No. 8, November 2024

Considering the sheer speed with which events are concluded inside this final issue of “Dune: House Corrino”, many a fan of Frank Herbert’s “feudal interstellar society” must have felt its Editor-in-Chief Matt Gagnon probably regretted the decision to cram this comic book adaptation into just eight instalments. Indeed, by the time the thirty-three page periodical draws to an end after a cataclysmic carousel of captures, treacherous murders and nuclear-powered stand-offs, a good percentage of the audience will have already forgotten poor C’Tair Pilru’s noble sacrifice during this publication’s blood-drenched opening; “You served Ix valiantly… I only pray that the Guild heard you.”

Perhaps this tome’s biggest achievement however, is not in how tightly its collaborative writing team close their fists around all the numerous plot threads they previously had dangling throughout this mini-series. But that they still somehow manage to also include an impressive surprise concerning Piter De Vries, following the dastardly Mentat’s ill-fated brush with the formidable Bene Gesserit, Gaius Helen Mohiam. Those bibliophiles familiar with Baron Vladimir Harkonnen’s servant, will know well the part he has to play in this science fiction franchise’s future narrative. So for the likes of Brian Herbert and Kevin J. Anderson to unexpectedly pull the rug out from under their feet is tremendously well done.

Likewise, the way the authors manage to imbue the Padishah Emperor will much of the impotence later seen in the “Analog” magazine serials is impressive. Shaddam IV has appeared throughout this title as a vindictive power-seeker, who despite being “the hereditary ruler of the Imperium” continues to crave more control over his subject’s affairs and wealth. In this comic, all that momentum is skilfully stripped away from him with a single misstep, and arguably leaves the conceited ruler semi-broken, as well as in the debt of the truly all-powerful Spacing Guild.

Sadly, what doesn’t really ring true for this book are some of the pencilled panels by Andrea Scalmazzi, whose rather wooden, stiff-looking figures occasionally detract from what should be a mesmerising battle scene or incredibly tense moment of high drama. This lack of dynamic drawing is particularly noticeable when the Emperor angrily confronts the Spacing Guild over their refusal to allow him to attack the Harkonnen Headquarters on Carthag, and wipe it from the face of Arrakis. Apart from Shaddam IV’s face contorting with visible anger, there’s no atmosphere to the deadly confrontation, and in fact the penciller repeatedly pulls any onlooker away from the grim stand-off by simply sketching exterior shots of the spaceships within which the main players reside.

Written by: Brian Herbert & Kevin J. Anderson, and Illustrated by Andrea Scalmazzi

Dune: House Corrino #7 - BOOM! Studios

DUNE: HOUSE CORRINO No. 7, October 2024

To say that this “penultimate issue of the final prequel to Dune” is ferociously paced would arguably be a massive understatement considering the breath-taking speed with which Brian Herbert and Kevin J. Anderson's storytelling races through this comic’s thirty-three page count. Sure, some of the sense-shattering scenarios depicted aren’t all that convincingly told, such as the massive Moritani invasion force suddenly being stopped dead in its tracks by a few Atreides fishing boats projecting a false fleet of Caladan’s own spaceships. But such manufactured moments are perhaps forgivable given the sweeping grandeur of the book’s other interplanetary conflicts.

Indeed, this publication’s opening salvo involving both Gurney Halleck and Prince Rhombur spearheading an assault upon the Tleilaxu tyrants on the planet Ix is so large, that many a fan of the science fiction franchise probably felt that the highly anticipated revolt was worthy of an edition all on its own. Certainly, the mass battles between the spice-addled Sardaukar and heavily-armed uprising makes for a gripping read - especially once the vengeful population gains a foothold on their planet’s lower residential levels, and bravely begin forging a route to the Grand Palais; “We blasted open the access points, Duncan Idaho.!”

Just as enthralling however, though understandably much more sedentary and dialogue-driven, is the birth of the Kwisatz Haderach in the Imperial Palace on Kaitain. Everyone who has ever encountered Frank Herbert’s Nebula Award-winning novel from 1965 will know full well that the baby boy is destined to live. And yet, by cleverly having the Duke’s consort surrounded by politically powerful enemies during the child's momentous arrival, the authors are still able to imbue the scene with a healthy dose of tension – largely due to the presence of a highly-deranged Emperor’s wife who arrives armed with a lethal laser scalpel.

Also well worth a mention are the well laid layouts of illustrators Simone Ragazzoni and Francesco Mazzoli, who together pack as many of this comic’s panels with adrenalin-fuelled action as they can muster. The pair are particularly good at giving Rhombur’s rampage through his former home world all the headlong fury an audience would expect from a returning ruler. Whilst the sheer terror pencilled across poor Lady Jessica’s face as she realises her great treachery is about to become known by the Bene Gesserit is truly palpable.

Written by: Brian Herbert & Kevin J. Anderson, and Illustrated by Simone Ragazzoni with Francesco Mazzoli

The Incredible Hulk [2023] #21- Marvel Comics

THE INCREDIBLE HULK No. 21, March 2025

Whilst most Hulk-heads probably felt rather misled by this comic’s solicitation synopsis in which its New York City-based publisher promised a team-up between the titular character and Werewolf By Night “against the immortal wolf-demon Varcolac", it’s highly doubtful many still harboured a grudge after reading the entire twenty-page periodical. True, Bruce Banner’s super-strong alter-ego actually goes it alone against the heavily-fanged spawn of Chthon. But such is the sheer, utterly enthralling intensity of the one-on-one fracas that the vast majority of onlookers would argue the brutal battle didn’t need any more combatants.

In addition, Phillip Kennedy Johnson is far too busy penning a fast-paced sub-plot for Jack Russell’s wolf-form anyway. This fight involving a winged Charlie Tidwell and the former Legion Of Monsters member is just as exciting as this comic’s main event, and despite making the Green Goliath’s young sidekick disagreeably arrogant at times, rather nicely holds the audience’s attention throughout a series of painful bites and vicious-looking claw attacks; “This is not the fight you want, girl. Poor lost child. Don’t even know your own power yet, do you?”

However, alongside all these punches, kicks and thunderous smack-downs, the “American Eisner-nominated” author adds an emotionally-charged moment by having the founding Avenger’s companion risk everything so as to save him from the clutches of Varcolac’s werewolf-infested domain. So daring a move may well capture the odd bibliophile completely off-guard at its spontaneity – especially when it appears that Werewolf By Night has already stopped the adolescent from following her friend to his doom - as well as upset them when the Hulk subsequently lies to his foolhardy rescuer as to what horrible fate he now knows she faces.

Fortuitously, both the frantically-fast scuffles and desperate drop into the fiery chasms of Hell are magnificently pencilled by Danny Earls, whose layouts are arguably at the pinnacle of his profession throughout this book. Of particular note though has to be the unbridled savagery which is on show during the wolf-demon’s conflict against an increasingly angry former Defender. The physicality of this encounter resonates right off of the printed page, to the point where many a bibliophile will surely be able to smell the sweat, blood and tears pooling around the participants’ feet.

The regular cover art of "THE INCREDIBLE HULK" #21 by Nic Klein

Dune: House Corrino #6 - BOOM! Studios

DUNE: HOUSE CORRINO No. 6, September 2024

It’s probably a bit doubtful that even those fans who are fanatically familiar with Frank Herbert’s “celebrated” epic science fiction franchise will completely get their heads around all this comic’s Machiavellian machinations upon their first read. Indeed, some likely needed to take a break from the thirty-three page book about two thirds of the way through – on account of all the new characters, astonishing plot-twists and disconcerting declarations of war it contains; “I have no time, cousin! There are urgent matters afoot.”

One of the most striking revelations is Brian Herbert and Kevin J. Anderson's sudden introduction of the Spacing Guild's incredibly tall agent for all the Spice smuggling taking place on Arrakis. This giant, bald-headed envoy was apparently the treacherous Rondo Tuek’s former contact in the stellar trading conglomerate, and creates such a shocking storm for the lead antagonists that by this publication’s end the Padishah Emperor himself is fully intent on bringing House Harkonnen down upon its knees as a scapegoat for Shaddam IV’s own murderous manoeuvres with tainted Melange.

To make matters even more confusing though, the collaborative authors also pen the mysterious Viscount Moritani inexplicably bypassing Giedi Prime’s supposedly significant security measures so the brutal noble can speak directly to Lord Rabban, and conveniently incite him to invade the Atreides home world of Caladan without any preparation (or even convincing cause) that instant. Disappointingly, this entire conversation comes completely out of nowhere, and arguably smacks of the writers needing some excuse to further up the ante as this prequel approaches it cataclysmic conclusion.

By far this adaption’s biggest problem however, has to be Andrea Scalmazzi stepping (back) in as the comic’s artist. Now, despite being quite a noticeable change when it comes to the mini-series’ visuals, the vast majority of its readers will still readily recognise the likes of primary personalities Count Hasimir Fenring and Earl Rhombur Vernius. But scenes such as those set inside the Harkonnen Headquarters are much more confusing, with Rabban’s surprisingly thin-faced visage only becoming identifiable after he’s been addressed by name. This uncertainty can also be experienced with a number of Duke Leto’s courtiers, such as Thufir Hawat, who debatably appears as little more than a faceless servant until he too is directly addressed by the head of his House.

The regular cover art of "DUNE: HOUSE CORRINO" #6 by Raymond Swanland