The Incredible Hulk [2023] #27 - Marvel Comics

THE INCREDIBLE HULK No. 27, September 2025

Starting with a seriously sedentary opening which features Bruce Banner’s alter-ego disconcertingly dozing under a woodland tree whilst a young boy noisily plays with a self-made wooden sword at his feet, many a bibliophile probably couldn’t be blamed for wondering what on Earth writer Phillip Kennedy Johnson was thinking when he penned this comic’s somewhat ponderous narrative. Sure, the happy-go-lucky youngster’s father is almost immediately shown to have something of a short-fused temper. But there’s absolutely no suggestion of the genuinely shocking tragedy which has actually already befallen poor Petey when he’s subsequently shown skipping back towards his home; “Daddy builds stuff. But sometimes he gets angry, and we gotta leave again.”

Instead, the American author just slowly starts to add layers to the dynamics of the kid’s dysfunctional, ever-erratic life on board a travelling bus, and the increasingly worrying criminal lifestyle of Henry Lang – who evidently enjoys dealing in stolen goods after work. In addition, the titular character himself is shown as having some serious self-doubts as to whether he truly wants to be left alone after all, and actually appears to be slowly warming up to the notion that perhaps instead of being a monster, the Hulk could become a force for good once again. 

Shockingly though, this dream of redemption is suddenly brought crashing down around the founding Avenger’s ears when he overhears Petey’s dad telling his wife they have to leave Tennessee immediately following a gun-fight with the local Police. Initially, this scene suggests that the boy will simply be left behind to his fate in the forest. However, it soon becomes crystal clear that things are far more sinister than mere abandonment, and that partially buried under “the Falling-Down Tree” is a dark secret infinitely worse than any creature from the kid’s vivid imagination.

Sadly what isn’t as successful as this book’s cataclysmic conclusion is debatably its drawing, with Kev Walker’s pencils proving rather disappointing when it comes to the look of this ongoing series’ titular character. The British illustrator does a first-rate job in depicting the disagreeable violence Henry is willing to subject his poor, ever-loyal spouse to, and resultantly should make the fellow utterly despicable in the eyes of this publication’s audience. Yet the artist's sketches of a long-haired, chisel-chinned Hulk is perplexing at best, and simply doesn’t portray the heavily-conflicted brute all that well – at least until the gamma mutate decides to take revenge upon poor Petey’s unrepentant murderer.

The regular cover art of "THE INCREDIBLE HULK" #27 by Nic Klein

Bring On The Bad Guys: Abomination #1 - Marvel Comics

BRING ON THE BAD GUYS: ABOMINATION No. 1, September 2025

Forming part of its New York City-based publisher’s special event to celebrate fifty years since “Marvel Comics” first released it original collection of “key early stories” featuring some of their most iconic super-villains, Phillip Kennedy Johnston’s script for Issue One of “Bring On The Bad Guys: Abomination” certainly seems to depict Emil Blonsky’s grotesque alter-ego in a highly entertaining light. In fact, rather than try to turn Stan Lee’s co-creation into some kind of anti-hero who ultimately risks all to save a group of hapless archaeology students, this particular publication instead debatably doubles-down on the gamma mutate’s more murderous inclinations.

Furthermore, the American author does an excellent job in underscoring the scaly-skinned former spy’s often ignored mental savvy by imbuing him with plenty of brains as well as brawn. This scheming intelligence genuinely pulls the entire narrative together from beginning to end - especially once it’s been revealed just how many favours the Yugoslavian-born monster has ‘cashed in’ so as to specially “get that [ancient] well dug up”, and have the highly out-of-place analyst Mokinyo specifically put in charge of his probationary mission to explore its deadly depths. 

Of course, the big draw for this twenty-page book's audience is Blonsky’s pulse-pounding battle against “the mighty Grootslang” in a water-logged underground cavern, and frankly the Eisner-nominated writer definitely does not disappoint. Freed from his Wakandan prison cell, this incarnation of the Abomination is as much of a cold-blooded a killer as he ever was, and absolutely annihilates his opponent without any mercy whatsoever. In addition, the two-toed terror doesn’t even momentarily pause in his tracks to rescue the surviving excavators either, and simply leaves them to die of starvation beneath the surface along with the bones of the supernatural being he’s just pulverised; “If you wanted lives saved and kids tucked in, you could’ve brought back your exiled king.”

Also helping enormously to make this comic such a sense-shattering success are penciler Sergio Davila, inker Aure Jimenez and colorist Arif Prianto. Together this creative team genuinely bring the entire story to vivid, animated life – whether it be the excited irritation of the poor professor who first encounters the well a little way “outside our permit zone”, or the sincere, cold-blooded clarity of Emil’s thinking when it comes to simply killing someone with his bare hands just because it's part of his job.

The regular cover art of "BRING ON THE BAD GUYS: ABOMINATION" #1 by Lee Bermejo

The Thing [2025] #3 - Marvel Comics

THE THING No. 3, September 2025

Simply pairing sweet Aunt Petunia's favourite nephew up with a little girl for the vast majority of a twenty-page publication packed full of gun-happy triggermen and super-powered villains might have struck some within this comic’s audience as an odd choice for Tony Fleecs; especially when Ben Grimm has so many notable New York City-based allies with which he can ordinarily turn to in times of trouble. But in doing so, the author rather surprisingly generates a palpable sense of danger throughout this narrative, which genuinely should make most readers uneasy as to whether the faint-hearted adolescent is actually going to survive the book intact.

Indeed, just as soon as Mary’s niece makes a shocking appearance amidst the burning ruins of a dockland warehouse, it arguably seems almost certain that a stray bullet from one of Hammerhead’s goons, or a projectile thrown by the deadly Bullseye, may well end her young life before this mini-series’ titular character has had the chance to rescue her. Such a concern really does stick to the storytelling throughout too, and even increases once the vicious gangster’s threat has been replaced by that of the crowbar-wielding Dirk Garthwaite and his murderous Wrecking Crew; “You four are about to find out that it’s a bad idea to pick on little kids when I’m around.”

Adding to this growing sense of Grimm’s inability to protect the understandably distressed child is Fleecs’ knack to also imbue one of the founding members of the Fantastic Four with his own physical vulnerabilities – such as being completely exhausted from not having slept in days. This fragility is debatably seldom shown in one of the Marvel Universe’s most popular power-houses, and helps highlight that despite all the slugger’s extraordinary strength, he is in reality just one man fighting off a veritable army of criminals – all of which desperately want to claim the ten million dollar bounty on his head.

Sadly, what does slightly let this comic down though is some of Justin Mason’s pencilling, which every now and then depicts the Thing as being disconcertingly smooth and circular in appearance. Obviously such a drawing technique is well-known to help artists work out the composition of their panels, and the location of any figures within it. However, the illustrator seems to incorporate this technique into his actual finished work, and resultantly presents Ben as an unnervingly fluid, ball-headed bruiser, as opposed to his much more irregular, chitinous-covered appearance.

Writer: Tony Fleecs. Artist: Justin Mason & Color Artist: Alex Sinclair

Nightwing #108 - DC Comics

NIGHTWING No. 108, January 2024

Presumably catching many a bibliophile off-guard with Bea Bennett’s secret pirate society being successfully infiltrated by a boatload of traitors, Tom Taylor’s script for Issue One Hundred and Eight of “Nightwing” must surely have got their blood boiling at the way Captain Blud is so poorly treated by her adoptive brother, Dirk. Indeed, the twenty-two page periodical’s plot genuinely emits a palpable aura of perfidy throughout, especially once the steadfastly loyal Lucas is devastatingly dispatched with a cowardly gut-shot whilst entering the supposedly safe Crow’s Nest; “This is the seat of power for the Crossed Keys.”

Intriguingly however, such is the quality of the “New York Times bestselling” author’s penmanship that most within this comic’s audience won’t even see the murderous betrayal coming either, and will instead walk straight into the treasonous trap as readily as Bea’s poor right-hand-man does. So savage a shock is entirely due to the Australian writer fooling the reader into dropping their guard by lulling them into believing Dick Grayson’s former lover is always one step ahead of her mortal enemies – a technique he later doubles down on when Bennett appears to once again be the hunter only to suddenly find her innards on the wrong end of a sword blade.

Quite possibly also adding to the tension is Nightwing’s apparent desire to predominantly remain on the sidelines for much of the adventure, and simply allow events to progress without any influence from Bludhaven’s sworn protector. True, the super-hero does personally detain Travis for trying to assassinate his captain in her sleep. But that particular sequence is debatably played for laughs more than anything else, and it’s not until the (non) costumed crime-fighter confronts Lucas’ killer that he finally takes the centre-stage in his own book.

Artist Stephen Byrne also needs a big shout-out for helping to make “The Crew Of The Crossed” a visual feast for the eyes. The Irish illustrator proves particularly proficient at embedding humour into his pencilling, such as the aforementioned capture of Travis, as well as being able to completely turn a scene upon its head, like when the tongue-in-cheek exchange between Grayson and Lucas dramatically transforms into the scene of a foul, cold-blooded murder.

Writer: Tom Taylor, Artist: Stephen Byrne, and Colors: Adriano Lucas

Space Ghost #5 - Dynamite Entertainment

SPACE GHOST No. 5, September 2024

It’s probably fair to say that David Pepose’s storyline for Issue Five of “Space Ghost” may well appear a little rushed for a twenty-two page conclusion to a much-hyped “impossible battle”. Indeed, despite the comic’s intoxicating pace and adrenalin-fuelled action sequences, some readers may well feel that the titular character defeats both Zorak and the alien’s fanatical Cult of Lokar a little too easily for their liking; “I know you’re scared, son -- But you saved us all. If you hadn’t stepped in, I’d be dead…”

These doubts as to just how convincingly this comic’s plot plays out arguably begins almost from the start too, when Hanna-Barbera Productions’ cartoon creation quickly kneels in supplication before his arch-nemesis, and fully co-operates with the multi-limbed lunatic’s plan to open the universe up to the feeding frenzy of a gigantic extra-dimensional locust deity. Now admittedly, at the time the Dokarian is about to horribly kill Jan and Jace in a vacuum chamber if his orders aren't obeyed. But Dax’s submission is so startlingly swift, that he appears to instantly give up the fight without any thought as to the fact he’s surrendering the lives of the entire galaxy for the sake of just two people.

Similarly as sudden and unpersuasive though is debatably young Jace’s decision to quit being a sidekick because he zaps Zorak just before the maniac can fatally stab Space Ghost in the back with a blade. It’s clear this moment has a dramatic impact upon the ordinarily happy-go-lucky boy, and in many ways is really well-penned by this book’s author. However, it’s certainly not the first time the lad has blazed away at his opponents with a laser gun, including the escaped convicts who recently beat him semi-senseless, so just why this particular death affects him so very badly is a bit unclear – and resultantly seems somewhat forced for theatrical effect.

By far this publication’s best element therefore is Jonathan Lau’s phenomenal pencilling, which does a fantastic job in showing just how desperate the situation becomes once the central protagonist unwisely chooses to aid his long-time opponent. Furthermore, the artist does a great job in showing just how physically undersized and underpowered the children actually are when it comes to tussling with their much larger, adult captors.

The regular cover art of "SPACE GHOST" #5 by Francesco Mattina

Teenage Mutant Ninja Turtles [2024] #6 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 6, January 2025

Pouring the pressure on this series’ titular characters straight from the start, it must have been hard for many readers to imagine what more Jason Aaron could throw at Leonardo, Donatello, Raphael, and Michelangelo during their journey back to New York City. In fact, considering the lengths the Alabama-born writer goes to in order to show how dysfunctional a unit Splinter’s students have become, it is quite incredible the quartet of warriors don’t eventually succumb to the nefarious Foot Clan’s unrelenting assault waves before his twenty-two page plot comes to an end.

Perhaps somewhat surprisingly however, it is precisely the four brothers’ aggression towards one another which makes this comic’s pulse-pounding pace so successful, with the likes of Raph even having time to slug Mikey straight across the jaw during this book’s sense-shattering shenanigans. Furthermore, the tenderness still shown towards a mentally deranged Donnie during these frustration-filled vents cleverly reminds the audience that despite all their bluster, bull-headedness, and eye-wincing in-fighting, the 'Heroes in a half shell' still care very deeply for each other; “I’m standing in a sewer! You call this being saved?! I was about to have my own action figure, you butt-faced --”

Easily this publication’s biggest hook though has to be the sheer grandeur of District Attorney Hale’s scheme to ‘frame’ the turtles as “a bunch of crazed mutants, wanted for murder, [who are] beating up public servants.” The corrupt lawyer appears to have infiltrated every emergency service department possible with his deadly ninja assassins, and resultantly helps provide this issue with one of its funniest moments when an axe-wielding fireman suddenly attempts to chop an unsuspecting Donatello in two.  

Also making an impressive “debut as Teenage Mutant Ninja Turtle’s new ongoing artist” is Juan Ferreyra, who quite sensationally imbues all this comic’s considerably-sized cast with plenty of enthralling, animated life. Of particular note has to be the protagonists’ leap across the Big Apple’s night-time skyline so as to evade the Foot Clan’s gas arrows. This entire sequence looks set to literally run on for several more panels, only for the “superstar artist” to suddenly pencil the New York Fire Department humorously hosing down the green-hued fugitives with water from far below.

Script by: Jason Aaron, Art by: Juan Ferreyra, and Letters by: Shawn Lee

Astonishing Tales #28 - Marvel Comics

ASTONISHING TALES No. 28, February 1975

Despite this comic’s narrative lacking a bit of direction as its central character aimlessly meanders through a post-apocalypse New York City, many a Marvelite probably still enjoyed Issue Twenty Eight of “Astonishing Tales” due to its disconcertingly dark, cannibal-infested view of life in a futuristic Big Apple. Indeed, arguably this book’s biggest hook is how Rich Buckler pens Deathlok realising just how markedly different the noxious metropolis has become from the restaurant-packed place he used to regularly visit with his wife Janice five years earlier.

This stark contrast between the life Luther Manning vividly remembers and what the world has since become is perhaps best seen during the cyborg’s visit to the library/museum on 42nd Street, whilst investigating a black market meat operation. The trip itself later leads into the discovery that there is actually an armed rebellion taking place against the murderous machinations of Simon Ryker’s regime. But initially it presents itself as simply an adrenalin-fuelled spotlight upon the grisly day-to-day dealings of the vicinity’s disagreeable inhabitants, who appear to be perfectly happy to tear the Demolisher apart just to get at the veteran soldier’s few remaining scraps of human flesh; “They’re looking at me like I’m the morning menu!!”

Unhappily however, much of this well-written, engrossing atmosphere is then somewhat dispelled by the sudden arrival of a battle tank and a cluster of “creeps… packing lasers with heat conversion units.” This shocking plot-twist comes completely out of the blue, and despite the author’s attempt to suggest the aforementioned head-hunters were merely a pre-planned ruse to lead Deathlok straight towards the tightly-knit military force, disappointingly still debatably smacks of Buckler merely scrambling around in desperation for some big threat to throw at his co-creation.

Fortunately, due to the sense-shattering shenanigans which result from the armoured vehicle’s appearance, such an unconvincing element can probably be easily forgiven – especially when for once, the action actually shows Manning being heavily outmatched when it comes to firepower. In fact, a palpable sense of danger emanates from these prodigiously pencilled layouts as Luther’s helicopter is sketched tragically being destroyed, and the “born loser” finds himself cornered by the killer tank without any discernible means of escape.

Concept, Script & Artwork: Rich Butler, and Coloring: L. Lessmann