Wonder Man #1 - Marvel Comics

WONDER MAN No. 1, June 2026

Rather intriguingly focusing upon Simon Williams’ time working for Timely Studios as an actor rather than covering his exploits as part of the West Coast Avengers, “Marvel Mainstay” Gerry Duggan’s script for Issue One of “Wonder Man” probably proved a somewhat enticing read initially. However, this interest probably waned soon afterwards once the publication’s narrative shifts away from all the lights and cameras of Hollywood, and instead arguably turns into a choppy mess of flashbacks, comic book signings and unsuccessful assassination attempts; “I didn’t give law enforcement permission to enter my home without a warrant.”

Indeed, the sheer number of scenes crowbarred into this “true love letter to Los Angeles” which hurls its audience back in time soon becomes completely befuddling, especially when it occurs mid-way through a scene, like the titular character suddenly remembering how he first met Hellcat whilst battling the Defenders. Such sequences certainly add plenty of history to the comic’s considerable cast. But it also abruptly cuts short any momentum the modern-day tale is accumulating, as well as making it all too easy to get some events mixed up with one another.

In addition, it doesn’t ever seem to be explained just what Williams’ employers want him to do with his old cell-mate Randolph Chancellor, apart from sort the man out “quickly and quietly”. The voice behind Ziggy Pig and Silly Seal is clearly in great danger, following the disappearance of thirteen million dollars for which he is being blamed. Yet just what the prisoner-turned-actor actually has to do with the theft isn’t really explained, nor why someone would hire a laser-gun toting killer to shoot him down in the street. Instead, the American author debatably throws in even more befuddling sub-plots, such as Patsy Walker rather contrivingly taking a “gig” with the Los Angeles District Attorney’s Office, and the Ionic-powered Whacko secretly housing his super-villainous brother, the Grim Reaper, at his home.

Disappointingly, Mark Buckingham’s layouts aren’t all that eye-catching either – even with the various colourful costume changes Wonder Man undertakes throughout the twenty-five-page periodical. In fact, despite this book containing its fair share of chases and gun-play, the “legendary” artist’s figures frustratingly appear rather static-looking and sadly don’t show just how much fun the illustrator apparently had “designing a distinctive look for this book that will help ground us in Hollywood as Simon Williams revisits his LA life.”

The regular cover art of "WONDER MAN" #1 by Paulo Siqueira & Rachelle Rosenberg

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

BRING ON THE BAD GUYS: MEPHISTO No. 1, October 2025

Described by its New York City-based publisher as bringing Mephisto’s epic scheme “to a fiery conclusion”, Marc Guggenheim’s script for this twenty-five page periodical disappointingly probably left the vast majority of its readers feeling pretty cold. Indeed, the notion that the Prince of Deceivers would be successfully outwitted by his servant Sister Sorrow, and resultantly readily allow the Latverian sorceress to walk off with the very Soul Forge he has spent so long filling with spirits, arguably provides this publication with a contrived ending at best; “You’re welcome to try to take it from me. Bur there are over eight billion souls on Earth. And they are all now under my command.”

Furthermore, many a bibliophile will surely find themselves scratching their heads in utter bemusement when Doctor Doom suddenly materialises inside the original sanctorum of the Lords of Darkness, leading the likes of the Dread Dormammu, Loki, the Red Skull, the Green Goblin and the Abomination in a premeditated attack upon the “Securer of the Seven Sins”. So preconceived an assault by so many of the Marvel Universe’s most powerful super-villains debatably smacks of sheer fan fiction, and doesn’t seem all that in character with several of the aforementioned evil power-houses; most notably the Lord of the Dark Dimension who would surely never feel it necessary to team-up with Norman Osborn or Emil Blonsky..?

Perhaps this comic’s biggest issue however, is that it is never made clear just what Mephisto’s plans for every soul on Earth actually are once he gains control over them. “Old Nick” presumably has some nefarious fate in mind for the world’s mortals. But such unimaginable power over the masses is never explored and resultantly will doubtless make some onlookers question just what the point behind these “seven villainous one-shots” actually was – especially as the Prince of Devils gives up his prize without even threatening Sorana with some future retribution.

Lastly, Alvaro Lopez’s artwork whilst proficient enough to help tell the story, does appear a little wooden once the plot becomes packed with so many “bad guys”. Admittedly, the illustrator does a very good job in capturing the look of the Silver Age Johann Shmidt. Yet when it comes to the supposedly super-athletic Green Goblin or quick-scheming Loki, this somewhat old-fashioned drawing style frustratingly causes them to appear as slow-footed, lumbering dolts.

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

Nightwing #119 - DC Comics

NIGHTWING No. 119, December 2024

Quite impressively becoming the thirtieth best-selling comic book of October 2024, Issue One Hundred and Nineteen of “Nightwing” certainly starts out well enough by providing its audience with an intriguing insight into the very different looking, ever competing criminal organisations which ‘rule’ Blüdhaven. In fact, at first glance Dan Watters’ twenty-two-page plot appears to be about to depict a fairly straightforward yarn involving the various mob bosses wisely teaming up with one another to both financially bleed the former whaling town dry, and fend off its costumed guardian; "Guys, I… Wow. It brings a tear to my eye. It really does. Holy plastic explosives.”

Surprisingly however, that is not actually what the London-born writer has in store for his readers and quite quickly subverts these expectations by having Dick Grayson shockingly stumble upon a massive assassination attempt upon the notorious gangsters. This fatal reversal in the fortunes of Mama Bear, Boss Bludgeon, Doctor Proboscis and the Blockbuster Gang should genuinely catch any and all onlookers completely off-guard and also rather neatly transform’s Batman’s protégé into the surviving goons’ protector, rather than their enemy.

Similarly as well delivered as this publication’s main narrative are the English author’s central antagonists, most notably the C.E.O. of Spheric Solutions Olivia Pearce. The woman absolutely oozes menace - even whilst wearing such everyday items like a simple red, high-collared cardigan, and it will debatably come as no surprise to any perusing bibliophiles that she is soon revealed to be behind the Blüdhaven Organized Crime Syndicate’s demise – along with this comic’s mysterious, and disconcertingly devilish masked narrator.

In addition to the penmanship behind this 'start of the ground-breaking new arc' though, the layouts of Dexter Soy should also be greatly admired. Coupled with colorist Veronica Candid, the creative pair quickly establish a rather dark, almost macabre tone to the publication’s proceedings, and this somewhat theatrical ambience really helps tie the action sequences in with the harlequin-like storyteller witnessing events from afar. Furthermore, the utter mayhem caused by the remaining crooks fighting over their turf in a carousel of separate incidents really does leap off the printed page, with bullets, as well as perplexing acidic vomit, flying all over the place.

The regular cover art of "NIGHTWING" #119 by Dexter Soy

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

BRING ON THE BAD GUYS: DORMAMMU No. 1, October 2025

On paper pitting a mere mortal against the regent of the Dark Dimension probably seemed like a bit of a tall order for Alex Paknadel, especially when it soon becomes clear that Lord James Ravenglass is certainly no great sorcerer. But despite so great of disparity between this comic’s two leading characters when it comes to their magical abilities, Issue One of “Bring On The Bad Guys: Dormammu” must still have provided its audience with plenty of entertainment and a genuinely surprising conclusion; “My name is Sister Sorrow. And I’m here for your soul.”

To begin with, there’s an almost palpable sadness to the supposed lead protagonist, which may cause the odd bibliophile to momentarily forget the arrogant Englishman’s willingness to cold-heartedly sacrifice all the members of his Hermetic Order of the Peacock Quill, and actually make them feel a little sorry for him as his spirit is savagely stolen by Mephisto’s Latverian-born servant. Indeed, having been tricked into believing his ‘true love’ Agnes was still alive and desperately attempting to save him from Dormammu’s clutches, only to then crushingly realise it was the murderous Sorana in disguise, some onlookers might even forgive the Lord of Cumberland for having the life mercilessly sucked out of his girlfriend in the first place.

Furthermore, this twenty-page-periodical’s ultimate plot-twist is perfectly delivered and should catch a fair few readers completely off-guard. In fact, the notion that the Eater of Souls has been both toying with Ravenglass’ emotions and torturing his physical form the entire time is truly a terrifying prospect – particularly when upon his release from the alternate realm Ravenglass immediately succumbs to Sister Sorrow’s demonic blade whilst quite literally breathing out a sigh of relief.

Of course, a congratulatory clap should also be given to this book’s artist Javier Pina, who does a first-rate job of pencilling all these “arcane horrors of the Dark Dimension”. The Spanish illustrator’s early panels really manage to capture all the theatrical flamboyance of Jimmy’s performance as First Frater of the Hermetic Order of the Peacock Quill, and then later quite beautifully depicts all the pain and trauma of a man who believes he's witnessed his wife and infant son burn to death at the catastrophic end of the R101’s maiden voyage.

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

DC K.O. Knightfight #2 - DC Comics

DC K.O. KNIGHTFIGHT No. 2, May 2026

Having made it clear half-way through this particular twenty-page periodical that both the spin-off title’s opening instalment, as well as this one, was arguably a redundant read - courtesy of the Dark Knight realising that the world around him isn't real, many within this comic’s audience probably felt a little despondent. In fact, seeing as Joshua Williamson subsequently pens Bruce Wayne nonsensically transforming into the shape-shifting criminal Clayface at this publication’s end, it’s probably a safe bet that more than the odd bibliophile was probably thinking the American author's latest plot twist for this book wasn't the best of ideas either; “You need to accept it, Basil. You’re not Batman. I am.”

Of course, that doesn’t mean for a second that Issue Two of “DC K.O. Knightfight” doesn’t have its merits, as the notion of Gotham being encased in a giant glass ‘Red Hood’ for twenty years so as to prevent the Joker’s deadly toxic gas from escaping the city’s limits could easily be the basis of an intriguing “Elseworlds” title in its own right. However, even this enthralling notion of a deserted metropolis ruled over by Jason Todd’s deeply disturbed incarnation of the Caped Crusader is soon ruined by the real cowled crime-fighter’s discovery that this twisted reality is also just a figment of the Heart of Apokolips’ imagination.

Furthermore, it is genuinely difficult to understand just what in the world the point of this entire mini-series’ overarching narrative actually is..? On the one hand the writer makes it crystal clear that Wayne was killed by the Clown Prince of Crime early on in the King Omega Tournament, and yet on the other the “sentient, infernal machine that runs on Omega Energy” apparently wants to punish the supposedly deceased Batman for wearing a suit of “Apokoliptian armour outfitted with special Boom Tube” during the event..?

By far this book’s biggest asset therefore lies not in its writing, but in it’s artwork, thanks to some genuinely thrill-a-second panels pencilled by Dan Mora. Whether an onlooker is a fan of this comic’s implausible storyline or not, there should be little doubt that the constant punch-ups between Bruce and Nightwing, as well as the Dark Knight’s brutal confrontation with a sadly deranged Red Hood, are absolutely packed full of pulse-pounding action.

Writer: Joshua Williamson, Artist: Dan Mora, and Colors: Triona Farrell

The Infernal Hulk #5 - Marvel Comics

THE INFERNAL HULK No. 5, May 2026

Initially appearing to be setting up a titanic tussle between the Avengers and this ongoing series’ titular character, Phillip Kennedy Johnson’s decision to suddenly turn to one of Mark Waid’s co-creations from 2004 as the central protagonist probably had a fair few readers outwardly groan in frustration. Indeed, whilst the Almighty’s pulse-pounding punch-up definitely proves an unputdownable experience, its aftermath will still leave plenty of bibliophiles wondering what would have happened if Iron Man hadn’t stood his team down just as their quinjet was hovering over the John A. Roebling Suspension Bridge in Cincinnati, Ohio.

However, to make matters even more perplexing the Infernal Hulk’s opponent is soon revealed to simply be one of the Creator of the Marvel Universe’s servants, rather than the real deal themself. Obviously such a ‘bait-and-switch’ plot-twist provides the American author with a way out for the vessel of Eldest to defeat their fiery adversary without them appearing overly formidable in besting “a being of unimaginable power”. Yet it also begs the question as to why the writer announced they were using the One Above All in the first place – except to help (mis)sell the comic book. 

Debatably far more engrossing than this “never-before-seen battle for the ages” is therefore Bruce Banner’s encounter with the grotesque living corpse of Tommy Watson, who despite dying horribly at the hands of the Infernal Hulk, somehow manages to walk back to his distraught mother’s address. This scene is superbly penned by Johnson, and mixes the terrifying notion of the Undead coming back to haunt the living, with the grief of a parent who having just buried her child, now sees his mutilated body stood before her; “Nattie! We’ve got to go right now!”

Similarly as successful as this twenty-page periodical’s second half are its layouts by Kev Walker. The British illustrator does a solid job of imbuing this publication’s heavily publicised centre-piece with plenty of earth-shattering shenanigans. But it’s the former “2000 A.D.” artist’s pencilling for Banner’s aforementioned scrap with Private Watson which really captures the imagination, and shows just how physically enfeebled the gamma radiologist has become now he can no longer transform into the Jade Giant.

Writer: Phillip Kennedy Johnson, Artist: Kev Walker, and Inker: Cam Smith

Bring On The Bad Guys: Red Skull #1 - Marvel Comics

BRING ON THE BAD GUYS: RED SKULL No. 1, October 2025

It's a safe bet to say that the opening of this comic book should have caused its readers to anticipate an enthralling game of cat and mouse between the titular character and his highly intelligent target Reinhard Kramer. However, this tense battle of minds set during the finals dark days of the Second World War doesn’t actually last anywhere near as long as expected, thanks to Stephanie Phillips disconcertingly deciding to abandon her intriguing plot, and simply pen Johann Schmidt’s prey meekly submitting himself to his adversary’s demonic blade for the greater glory of the Third Reich; “My research -- The Atlantean technology passed down in my family for generations to make it possible… It -- It can’t be replicated. It must be protected.”

Indeed, Kramer’s change of heart to willingly sacrifice himself to the Red Skull is so shockingly abrupt that a fair few within this mini-series’ audience will doubtless feel its American author suddenly realised she was rapidly running out of sheet space, and needed to end her yarn far sooner than Phillips’ initial narrative allowed. This complete change of direction definitely leaves a lot of potential for a variety of Reinhard’s clones being systematically chased down by an increasingly agitated Schmidt on the 'cutting room floor', and will surely enrage the odd bibliophile that the twenty-five page periodical’s secondary tale by Marc Guggenhiem wasn’t abandoned to provide Stephanie’s plot with more room.

Furthermore, the “acclaimed writer and military-history buff” then suggests that the super-criminal’s hunt was utterly pointless anyway, because he’ll only receive his highly sought after prize of Captain America's soul if the First Avenger willingly signs his spirit away to Mephisto. This conclusion is genuinely perturbing, and apart from providing Blackheart’s father with another useable dagger which once belonged to the Lords of Darkness, doesn’t arguably add anything to the legendary lore of the facially-disfigured “protégé of Adolf Hitler”.

One thing which doesn't appear to be detrimentally impacted upon by this comic’s hurried ending though are Tommaso Bianchi’s quite lavish layouts, which do a terrific job of depicting Mephisto as the ‘face in the mirror’. In addition, the sheer savagery of Johann is clearly on display whenever the maniac is either cold-bloodedly gunning down malformed copies of Kramer, or perturbing piercing his fellow German’s heart with a knife. Perhaps therefore the only quibble some onlookers might have is that the artist appears to pencil the Atlantean-inspired scientist as being a bit too young for someone with such extensive medical knowledge.

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