Nightwing #121 - DC Comics

NIGHTWING No. 121, February 2025

On the face of it Dan Watters’ storyline for Issue One Hundred And Twenty One of “Nightwing” might well be viewed as a fairly run of the mill affair, where the gifted acrobat manages to easily outfight both the remnants of the Teddy Gang and some “powered-up Spheric police officers”. Indeed, the more critical of this comic’s followers could argue that the titular character could easily be swapped out for any number of “DC Comics” street-level metahumans and the adventure wouldn't suffer an iota as a result; “Would you hate me if I said I was a little surprised you took me up on my offer of a private tour?”

However, that would be doing “Beast Wagon” a massive injustice as the English author pours a tremendous amount of emotional energy into Dick Grayson, and resultantly should have caused many a reader to have been hanging on to very back of Batman’s first Robin as he desperately attempts to keep Mama Bear’s adolescent survivors safe whilst motorcycling away from the murderous clutches of Bludhaven Police Department’s jet-pack wearing goon squad. Such intensity really is extraordinarily well-penned and almost demands that any onlooker becomes immediately invested in the main lead’s stance to do the right thing for the citizens, whether criminals or not, under his protection.

Similarly as enthralling, though obviously far less adrenalin-fuelled, is this book’s sub-plot depicting an ‘undercover’ Grayson successfully wooing Olivia Pearce to the point where he can clone her personal hard drive. Things certainly look like they’re all going in the right direction as Oracle attempts to penetrate its “Pentagon encryption”. But the sinister shadow of the Zanni is still made ever present and intimidating, thanks largely to artist Dexter Soy cleverly concealing the Fifth Dimensional Imp's ever-watching face into the odd panel.

In fact, the Filipino illustrator is at the top of their game for this twenty-two page periodical, prodigiously pencilling both its fast-paced punch-ups and road chases, as well as its more sedentary scenes such as Dick’s aforementioned flirting with Pearce. All of these sequences cleverly help deliver the emotional turmoil the super-hero is going through, and helps emphasise his earnest desire to ensure another kid isn’t unnecessarily killed on his turf.

The regular cover art of "NIGHTWING" #121 by Dexter Soy with Veronica Gandini

Dungeons Of Doom #1 - Marvel Comics

DUNGEONS OF DOOM No. 1, March 2026

Announced at New York Comic Con 2025, this supposed grappling with “the aftermath of One World Under Doom” probably surprised a fair few of the bibliophiles who nonchalantly picked it up off of the spinner rack. For whilst the thirty-page-periodical is arguably a little clunky in its unconvincing premise of several opposing military-based factions somehow surviving a seriously long fall down into the deepest depths of Victor Von Doom’s underground chambers, as well as being a highly touted limited series which shockingly only consists of just three instalments, Issue One of “Dungeons Of Doom” makes for a compulsive read.

Indeed, whether by design or simply happy happenstance, writers Phillip Kennedy Johnson and Benjamin Percy manage to imbue the repeated assaults upon “The Monster’s Den” with plenty of pulse-pounding action and genuine gusto. Of particular note has to be the sudden appearance of Hydra, who having watched the Western Army visibly weaken itself against Latveria’s Freedom Fighters, decide to join the fracas with a massive aerial assault; “All that was Doom’s is now Hydra’s! Take down that gate! Kill anyone we find inside!”

However, it is the subsequent segments focusing upon the different factions’ survivors deep below the surface which really should capture the audience’s imagination; especially when they encounter “a mutant who should never have been born” and a multi-limbed monster straight out of a Dungeons & Dragon’s manual. These isolated episodes are really well-penned and somehow manage to both hold the attention, as well as inform any onlookers as to the personalities behind the considerably-sized cast. Furthermore it also seems intriguingly unlikely that many, if any, of the combatants are going to survive the experience, particularly within the Hydra faction where their leader quickly demonstrates his willingness to cold-bloodedly murder any member of his squad who threatens his chances of survival.

Quite superbly bringing all this mayhem to life are the artists Justin Mason, Robert Gill, Carlos Magno, Georges Jeanty and Karl Story. Sadly, it isn’t made abundantly clear just which illustrator has pencilled which sheet. But that doesn’t debatably matter thanks to color artist Guru-eFx who does a first-class job of bringing everyone’s drawing styles together into an enjoyable gestalt thanks to his own palette choices.

The regular cover art of "DUNGEONS OF DOOM" #1 by Leinil Francis Yu & Romulo Farardo Jr.

Nightwing #120 - DC Comics

NIGHTWING No. 120, January 2025

Keeping Dick Grayson’s alter-ego largely in this comic’s spotlight, Dan Watters’ script for Issue One Hundred And Twenty of “Nightwing” certainly should have entertained its readers with a good mixture of adrenalin-fuelled action and emotional insight into the costumed crimefighter’s psyche. Sure, the English writer’s premise of a villainous company executive placing “deadly experimental weapons in the hands of the city’s oh-so-corrupt police force” isn’t perhaps the most original of ideas. However, also placing the nefarious Spheric Solutions behind Bludhaven’s current all-out gang war is arguably a stroke of genius, and one that makes the notion of jet-pack wearing police officers mercilessly gunning down fourteen year old kids with technology-advanced ray-guns traumatically terrifying.

Furthermore, the idea of Batman’s first protégé risking all for a white, whiskered rabbit will doubtless make many a bibliophile smile despite the increasing seriousness of the storyline. Desperate to allay the cute, yet clearly badly traumatised animal, the titular character instinctively brings the fluffy victim of Olivia Pearce's cybernetic experimentations back home with him – rather forgetting that he already has a beloved pet dog waiting for his return; “Haley! Down! He. Is not. Breakfast!”

Finally, the London-born author also makes it abundantly clear that Nightwing is not dealing with a stereotypical big businesswoman who simply believes her enormous fortune can buy her anything she wants. But rather someone who can easily manipulate the media for her own ends, and use them to stir up the turf battle Grayson is so determined to thwart. Indeed, the fact that Dick knows Pearce’s corporation is setting up the Teddies to die along with the rest of the municipality's surviving gangsters, yet can do little about it, shows just how influential and deadly Spheric Solutions has already become.

Dexter Soy also needs a congratulatory slap on the back for prodigiously pencilling all this drama with great gusto and flare. Whether it be the former Robin bravely battling a giant robot, running for cover with a rabbit tucked under his arm, or realising that Bludhaven Police Department have mercilessly killed a teenager wearing a monkey mask, the Filipino illustrator does a fantastic job of imbuing all of his figures with dynamic life and, where needed, convincing emotion.

The regular cover art of "NIGHTWING" #120 by Dexter Soy

DC K.O. Knightfight #3 - DC Comics

DC K.O. KNIGHTFIGHT No. 3, March 2026

Considering that at the very start of this comic ‘all-star creator’ Joshua Williamson plainly spells out what this spin-off mini-series is apparently all about by having Batman categorically state that the Heart of Apokolips has arranged for him to fight his former Robins to the death, it’s probably still a safe bet that many within the book’s audience were nonetheless utterly bemused by the events they were witnessing. True, Bruce Wayne’s decision to team-up with his past proteges rather than fight them certainly seems to mess with the entity’s plan to punish him “for attempting to cheat” in the infernal machine’s fighting tournament. But it is never made clear anywhere within this twenty-page-periodical just what will happen to the super-hero if he does fatally kill the bogus Dick Grayson, Tim Drake or Jason Todd.

As a result, this publication’s rather choppy script arguably just plays out like some stories from an Elseworlds anthology, with each tale being tragically cut short whenever the Dark Knight finally manages to convince his fictious successor that they should work together. This pattern is genuinely frustrating, and leads to so many unanswered questions in the readers’ minds that by the time the cowled crime-fighter is shown facing his little grandson Alfred, any onlooker’s head will be positively spinning with an exhaustion and uncertainty; “You’re just mad that I beat your test my way.”

Similarly as perplexing as this comic’s plot though is also the logic of the Heart of Apokolips, which inexplicably does a complete U-turn midway through the narrative and irrationally offers Batman an opportunity to return to its tournament if he can “beat my [next] challenge.” Having already bested two of the sentient machine’s fake predicaments with relative ease, and developed a deep understanding of what he needs to do to continue winning, it appears highly unlikely that the Dark Knight will lose such a ridiculous bet – and indeed, in the very next contrived situation the Caped Crusader quickly emerges victorious.

Sadly, Dan Mora’s artwork also appears to become increasingly tired as the script progresses. It’s somewhat clear that the illustrator purposely changes his drawing-style to match the different trials and tribulations being thrown at Wayne’s masked alter-ego. However, these adaptions seem to predominantly rely upon the Costa Rican making his pencils become ever simpler to the eye, so by the time an aged Bruce encounters Damian’s aforementioned child, his sketched figures are debatably a mere shadow of those used during Clayface’s extraordinary rescue of a plummeting Red Hood during this issue’s opening sequence.

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

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