Never By Night: Disturbing Passages Into The Unknown #2 - SnowyWorks [Part One]

NEVER BY NIGHT: DISTURBING PASSAGES INTO THE UNKNOWN No. 2, October 2025

Throwing one and all head-first into the high-pressure world of hosting a popular American chat show, Jonathan Chance’s storyline for this horror anthology's opening trip into terror will surely utterly engross its readers. Indeed, whether it be Dick Halloway’s dream job in television simply being too good to be true, or a sinister extra-terrestrial serpent suddenly screeching down to Earth in a torpedo-shaped spacecraft, it quickly becomes clear that despite all the upcoming celebrity’s aspirations for super-stardom, the young man will instead soon be facing some truly gruesome fate.

Impressively however, rather than simply play this twenty-six page plot out as a straightforward alien possession yarn akin to Jack Finney’s novel “The Body Snatchers”, the author instead rather cleverly taps into his audience’s sentimentality by having the central protagonist’s dying father reach out to his son one last time before succumbing to old age. This dream sequence, poignantly penned by the author, makes it surprisingly clear that Holloway is already doomed. But then still keeps everyone hooked by having his Dad also whisper something in his ear which could yet lead to the unwilling host potentially defeating the ultimate goal of the monster writhing around in his head.

Furthermore, for those fans eager to witness some grotesque-looking physical mutilation and buckets of blood-splattered gore, “Late Night Host” shouldn’t disappoint either. In fact, the longer poor Dick mentally battles the malign entity fighting for control of his body, the more painful and unpleasant his metamorphoses become – with the final confrontation resulting in him savagely tearing himself free of his own skin in a last gasp effort to rid himself of the sinister influence from outer space; ”I want my life back!”

Just as successful as this tale’s scary script are Joao Azeitona Vieira’s layouts, which alongside the colours of Ren Spiller, do a fantastic job of illustrating Halloway’s descent into a blank-eyed catatonic state. Of particular note though has to be the way the illustrator manages to pencil the sheer desperation and agony suffered by Ben Conrad’s ultimately unfortunate replacement. The look on Dick’s face during his last rational moments are wonderfully intense, and contrast so well with almost peaceful look he has seconds later when he realises his father was proud of him for fighting off the alien for as long as he could.

Written by: Jonathan Chance, Illustrated by: Joao Azeitona Vieira, and Colored by: Ren Spiller

DC Vs. Vampires: World War V #12 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 12, November 2025

Considering just how merciless Darkseid’s final assault is upon the combined human and vampire survivors, it should come as no surprise to this mini-series’ audience that Matthew Rosenberg’s narrative for Issue Twelve of “DC Vs Vampires: World War V” races along a truly ferocious pace. Yet whilst some bibliophiles may well be merrily carried along with the likes of Swamp Thing nobly sacrificing himself to help feed Cyborg’s so-called miracle weapon, others may well start scratching their head in wonder as to why Kara Zor-El didn’t just pull the Earth closer to the Sun in the first place.

Indeed, this simple solution, admittedly ably aided by Alfred Pennyworth’s Green Lantern ring and some enormous chains, appears so conveniently sudden that it surely would have occurred to some of DC Universe’s bigger brains well before a treacherous Wonder Woman decides to once again murder every single surviving super-hero on the planet..? “Very clever, Supergirl. The sunrise. It is the one thing I missed, Ollie. We’re both warriors. Did you ever think about what you’d do when your war ended?”

Disappointingly however, the American author also decides to blast his readers with a bucket full of bemusing gobbledygook which luckily spurs “the tyrannical ruler of the planet Apokolips” to foolishly take matters into his own hands. Just how Harley Quinn’s Flash-powered robot works is never actually explained, nor why Alec Holland’s massively mutated alter-ego needs to physically possess Mammoth before nonchalantly walking into the automaton's razor-sharp blender. Instead, any onlookers are just told to trust the memories of the former molecular botanist, and accept that by attaching “billions of microscopic biodegradable shells” to “billions of deadly protein strands”, Swamp Thing will somehow kill the New God’s entire invasion force.

Far less manufactured, though just as frantic, is this publication’s secondary story “Heartland” by Andrew Klein. Featuring the Haunted Tank as its unlikely protagonist, this eight-page plot packs a surprising amount of adrenalin-fuelled action, and also provides an interesting insight into Sergeant Jeb Smith’s exploits during the initial Vampire uprising. Impressively drawn and coloured by French Carlomagno, the yarn has an almost animated cartoon look to it, and should certainly convince many who bought this comic to demand the Light M3 Stuart Tank's adventures continue in its own limited series.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #12 by Otto Schmidt

Nightwing #112 - DC Comics

NIGHTWING No. 112, May 2024

Gently reminding the audience just why Bruce Wayne first took up the mantle of the bat, as well as highlighting the motivation behind an adolescent Dick Grayson following in his footsteps, Tom Taylor is arguably at the top of his game for Issue One Hundred and Twelve of “Nightwing” as he cleverly pens a tale which dives deep into the differences behind the original Caped Crusaders. In fact, thanks to Batman’s narration throughout, this twenty-two page periodical’s plot intriguingly shows a seldom seen soft side to the Dark Knight, as he paternally attempts to guide his protégé through his sudden inability to leap from great heights.

Furthermore, this comic provides the titular character with a much more serious edge than is ordinarily shown, once the Teen Titan discovers just how cold-blooded and murderous poor tiny Iko’s uncle really is. This 'change' genuinely appears to make an impact upon the usually quick-quipping crime-fighter, and adds a bit more depth to the former sidekick’s often one-dimensional personality by showing just how calm-headed he can still be when an incredibly volatile situation warrants it; “He took the shot on purpose. Drew the fire. Drew the gun away from the boy.”

Sami Basri should also receive a lot of credit for making this particular publication a veritable feast for the eyes. Of particular note has to be the Indonesian illustrator doing far more than his fair share of heavy lifting to help sell the internal, highly emotional conflict raging within Grayson’s alter-ego. Indeed, not only does he manage to pencil Nightwing with plenty of visible humanity, he also somehow surprisingly imbues Batman with similar virtues too; most notably when the Dark Knight is approached by a clearly intimidated Beast Boy and asked how he handles people hating him.

Somewhat disappointingly though, this book’s secondary tale “The Son Of Grey” probably didn’t land anywhere near as well with readers. Penned by Michael W. Conrad and pencilled by the legendary Francesco Francavilla, this “period saga” doesn’t debatably really end, and instead just raises a question as to what the entire point of the two-part tale ever was. Sure, Grayson successfully tracks down the Joker-like holy man whose minions killed his family. But the young farmer then just mystifyingly lets them all go, even after being traitorously stabbed in the torso by the clownish priest.

Writer: Tom Taylor, Artist: Sami Basri, and Inks: Vicente Cifuemtes

Space Ghost #10 - Dynamite Entertainment

SPACE GHOST No. 10, February 2025

Seemingly setting up the titular character to have a nail-biting battle against a deeply disturbed, mirror image of himself from the future, David Pepose’s penmanship for Issue Ten of “Space Ghost” arguably demonstrates just why “Dynamite Entertainment” refer to him as an “award-winning scribe” in the solicitation synopsis for this comic. Sure, Dax’s plan to use his dark doppelganger’s intimate knowledge of his crime-fighting tactics against him doesn’t actually work out too well in the end. But this decision just confirms in the reader’s mind that they know precisely who is wearing Space Spectre’s costume – and resultantly will be completely blindsided by the American author’s sense-shattering conclusion.

In addition to so stunning a climax, this twenty-two page periodical also delivers an intriguing insight into the cosmic vigilante’s relationship with Robo Corp, and in particular Doctor Xander Ibal. The goatee-bearded boffin is clearly as cold-hearted as his multi-billion business is rich, and yet the super-hero is shown willingly helping him launch the scientist’s suspiciously named Ultima Satellite rather than let his time-travelling enemy destroy it before it can launch. So dubious a decision genuinely adds some depth to the “Hanna-Barbera Productions” cartoon creation, and helps establish things within this publication’s universe aren’t as black and white as some onlookers might think; “If you don’t want to die of radiation poisoning, you’ll do exactly as I tell you…”

Perhaps this comic’s most notable asset though is surprisingly what the writer’s plot doesn’t say. Just as soon as Space Spectre arrives in his past he mercilessly incinerates Doctor Alan Zorket before the debt-ridden “Merrill Prize-winning Geophysicist and Roboticist” has even begun “creating your legion of Rock Robots.” This murder must surely have already changed the future for the better, so just what cataclysmic event is on the horizon which could cause the deluded, former champion of Justice to still try to destroy an entire city with Lucidium Crystals.?

Also living up to this book’s hype is “superstar artist” Jonathan Lau, whose pencils do a fantastic job of depicting all the adrenalin-fuelled action required by Pepose’s script. Of particular note has to be the way the illustrator makes Space Ghost and his identically costumed opponent appear different in their mannerisms, despite the pair obviously looking very similar to one another. These disparities are especially noticeable during Space Spectre’s attack on Robo Corp Tower where the deranged villain is perfectly willing to relentlessly bash Ibal’s bonce against the computer panel until he gives up the rocket’s schematics.

The regular cover art of "SPACE GHOST" #10 by Francesco Mattina

Absolute Batman #8 - DC Comics

ABSOLUTE BATMAN No. 8, July 2025

Scarily super-strong due to having “ice woven into the muscle tissue” and irrefutably insane, Scott Snyder’s reimagining of Mister Freeze will surely capture the complete attention of anyone picking up a copy of this twenty-page periodical. But whilst Victor Fries Junior quite literally looks like he stepped straight out of a first-class horror flick, several other aspects of “Absolute Zero” probably didn’t land quite as well – especially once a thoroughly frozen Bruce Wayne finally manages to free himself from his adversary’s deep-freeze machine.

For starters, the American author’s sub-plot of having Waylon Jones beat-up his crime-fighting friend in a dark alleyway arguably appears a little forced, and tries to suggest that Batman’s previous “suicide mission” to save Gotham City from the murderous machinations of the Black Mask was actually an act of cowardice. Now admittedly, the vigilante is still recovering from that horrendous ordeal, and even wears an arm cast as a result of the injuries he suffered defeating Roman Sionis. But it’s difficult to watch him get so quickly ‘laid out’ by his chum without any sort of struggle, and definitely hard to swallow that the Dark Knight is in any way a quitter.

In addition, some bibliophiles possibly won’t be able to shake off the notion that Wayne suddenly appearing in his full bat-suit inside Fries’ headquarters rather smacks of Tony Stark’s lightning fast transformation into Iron Man. Indeed, one moment a semi-naked Bruce is desperately trying to escape an air-tight tube half-full of a liquid cooling agent, and then in the next he’s booting down Victor’s door with a miniature flame-thrower strapped to his right wrist; “I heard you like pain.”

Equally as unsettling as some of the penmanship to Issue Eight of “Absolute Batman” are debatably parts of Marcos Martin’s pencilling. The Spanish artist’s handling of this book’s central antagonist is absolutely superb, with the tall, gangly monster moving with all the awkward mannerisms an onlooker would expect from a deranged serial killer whose limbs are twice the length they should be. However, some of the scenes involving Wayne – most notably the flashbacks involving his dead pal Matches – just seem a little too clean-lined for so dark a tale, especially when garishly coloured by Muntsa Vicente.

The regular cover art of "ABSOLUTE BATMAN" #8 by Nick Dragotta & Frank Martin

Marvel Spotlight #33 - Marvel Comics

MARVEL SPOTLIGHT No. 33, April 1977

Featuring both the first appearance of Devil-Slayer, as well as continuing the adventures of Deathlok the Demolisher after the cancellation of “Astonishing Tales”, this seventeen-page periodical’s plot probably proved something of a bemusing mess to many of its readers way back in January 1977 – at least to those who were unfamiliar with Luther Manning’s convoluted adventures in a post-apocalypse Manhattan. In fact, this comic’s opening pages are so primarily focused upon simply squeezing in as much backstory about its two central protagonists as David Anthony Kraft can manage, that it arguably appears that the North Dakota-born writer had scant regard as to just how much information his audience could realistically retain when it comes to the past exploits of Godwulf, Teresa Deveraux’s Central Intelligence Agency on Earth-7484, and Eric Simon Payne’s murderous demonic cult.

Happily however, for those bibliophiles able to navigate their way through such a bewildering morass of time travel, dimension jumping, Hell worshippers and shapeshifting assassins, Issue Thirty Three of “Marvel Spotlight” does contain a genuinely exciting, pulse-pounding punch-up. Admittedly, much of the misunderstanding behind the two anti-heroes locking horns is due to the American author trying to replicate Demon Hunter’s origin from the now redundant “Atlas Comics” so that the character could ‘live again’ under a new guise/publisher. Yet such is the ferocity of the fast-paced combat, that a lot of Devil-Slayer’s abilities appear to simply be on show to demonstrate how formidable Deathlok’s brute strength and computer-assisted skills actually are, rather than a blatant regurgitation of Gideon Cross' special skills.

In addition, the narrative also establishes that the planet’s population is not only under constant threat from extra-terrestrials and super-villains, but also a gaggle of horned, long-tailed ghouls who appear to go about their daily business unnoticed until they suddenly reveal themselves to strike. This notion proves particularly terrifying when the fiends initially encircle Payne’s poor ex-wife in the guise of concerned pedestrians, and then shockingly transform into heavily fanged monsters who plan to slaughter her simply to teach Devil-Slayer a lesson; “Blazes! All yer stinkin’ talk of demons was true!”

What does debatably work against this publication’s success though is possibly its interior layouts, which at times try to tell far too much within too small a space. There should be no doubt that when given the room Rich Buckler, Mike Nasser, Arvell Jones, and Klaus Janson do a splendid job depicting Eric’s increasing desperation to fend off the Demolisher once he realises he may well have bitten off more than he can chew. So it’s a real pity the creative team weren’t given an extra sheet or two so they could much more patiently illustrate the warring pair’s reconciliation, and subsequent team-up against the demons threatening Cory.

Author: David Anthony Kraft, and Artists: Rich Butler, Mike Nasser, Arvell Jones & Klaus Janson

Conan The Barbarian #24 - Titan Comics

CONAN THE BARBARIAN No. 24, October 2025

Containing a genuinely skin-crawling confrontation between the titular character and a disconcertingly dark cavern filled full of Medusa-headed serpents, there probably isn’t any doubt that Jim Zub’s script for Issue Twenty-Four of “Conan The Barbarian” strongly taps into a rich vein of Robert E. Howard’s lore and legacy. But whilst this somewhat contrived situation is both thoroughly entertaining and action-packed, a number of other elements to this comic’s twenty-two page plot might not sit as well with those bibliophiles familiar with the Hyborian Age-based works of the “father of the sword and sorcery subgenre.”

Foremost of these concerns is surely the Canadian writer’s depiction of Zula as a somewhat untrustworthy, shadowy rogue, who cowardly deserts his comrade-in-arms towards the end of this comic just when the Cimmerian has need of his help to rescue poor doomed Livia from Athyr-Bast’s Tower. Indeed, the author quite overtly portrays the shapeshifting magic user as a devious deceiver of men, who even goes so far as to openly admit to the Barbarian that he actually saved the muscular warrior from a snake-borne spirit so he could harness its incredible power in an amulet, rather than simply do the adventurer a morally decent deed; “So your offer to free me from that evil was just a selfish stratagem?”

To make matters worse though, the utterly depressing ending to this book debatably raises the question as to what the actual point of Zub’s multi-part narrative even was – apart from him mercilessly killing off all of the cast members he took from Howard’s 1967 short story "The Vale of Lost Women”. So demoralising a conclusion simply leaves an aggrieved Conan determined not to enter Stygia again, and arguably also puts a significant dampener on the war chief of the Bamulas’ previous 'promise in prose' to innocent Livia that he would safely send her home to Ophir after she was almost sacrificed to the “devil from the Outer Dark.”  

Much more uplifting than this publication’s penmanship is Fernando Dagnino’s artwork. The Madrid-born illustrator does a first-rate job in imbuing the Cimmerian with all the ferocity any perusing bibliophile might expect from the agitated interloper, and impressively captures much of the look of director Ridley Scott’s haunting “Alien” egg chamber when he pencils the birthing lair of Thoth-Amon’s slithering man-serpents beneath the heavily-populated streets of Kheshatta.

The regular cover art of "CONAN THE BARBARIAN" #24 by Dan Panosian