G.I. Joe: A Real American Hero #309 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 309, August 2024

Quite simply stuffed with sense-shattering shoot-outs and exciting explosions, many a long-term fan of this American media franchise’s 3.75-inch scale action figures by “Hasbro” must have had their inner child absolutely screaming in delight. Indeed, there’s barely a pause for any reader to breath throughout this twenty-page periodical’s plot, as the likes of Snake Eyes, Scarlett, Storm Shadow, Dawn Moreno and Jinx rather surprisingly help repel an all-out invasion of Springfield by Serpentor Khan’s grotesque-looking mutant soldiers; “Us enhanced cyborgs don’t need no wussy parachutes! Just drop us like the living weapons we are!”

Furthermore, the sheer amount of military jargon on display inside Issue Three Hundred and Nine of “G.I. Joe: A Real American Hero” is absolutely insane and actually gets to the point where Larry Hama actually has to call on the help of letterer Pat Brosseau to populate a few explanatory text boxes every now and then. Admittedly, such a storytelling technique can often ‘pull’ any perusing bibliophile from out of the actual adventure. But on this occasion the odd asterisked codeword provides the dialogue with a convincing level of bewitching realism.

Impressively, the American author also somehow manages to find enough space within his script to provide “Snake Eyes III” with a highly intriguing character arc, as the deadly ninja warrior happens upon one of the local police officers responsible for her parents’ cold-blooded murder. Trapped inside his patrol car and pathetically pleading for help as more deadly mutants fast approach, this tensely-penned situation can potentially only end in one of two ways – and delightfully, this comic’s writer doesn’t say… for now at least.

Finally, the art team of Paul Pelletier on pencils, inker Tony Kordos, colorist Francesco Segala and flatter Sabrina Del Grosso all arguably need a mighty pat on the back for making every gun-shot and barbed comment appear as genuine as is possible when misshapen zombie-like creatures from Cobra Island are crashlanding on a civilian settlement from two thousand feet in the air. In addition, the actual look of the layouts has a truly nostalgic feel to them as every panel appears to have been dithered to imitate the cheap, low-quality printing processes and materials used during the Bronze Age of Comics.

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #309 by Andy Kubert & Brad Anderson

Nightwing #111 - DC Comics

NIGHTWING No. 111, April 2024

Portraying Dick Grayson as a much more emotionally intelligent, thoughtful crime-fighter than his Gotham City-based mentor, Issue One Hundred and Eleven of “Nightwing” is arguably a much slower, more sedentary affair than the former Robin’s usual fast-paced, acrobatic adventures. Indeed, apart from a brief glimpse of Batman battling some goons on the Docks, Tom Taylor relies solely upon conversations and dialogue to push his twenty-two page plot along to a rather startingly cliff-hanger; “The last thing I need is a damn superhero looking too closely!”

However, this slow(ish) speed seemingly suits the nature of the titular character’s investigation into Heartless’ apparent departure from Bludhaven and subsequent incursion into the Dark Knight’s metropolis, as it allows the storytelling to take on an almost police procedural quality. This ‘by the book’ atmosphere genuinely helps sell the trauma experienced by poor little Iko Wahid, whose father has been savagely slain by Shelton Lyle’s deadly alter-ego, and also allows the audience to observe some significant similarities between the Teen Titan’s upbringing under the wing of Bruce Wayne and the orphan’s future in the company of his Uncle Loc.

Furthermore, this comic contains a solid scene between the Caped Crusader and his protégé concerning the former Circus performer’s inexplicable sudden fear of heights. Proficiently pencilled by artist Sami Basri, this discussion atop a high-rise building shows just how vulnerable Grayson has shockingly become without being able to “jump” from any great height, and provides Batman with an opportunity to show his heartfelt concern that he one-time prodigious highflyer is now reduced to simply ‘taking the stairs’ in order to reach the Coroner’s Office.

Quite possibly this book’s biggest draw though may well be Michael W. Conrad’s short story “The Son of Gray”, which comes completely out of the blue to transport this publication’s devotees to Fourteenth Century Normandy during the Bubonic Plague. Reading like an “Elseworlds” tale and featuring both the art and colours of legendary illustrator Francesco Francavilla, this enthralling two-parter sees a revenge-filled “Grayson” facing off against an utterly insane Joker – who sees himself as some sort of pious bishop who has carte blanche to brutally slay everyone in the name of God.

The regular cover art of "NIGHTWING" #111 by Bruno Redondo

Space Ghost #9 - Dynamite Entertainment

SPACE GHOST No. 9, January 2025

Stripped of his famously formidable power gauntlets, David Pepose’s opening for Issue Nine of “Space Ghost” seemingly appears to set up a storyline in which Jan, Jace and Blip will “somehow pull victory from the jaws of defeat” rather than their helpless masked mentor. Indeed, stranded alone without any means of attack, this twenty-two page periodical’s plot appears to be on the verge of completely sidelining the titular character as he becomes increasingly hemmed into the shadows by an endless series of ship-wide robot trooper patrols.

Impressively however, the “award-winning author” instead decides to take a different route entirely by focusing upon the actual human being behind the galactic crime-fighter’s mask, and firmly establishing that the Federation will only be saved through the use of brains as opposed to brawn. This insight cleverly builds upon all the pent-up rage and despair Dax experienced when he first encountered the cold-blooded killer of his biological family, and ultimately replaces the super-hero’s blind, almost reckless hate-filled vendetta into a successful, much more well-thought out campaign which focuses upon the love he felt when he was with his wife and daughter, not their actual loss. 

Of course, that doesn’t mean for a moment that the vigilante’s adolescent crew aren’t also penned being up to their necks in deadly danger on the surface of Cetia-7. Metallus’ murderous assault upon the Galactic Federation’s Homeworld still needs stopping, and enjoyably the American writer provides the trio with a convincing set of circumstances in which they can do so. In fact, Jan’s discovery that a huge electromagnet can completely shut down the would-be space conqueror’s robots quite neatly brings the entire quartet back together again for this comic’s satisfying conclusion; “Nice work Blip -- I always knew you were the real brains behind this operation…” 

Equally as important to the success of this book’s storytelling are Jonathan Lau’s adrenalin-fuelled layouts. The “artist extraordinaire” appears particularly prodigious at capturing all the quick-witted, acrobatic antics a reader would expect of two kids and a cybernetically-enhanced monkey as they strive to stay one step ahead of a fatal laser beam. However, the illustrator is also incredibly adept at even making this publication’s quieter moments all the more thrilling, by somehow capturing the emotions resonating from its cast members – such as when an agitated Lieutenant Transor gruffly questions Robo Trooper H-B-7 over “the equivalent of a door hinge in need of tightening.”

The regular cover art of "SPACE GHOST" #9 by Francesco Mattina

Absolute Batman #7 - DC Comics

ABSOLUTE BATMAN No. 7, June 2025

Despite this being the second best-selling comic book during April 2025, it’s probably a safe bet that a fair few of this publication’s audience were a little bemused by the contrasting quality of Scott Snyder’s penmanship with that of “the one and only super-star” Marco Martin’s disappointing pencilling. In fact, some of this twenty-page periodical’s panels are so disconcertingly dreary, such as its opening sequence which features a close-up of Victor Junior’s adolescent face as he slowly succumbs to “a rare terminal disorder” in Tanzania, that the odd bibliophile may well have been in two minds as to whether they wanted to read on any further.

For those that do persevere however, there is undoubtedly a solid, almost scary storyline to be found inside Issue Seven of “Absolute Batman”, and one which intriguingly transforms the classic character of Mister Freeze from that of a “tragic villain” desperately attempting to save his beloved wife, into a truly disturbing, thin-faced youth who can apparently transform himself into something that wouldn’t look out of place in Motive Studio’s 2023 survival horror video game “Dead Space”. So strong a departure from the ‘norm’ really must have caught a lot of readers off-guard, and (once again) helps the American author provide this ongoing title with a shocking cliff-hanger; “I felt everything. Every moment. And the pain… My god. Ice grinds and twists… The ice isn’t grace. It is fury. It’s reckoning.”

Furthermore, this comic contains some nice examples of how Bruce Wayne’s network of contacts is able to support him in his covert crime-fighting. Admittedly, the absolutely horrific death of poor Mitchell Malone to some face-popping bacteria quite possibly pushes this book’s “Ages 15+” guidance to its limit. But the information “Matches” spills before spontaneously bleeding out on Elliott Bridge also neatly illustrates just how deadly a game the Dark Knight is playing, as well as leads into the Caped Crusader vengefully setting off to V-Core’s company headquarters during a snowstorm without actually knowing first-hand what it is he's actually going to face there.

Disappointingly however, some onlookers may well say that it doesn’t matter how good the narrative may be, if the interior artwork isn’t up to scratch to help tell it, and that’s definitely the problem with “Absolute Zero”. There is no doubt that Martin can sketch both an atmospherically dark conversational piece set within the confines of a Gotham City alleyway, and an adrenaline-fuelled action scene showing Batman ducking the local authorities. Yet, along with some garish palette choices by Muntsa Vicente, a fair few of this publication’s visuals are far more likely to put people off from buying another edition, rather than draw in any new Bat-fans.

The regular cover art of "ABSOLUTE BATMAN" #7 by Nick Dragotta & Frank Martin

Astonishing Tales #36 - Marvel Comics

ASTONISHING TALES No. 36, July 1976

Considering that this comic’s cover proudly boasts it contains “a new beginning for the most action-packed series of all”, it probably came as something of a shock to its audience that Issue Thirty Six of “Astonishing Tales” was actually the title’s final instalment. In fact, the book’s secondary tale – “What To Do After The Apocalypse!”, even ends with a tantalizing cliffhanger as Deathlok disappears alongside the mysterious Godwulf in a flash of light to some other universe, and the periodical’s final panel promises that its next edition will feature some sort of “Frenzy In The Future!”.

However, quite possibly with hindsight it now seems clear that the ‘writing was most definitely on the wall’ for Rick Buckler’s production, seeing as how the Demolisher’s creator had quite literally separated the man from its cybernetic machine courtesy of a clone body, and sent the post-apocalyptic assassin’s still functioning remnants off on a seemingly suicidal mission down inside the Twenty-Third Street [underground tube] Station. Admittedly, penning a dejected, almost depressed Luther Manning sat hunched over a typewriter working on a lengthy report of his time as a computer-controlled killer isn’t the most uplifting of fates for the former United States Army Colonel. But along with Simon Ryker’s permanent descent into insanity, it does bring to an end the major motivating factors behind the character’s previous existence as a traumatised automaton.

Furthermore, the appearance of Buckler’s Green Arrow-like “Skulker of the City’s Underside” sadly smacks of the Bronx-born author desperately scratching around for someone to snatch Deathlok away from Earth-7484, and permanently sever the two separate beings’ mind-link once and for all. Just how a nearly naked man is able to successfully battle the modern-day technology of Ryker’s numerous goon squads is never even hinted at, and yet the American author clearly expects his readers to accept that the acrobatic archer has already built up so formidable a reputation with his heavily-armed opponents that they bolt for safety just as soon as they spot the bearded saboteur; “It’s him again! We haven't got a chance in --”

Lastly, it also seems arguably clear that some of the previous problems getting this particular publication out on time have returned, with Keith Pollard back providing some ‘embellishments’ and inks to Rich’s pencils. This ‘helping hand’ definitely has an impact upon the look of some of this comic’s layouts – especially during its aforementioned later yarn, and whilst theses panels look proficient enough, their overall different style would probably have caused any perusing bibliophile to have momentarily paused in their tracks – temporarily jarring them from out of the adrenalin-fuelled action.

Concept, Story & Art: Rich Butler, and Embellishment: Keith Pollard

Red Hulk #8 - Marvel Comics

RED HULK No. 8, November 2025

Seemingly pulling all of this ongoing series’ numerous plot-threads back together into a single storyline with a mixture of timely rescues and expedient encounters, it will be debatably difficult for any "Marvelites" reading Issue Eight of “Red Hulk” not to be impressed with Benjamin Percy’s prodigious penmanship. Indeed, the sheer breathtaking momentum of Deathlok’s attempt to find his ‘friend’ deep within a top secret military-controlled laboratory, and that of First Sergeant Bowden’s investigation into “Ryker’s illegal collusion with Doctor Doom” should easily carry this comic’s audience straight through the twenty-page periodical, as well as help its readers forgive the odd all-too convenient coincidence or two; “Change your heading. We’re going straight to the Pentagon.”

Furthermore, the American author does a good job in showing just how both the facility’s cruel experiments, alongside the passage of years, have finally taken a tough toll upon the emaciated, physical frame of Major Thaddeus Ross. Such evident frailty genuinely helps to convince any onlookers that Bruce Banner’s old arch-nemesis is finally at the end of his limits, and generates plenty of plausibility to the notion that an almost feral War Wolf may well catch the fleeing General and Wildstrike as they slowly stumble through the villain’s maze of corridors looking for an exit to safety.

Also well worthy of a mention is Luther Manning’s realisation that despite him being carried “through that whole damn operation” by Machine Man, the experience has actually helped the two heroes form an even stronger bond with one another than before. This moment proves particularly poignant as it initially starts with the Demolisher angrily verbalising his trademark frustrations at his comrade-in-arms, only to then realise that previously it was him who was carrying a useless X-51 “many miles through hostile territory” in Latveria.

Equally as responsible for imbuing all these enjoyable events with a sizeable amount of speed are Geoff Shaw’s pencils. The Iowa-born illustrator appears especially adept at highlighting the significant contrast in pace between Ryker’s cybernetically enhanced werewolf form as he races through Project Alpha in Virginia looking for his prey, and Ross’ worryingly slow, tentative steps alongside Bowden. Furthermore, many a bibliophile will doubtless find themselves holding their own breath as Deathlok repeatedly batters away at a super-thick panel of glass whilst underwater, as he tries to evade a sharp-toothed Sharkman snapping him in two with its deadly jaws.

The regular cover art of "RED HULK" #8 by Geoff Shaw & Marte Gracia

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

BRING ON THE BAD GUYS: DOOM No. 1, August 2025

As the opening instalment to an “overarching saga” goes, Marc Guggenheim’s narrative for Issue One of “Bring On The Bad Guys: Doom” does a first-rate job in enticing his audience into wanting to know more about the “ancient artifact known as the Soul Forge”. In fact, the twenty-five page periodical probably raises so many intriguing questions within the reader’s mind, not least of which is just how a Berlin-based Emil Blonsky happened to locate a long-lost dagger in the first place, that many of them doubtless immediately pre-ordered the rest of this series’ much-touted “seven villainous one-shots” from their friendly local comic book store.

Of particular note is undoubtedly the Emmy Award-winning writer’s handling of the titular character, who absolutely reeks of contemptuous arrogance just as soon as he’s shown sitting upon his throne in Latervia. This publication delightfully portrays Victor Von Doom at his most haughtiest, whether the Fantastic Four’s arch-nemesis is scornfully belittling one of his lesser spies, or childishly deceiving himself that the gamma-irradiated strength of the Abomination “would offer no contest” if the tyrant decided to pit himself against the monster in a fight; “Blonsky goes. Unaware of the mercy Doom has granted him.”

Furthermore, the actual premise behind "Mephisto's ultimate scheme" is surprisingly well explained, with the American author quite patiently spelling out just how the Soul Forge was apparently created by the sorcerous arts of the world’s six Lords of Darkness. Packed with some (obligatory) blood sacrifices and a somewhat astonishing act of treachery, this backstory shows just how long a game the Machiavellian Lord of Evil is clearly playing, and rather shockingly may even make the odd bibliophile believe that perhaps it would actually be in humanity’s best interest if Latveria’s heavily-armoured monarch won the day as opposed to Stan Lee’s demonic co-creation.

Lastly, “acclaimed artist Stefano Raffaele” also deserves some applause for proficiency pencilling plenty of attention-holding panels throughout this comic. In addition to the Abomination’s incongruous disguise outside Platz Der Republik, the Italian illustrator also serves up a wonderful, atmospheric dish for the Forge’s aforementioned flashback sequences, as well as leaves no doubt as to the sheer hellish grandeur of Mephisto’s fiery domain – courtesy of a deeply disconcerting double splash page.

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