The Mighty Thor #445 - Marvel Comics

THE MIGHTY THOR No. 445, March 1992

For those Thunder God fans not following the New York City-based publisher’s “Operation: Galactic Storm” multi-title event, Tom DeFalco’s opening to Issue Four Hundred and Forty Five of “The Mighty Thor” probably brought them bang up to speed with past incidents, courtesy of some fast-paced dialogue and a momentary “spacequake!” Indeed, the American author sets out this twenty-two page periodical’s stall rather nicely, and soon throws his audience into a truly titanic tussle between two of the Avengers’ strongest members and a disagreeably arrogant Gladiator; “For the safety and security of my people, I cannot suffer this interloper to live!”

One of this comic’s biggest draws however, is arguably the uncertainty surrounding Eric Masterson’s place within the supergroup’s roster, and his lack of belief at successfully wielding Mjolnir. This internal struggle really lies at the very heart of “The War And The Warrior!” by depicting Ron Frenz’s co-creation as battling both his own inner doubts and demons, as well as the formidable superhuman strength of the Shi'ar Empire’s egotistical Praetor of the Imperial Guard.

Likewise, there’s arguably a fair amount of satisfaction to be had in this book’s later stages by witnessing the utterly insufferable Kallark getting his clock well and truly cleaned by the titular character. Admittedly, some bibliophiles may well point out that the extra-terrestrial probably didn’t deserve the death which the new Thunder God momentarily had in mind for him - having allowed his towering rage to blind him from sound reasoning. But the Gladiator definitely deserves a good beating bearing in mind he completely refuses to listen to a surprisingly reasonable Wonder Man in the first instance, and then goes on to covertly conclude that Masterson must be executed immediately due to the human having too much power for the extra-terrestrial’s grand civilisation to permit.

Undeniably imbuing all this pulse-pounding pugilism with plenty of “KRAK!”, “TWAKK!” and “SPWATT!” are Patrick Olliffe’s pencils and Al Milgrom’s inks. Together, the duo make every punch thrown and hammer-blow landed reverberate within the readers’ minds, and help sell the notion that this tale features some seriously sturdy powerhouses trading shots with one another which would easily flatten an ordinary hero within mere moments.

Story: Tom DeFalco, Pencils: Patrick Olliffe, and Inks: Al Milgrom

Blood Hunters #1 - Marvel Comics

BLOOD HUNTERS No. 1, October 2024

Proudly proclaimed by its New York City-based publisher as “the beginning of an epic new adventure” involving “Marvel’s newest team”, Erica Schultz’s script for Issue One of “Blood Hunters” certainly seems to live up to its hype due to the twenty-five page periodical’s pulse-pounding mix of roster rivalries and blood-sucking shenanigans. Indeed, the America author’s ability to almost immediately have Dagger and Elsa Bloodstone berating one another over the fate of the vampires which they catch is arguably one of this inaugural edition’s biggest highlights.

Similarly as intriguing though has to be the quite considerable spotlight shone upon Hallows’ Eve and her truly mesmerizing supernatural power to make magical masks. Apparently still exploring these abilities herself, the young woman dons the face of the original Wasp, and promptly takes the reader on an enjoyable trip down memory lane with Janet Van Dyne’s famous stings, and ability to quite literally grow into a full-thrown punch; “Damn limbo magic… Never know what I’m gonna get.”

“The first woman to write a Spawn book in the history of the franchise” is also rather good at penning the somewhat complicated power struggle occurring within the nefarious Bloodcoven since Bloodstorm One fully took charge following Varnae’s defeat. Dagger’s assumption that all the remaining pale-skinned vampires want their humanity restored is disconcertingly wrong, and this desire by some of the fanged despots to remain immortal at all costs establishes an enjoyably straightforward good versus evil stance between the two groups. In fact, in many ways it plays into Bloodstone’s somewhat erratic belief that the only good drinker of blood is a dead one – something which later causes Miles Morales’ infected Spider-man no end of problems when he becomes caught in the monster hunter’s crosshairs.

Rounding off this perfect publication are the layouts of Robert Gill, with colours by Rain Beredo, which do a first-rate job of showing just how dangerous the dark streets of Brooklyn can still be in the aftermath of Blood Hunt. Furthermore, the illustrator is very good at showing just how physically fast both the titular characters and their prey can move whenever they’re fighting one another, as well demonstrating some of the fascinating abilities of Blade’s former “super-vamps” – such as the sheer formidable bulk of Dracula’s heavily-armoured clone.

Writer: Erica Schultz, Artist: Robert Gill, and Colorist: Rain Beredo

Doctor Who: The Fifteenth Doctor #3 - Titan Comics

DOCTOR WHO: THE FIFTEENTH DOCTOR No.3, October 2024

Whilst Dan Watters’ script for Issue Three of “Doctor Who: The Fifteenth Doctor” debatably doesn’t explain just how the Timelord’s latest adversary somehow manages to whisk him and the TARDIS away to some perilous Pocket Dimension. The increasing sense of palpable fear resonating from Ruby Sunday’s dire predicament at the hands of “the entire Sanctum Security Team” on Earth should still definitely keep this comic’s audience absolutely hooked; “Don’t look at me. I didn’t even plan this bit.”

For openers the British author does a very good job of tapping into the illogical and downright merciless group-mind mentality of scared humans which was so wonderfully explored in the Tenth Doctor’s 2008 televised episode "Midnight". These terrified shoppers are simply willing to sacrifice anyone so as to return to their mundane lives, and this comic’s narrative provides them with plenty of (erroneous) facts to fuel their fears - most notably the Gallifreyan’s companion inadvertently appearing alongside two giant insectoid extra-terrestrials just as the mob have reactivated the mall’s robot guardians. 

Furthermore, the writer shows just how dangerous it can be to have an unflinching faith in the titular time traveller, similar to that which cost Clara Oswald her life in “Face The Raven”. Considering just how short a time Ruby and the Doctor have actually travelled together this unshakeable belief is perhaps a little unconvincing. But its impact upon this twenty-two page periodical’s plot is arguably made much more harrowing by the young orphan talking a pair of harmless aliens into leaving the safety of their underground habitat, and subsequently seeing them brutally killed in a solar storm as a result.

Also definitely adding to this publication’s storytelling is artist Kelsey Ramsay and Colorist Valentina Bianconi, who together provide the Scream Sommelier with all the devilish character a Whovian would expect from so powerful an antagonist – most notably when the phantom-like figure rather humorously breaks the Fourth Wall. Quite possibly the creative pair’s biggest success though comes with the portrayal of the Cancaranka, whose formidably scary size is wonderfully off-set by their amiable manners and deep-set desire to simply exist without being squashed to death. It genuinely is difficult not to like the two large, multi-limbed insects, and their horribly painful deaths due to trusting in Sunday is extremely depressing.

The regular cover art of "DOCTOR WHO: THE FIFTEENTH DOCTOR" #3 by Abigail Harding

The Incredible Hulk [2023] #15 - Marvel Comics

THE INCREDIBLE HULK No. 15, October 2024

Apparently the thirtieth top-selling comic in August 2024, at least according to “ICv2.com”, it’s a fair bet that numerous readers of “Incredible Hulk” were initially a bit perplexed by Phillip Kennedy Johnson’s decision to side-line the titular character in favour of a flashback storyline dating back to Assyria, some 3,600 years ago. Indeed, many a bibliophile was probably rather disappointed that having finally brought Bruce Banner’s alter-ego within touching distance of poor Charlie Tidwell’s salvation on the outskirts of Las Vegas, the American author quite suddenly hurls his audience into a totally new and unexpected plot featuring Enkidu instead.

Happily however, once this initial disappointment, or at least surprise, has settled, this book’s two-part long “origin of Eldest” should quickly grab any onlooker by the throat, and due to its pulse-pounding pace, as well as a fair share of physical body horror, hold them utterly immobile until the twenty-page periodical’s dramatic end; “If one truly walks the Earth with the power of the Green Door… Could it be the enemy himself, come to punish us?”

In addition to witnessing “the first Hulk” in a genuinely eye-watering display of demonic mutilation, this publication also debatably does an excellent job of depicting an ancient civilisation ravaged by monstrous devils – where what few human inhabitants remain are merely seen as snacks. This barren, deadly wasteland proves particularly intriguing once it becomes clear that a few refugees from the King’s fallen city have still managed to eke out a meagre living amongst the rocks, and all that stands between them a truly ghastly fate is Tammuz’s monstrously-sized second self.

Impressively helping the “Eisner-nominated comic book writer” to sell “Lament For A Fallen Crown” is Danny Earls, whose readily recognisable, and rather quirky-looking art-style, quite marvellously adds to the inhuman nature of the dark domain the Bull-man of Akkadia knowingly wanders into. Of particular note is the Irish illustrator’s ability to imbue his figures with all the awkwardness one might expect from a race of ungodly, misshapen nightmares who clearly desire to imitate a bipedal existence. But he also does a solid job in highlighting the all-too human look of desperation on the faces of the pitifully emaciated family struggling to survive beyond the fallen city.

Writer: Phillip Kennedy Johnson, Artist: Danny Earls, and Color Artist: Matthew Wilson

Star Wars: The Acolyte - Kelnacca #1 - Marvel Comics

STAR WARS: THE ACOLYTE - KELNACCA No. 1, November 2024

Considering that this one-shot’s New York Times bestselling author arguably relegates the titular character to a secondary cast member, it is quite probable that a fair few readers of “Star Wars: The Acolyte – Kelnacca” came away from the comic fairly disappointed. Indeed, some of the Bristol-born writer’s decisions concerning the Wookie Jedi Master surely had many a bibliophile shaking their heads in confusion as to just what his twenty-five page plot was trying to achieve; “That’s it. They’re safe, Master. But what about you? Okay. Okay. I’m leaving.”

Sure, during actor Joonas Suotamo’s interview at the rear of the book it is explained that the publisher was attempting to explain some of the great warrior’s “ever-present scalp tattoos”, and it certainly couldn't have been easy for anyone to pen a story where the named protagonist doesn’t actually say a word – or even growl much for that matter. However, such hurdles debatably still fail to explain why so much of this tale appears to revolve around Yarzion Vell’s almost selfish obsession to get his Jedi training finished following the death of Master Lulad, rather than focusing upon the almost three-metre tall alien from the planet Kashyyyk subsequently battling against the nefarious Nihil marauders who caused Starlight Beacon space station to crash into the planet Eiram’s ocean.

In fact, disappointingly little in this ‘hit Disney+ series debut’ truly suggests just how formidable a fighter Kelnacca is, due to its narrative predominantly just showing him using the force to either lift rubble or keep the flames of a burning thatched hut at bay. Instead, so much of this comic follows the aforementioned pointy-headed Vell, as he explains to Padawan Ordea his own personal adventures whilst learning the ropes from the Wookie Jedi.

Such disillusionment with the publication’s script means that much of the heavy-lifting relies upon the artistic skills of Marika Cresta, and the Ringo Award-nominee doesn’t appear to disappoint – most notably when she pencils Kelnacca superbly somersaulting his way through more Nihil tormentors in a double-splash page set a year after the Starlight Beacon was destroyed. Coupled with proficient colorist Jim Campbell, it’s simply a pity that the illustrator isn’t given more dynamic action sequences to draw, as opposed to a series of death scenes and dialogue-driven flashbacks.

Writer: Cavan Scott, Artist: Marika Cresta, and Color Artist: Jim Campbell

Batman #500 - DC Comics [Part Two]

BATMAN [1940] No. 500, October 1993

Essentially comprising of little more than a twenty-eight page slugfest between Jean-Paul Valley and Bane, Doug Moench’s penmanship for his second storyline inside Issue Five Hundred of “Batman”, arguably sees the Dark Knight at his most savagely brutal. Sure, the cape and cowl are no longer worn by Bruce Wayne, so this comic’s audience were probably expecting some things to change. But few readers were surely anticipating such a marked difference in violence between the original Caped Crusader and the utterly merciless machine which the Eagle Award-winner crafts for "Dark Angel II: The Descent".

To begin with, Gotham City’s supposed guardian appears to no longer care for the innocent lives he’s supposedly protecting whilst battling the heavily-muscled Santa Priscan in this book. Indeed, such is the obsession the masked vigilante has for defeating Bane once and for all, that it’s debatable as to whether he is even aware of the hapless commuters on board the out of control locomotive the pair wind up fighting inside; “We’re gonna crash! We’re gonna die! Why doesn’t somebody do something to stop this train?”

Cleverly though, this passenger imperilled predicament does provide the Boy Wonder with a fair bit of welcome spotlight as he bravely attempts to rescue those Gothamites being frantically ferried around the metropolis before their linked carriages fatally fly off the tracks – something which is particularly impressive considering that Tim Drake is hopelessly outmatched when it comes to this narrative’s main event. Furthermore, the young Robin’s role in “Knightfall” appears to significantly change during this situation, with the colourfully-costumed adolescent taking on the role of a strong ‘moral voice’ to Valley’s disconcertingly dark ‘the mission is all no matter what the cost’ attitude.

Equally as enjoyable as the penmanship behind this white-knuckle ride is Mike Manley’s artwork, which does a fantastic job of depicting a frantic Bane suddenly realising that the armoured vigilante before him is far more dangerous than he ever gave him credit for. The super-villain’s fright at being beaten is truly palpable, and the American illustrator genuinely imbues the thickly-muscled criminal with all the fear a bibliophile may well expect from someone who just moments before thought they were utterly invincible.

The regular cover art of "BATMAN" No. 500 by Kelley Jones & Bob LeRose

Conan: Battle Of The Black Stone - Titan Comics #1

CONAN: BATTLE OF THE BLACK STONE No. 1, October 2024

There shouldn’t be much doubt to anyone reading this “epic new Conan event from Heroic Signatures and Titan Comics” that Jim Zub is quite masterfully manipulating many of Robert E. Howard’s mightiest creations towards some devilish end game like an in-form chess master. In fact, the way the Canadian author manages to quite quickly imbed the likes of Solomon Kane, El Borak, Dark Agnes de Chastillon, and even invalid writer James Allison into this twenty-two page, shadow-laden supernatural storyline is truly impressive; “She closed her eyes and saw a sign. A mark upon her soul. How can she trust her wits or will in the face of such uncontrollable fury.?”

Somewhat frustratingly though, such devotion to giving this book’s considerable cast quite so much spotlight also means that the periodical’s pacing is debatably a bit disconcertingly choppy in places – such as when a certain “Tudor-period Puritan adventurer” is drawn to the sigil within the space of a handful of panels, or a dumbfounded Dark Agnes apparently slaughters someone in the wilds, east of Grenoble, without any memory of why she has done so. These short-lived sequences may well generate a sense of intrigue or mystery within some bibliophiles. But in all likelihood the majority of readers would probably have preferred to have more closely followed the Cimmerian’s exploits in the savage lands of the Picts, or Professor John Kirowan’s superbly atmospheric visit to a salubrious speakeasy in 1936 Chicago.

Furthermore, the handling of Francis Xavier Gordon, and apparent horrific demise of Allison at the publication’s conclusion, may well perturb many a fan of Howard’s original literary works. El Borak’s portrayal as a dishonest heavy-drinker, who shakes at the mere mention of the aforementioned occult sign etched in black stone doesn’t ring particularly true with the “Texan gunfighter from El Paso who had travelled the world and settled in Afghanistan” penned by the late, great father of Sword and Sorcery. Admittedly, the American adventurer is now a much older, presumably less-audacious man, who relies upon his past exploits to fund his ‘retirement’. Yet, it would surely have been more in character for him to stern-facedly warn his guests as to the deadly nature of their enquiry, rather than cowardly deny having ever “seen that thing before.”

Quite possibly this comic’s biggest hook therefore lies in the layouts of “Jaunty Jonas Scharf”, whose raw energy genuinely adds to the sheer physical presence of Conan whenever the barbarian makes an appearance. Furthermore, the smell of cigarette smoke, alcohol and ancient artefacts is truly palpable from the pencils depicting Gordon’s covert club, and helps make the predominantly sedentary setting both believable and thoroughly enthralling.

The regular cover art of "CONAN: BATTLE OF THE BLACK STONE" #1 by Gerado Zaffino