West Coast Avengers [2024] #6 - Marvel Comics

WEST COAST AVENGERS No. 6, June 2025

Considering that Gerry Duggan’s script actually lives up to its pre-publication promise of pitting the titular characters against "Earth's Mightiest Heroes" in a hard-hitting punch-up, Issue Six of “West Coast Avengers” somewhat surprisingly probably still left many within its audience rather cold. True, the twenty-page periodical depicts a fascinating bout of fisticuffs between Storm and Blue Bolt – which stems from the pair deciding that their contest won’t be readily resolved if they simply rely upon their manipulation of lighting. But arguably something feels disconcertingly off with the way in which the American author handles all the different personalities involved.

Foremost of these criticisms is the Vision, whose arrogance actually rivals that of Tony Stark for the duration of this comic book. Indeed, the entire tense confrontation between the two sides is debatably due to the android distrusting his former team-mate’s decision to add Ultron to the Whackos’ roster, and belief that the former mass-murdering super-villain has somehow brainwashed the billionaire industrialist. This worry is certainly well-founded considering just how many times “the mechanical monstrosity” has attempted to kill the Avengers in the past. However, having been given total access to all the robot’s code, the synthezoid then tries to prove his fears are correct by actually taking over Hank Pym’s creation and making it strangle him almost to destruction..!?!

So extreme a move simply makes no sense, and is later made all the more preposterous when the Vision subsequently blames Tony Stark for being entirely responsible for it happening in the first place – even though Stark ultimately saves him from Ultron’s death grip by using one of his covert back-up plans for just such an emergency. Furthermore, doubtless the odd bibliophile’s head will be left spinning by Ororo Munroe’s bizarre decision to allow Tommy Watt to smack her straight in the mouth without making any attempt to stop him; “So -- No lightning. So how do you wanna go, then? Muskets? Chess? Wanna throw hands?”

Significantly more convincing than this comic’s penmanship are Ton Lima’s layouts, which whilst containing the odd, stiffly-posed protagonist from time to time, predominantly does a cracking job of showing the considerably-sized cast squaring off in pairs. Of particular note is surely the Wasp’s surprising appearance towards the story’s end when she is almost instantaneously transported from a Fashion Week Gala show to the Avengers’ Los Angeles Stronghold. This sequence is really well drawn and genuinely helps sell Janet Van Dyne’s ability to turn into a gun-toting, almost microscopic assassin in the blink of an eye.

The regular cover art of "WEST COAST AVENGERS" #6 by Ben Harvey

Absolute Batman #14 - DC Comics

ABSOLUTE BATMAN No. 14, January 2026

As issue-long punch-ups go it’s easy to see why this particular edition of “Absolute Batman” was the third best-selling comic book in November 2025. Sure, Scott Snyder crams so much action and adrenaline-fuelled physical mutilation into his twenty-four-page plot that many of its readers will feel as tired as the heavily-fatigued titular character does by the publication’s end. But there is arguably just so much to take in with a first perusal that the vast majority of its audience will doubtless feel obliged to pour through the Darknight’s “final battle” against Bane once or thrice more at least; “I wanted to put your mind at ease. This whole incident, I see it as a minor setback.”

Furthermore, the American author manages to somehow squeeze in a whole plethora of tantalising titbits for this ongoing series’ future, such as a faceless Emergency Medical Technician named Dick Grayson cursing the Caped Crusader’s notoriety on the Gotham news channel, and Catwoman making off into the night with a container filled full of the “extremely potent steroidal compound” Venom. These ‘hooks’ genuinely hold plenty of promise as to potential storylines, as well as ensuring that the more dedicated bibliophile will scour each and every panel again to see whether even more ‘easter eggs’ are hidden within. 

Of course the biggest pull has to be Bruce Wayne’s cataclysmic conflict with Bane, and there can debatably be little doubt that this conclusion to Snyder’s “Abomination” narrative delivers it in spades. Whether an onlooker is a fan of a seriously outmatched Alfred Pennyworth, the diminutive Harley Quinn or even the crocodilian-shaped monster Waylon Jones, the (new) Bat-family’s brutal onslaught against Arkham’s super-strong test subject at the Veteran’s Arena contains plenty of hold the attention. 

In addition, Nick Dragotta pulls out all the stops as this comic’s regular artist, pencilling an incredible number of pictures – whether they be a scatter gun of small, rectangular-sized frames or a double-splash of Batman so jacked up on Venom that his suit quickly begins to split at the seams. Of particular note has to be the illustrator’s handling of Bane’s incredible regenerative growth, which towards the end of the book has the villain’s bulk absolutely dwarfing that of the Dark Knight, and setting up the conclusion for some truly grisly injuries as the Caped Crusader sets about hacking through the murderous maniac’s flesh with his large hand-blade.

The regular cover art of "ABSOLUTE BATMAN" #14 by Nick Dragotta & Frank Martin

West Coast Avengers [2024] #5 - Marvel Comics

WEST COAST AVENGERS No. 5, May 2025

Whilst Issue Five of “West Coast Avengers” is very much a comic of two decidedly different halves, it still must have landed reasonably well with its readers. In fact, the twenty-page periodical’s opening is packed with plenty of promise as Ultron’s recruitment into Tony Stark’s super-team continues to make some of the Marvel Universe’s other mightiest heroes a tad concerned, and the "Whackos" finally show what they’re capable of when they join forces against “Steve Rogers’ dark double” so as to stop him attacking a Department of Defence nuclear convoy.

Admittedly, much of this adrenalin-fuelled momentum is then lost once the action stops and Firestar rather suddenly admits that she’s an alcoholic to her comrades-in-arms. But up until this point, Gerry Duggan pens an enthralling scrap in which Flag-Smasher shows just how formidable an opponent he can be – even if he does eventually take something of a beating whilst the rest of his Sovereign Sons are battered into submission by a barrage of War Machine’s rubber bullets; "Hey Rhodes -- That armour can double as a casket, soldier.”

Far more sedentary is this battle’s aftermath in which Angelica Jones is once again shown repeatedly smooching with Tommy Watt, before deciding she needs to enter rehabilitation for her unhealthy drinking habits. Such character development would debatably be rather impactive if Firestar’s arch had actually been allowed to gradually grow into such an admission of vulnerability (and possibly love). However, as all these revelations have only occurred within the past few editions, many a bibliophile may well feel its all rather forced and unconvincing; especially as the American author attempts to pepper such shocks with some in-jokes and childish witticisms.

Danny Kim’s art-style is also debatably best suited to illustrate this book’s more dynamic moments, rather than the aforementioned slap-stick comedy hour which ends the publication. The artist is very good at depicting Grant Rogers’ exceptional ability to hurl his baton, and the almost jaw-breaking strength behind his punches. Yet much of this attention to detail appears to be missing from his panels whenever he is called upon to pencil the more dialogue-driven sequences, and on the odd occasion his work even appears reminiscent of the tongue-in-cheek visuals employed by the animators of the original 1997 “Pokémon” cartoon series.

The regular cover art of "WEST COAST AVENGERS" #5 by Ben Harvey

Nightwing #113 - DC Comics

NIGHTWING No. 113, June 2024

As landmark three hundredth issues go, Tom Taylor’s script for this particular twenty-two page comic probably struck many of its readers as being a bit too dialogue driven for such an impressive milestone. True, the book does start off with the exhilarating spectacle of the three Robins teaming up together so as to thwart an illegal armaments delivery at Gotham City docks. But the trio of Batman’s proteges understandably soon make short work of their opponents, and what then follows is an awful lot of talking; “Can you wrap up with the Police here? Oracle has been up all night directing some of the Titans in Bialya.”

Indeed, considering that “DC Comics” proudly proclaimed how the titular character had worked “alongside the universe’s most powerful heroes, against existence’s most sinister villains” in its solicitation synopsis, the Australian author’s decision to pen a simple story about Dick Grayson being publicly honoured for his good Samaritan work at a charity event instead of battling one of the foremost members of his Rogue’s Gallery, such as Blockbuster or Tarantula, is debatably a bit head-scratching.

Similarly as disappointing though has to be the decision to have Daniele Di Nicuolo pencil this publication’s layouts. The co-creator of Jeff the Land Shark’s somewhat cartoony art style works incredibly well for this comic’s aforementioned action-packed opening, with the heroes’ deadly, night-time arrests coming across as rapier-fast as a bibliophile would expect from such highly-skilled acrobatic crime-fighters. However, when it comes to Taylor’s much slower, word-heavy sequences, the Italian illustrator debatably seems to struggle to maintain any sense of pace with the scenes.

Impressively however, the same cannot be said for the speed at which “00:01” carries its audience along as this comic’s secondary tale. Penned by Michael W. Conrad and superbly sketched by Howard Porter, this tale of Nightwing desperately attempting to penetrate a gang of clown-faced goons intent on blowing up a tube train rolls along at a genuine breath-taking speed. In fact, some may well wish that this thrill-a-panel joyride had been expanded upon so as to become this book’s main yarn, whilst Grayson’s nostalgic trip to Marv and George’s Pizza place after his award ceremony was significantly truncated.

Writers: Tom Taylor & Marv Wolfman, and Artists: Daniele Di Nicuolo & Bruno Redondo

West Coast Avengers [2024] #4 - Marvel Comics

WEST COAST AVENGERS No. 4, April 2025

As personality-driven pieces go Gerry Duggan’s writing for Issue Four of “West Coast Avengers” certainly must have caught a fair few of its readers off-guard by momentarily depicting a “romance” between the deeply disturbed Firestar and “the newest and least-tested member” of Iron Man’s team. Indeed, despite the New York City-based publisher’s overt declaration that this particular twenty-page periodical would depict Angelica Jones smooching with the disagreeable Blue Bolt, the actual moment the two characters kiss is still arguably rather surprising.

For starters, the former New Warrior appears to make it crystal clear beforehand that she doesn’t want anything to do with Tommy Watt, and even reprimands the rehabilitating super-villain for addressing her as “Red”. She then spends the vast majority of this comic pushing the people around her further away with her excessive drinking, paranoid delusion that Tony Stark is not to be trusted, and misguided, alcohol-fuelled belief that the "Whackos" leader would rather have Ultron on his squad’s roster than her.

All of these misconceptions cause Firestar to seemingly depart the West Coast Avengers for a solitary existence with just her drunken demons. However, within moments of Blue Bolt chasing after her, the clearly vulnerable heroine is shockingly embracing a man who previously joined Hydra under Flag-Smasher’s rule. Of course, Watt does apparently manage to penetrate poor Angelica’s brain fog with his PTSD diagnosis, and offers her a shoulder to cry upon. But even so, the unlikely pair’s night-time smooch debatably just seems to have been penned by Duggan for its shock value, rather than anything else; “Please don’t call me Red. Please don’t call me anything Killerwat.”

Disappointingly, Danny Kim’s pencilling also appears to be just as unconvincing as this book’s narrative, despite the artist at least providing it with some much-needed dynamism when Iron Man and War Machine tackle the “nasty member of the Technarch race named” Shradram the Breaker. Much of this ‘unease’ stems from some almost amateurish-looking panels featuring Jim Rhodes and Stark, where the two armour-reliant protagonists genuinely appear to have been sketched by someone different to whoever is drawing Jones' facial features. In fact, even Firestar’s appearance occasionally suffers from a disconcerting lack of detail, such as when she starts drinking from a hip flask right in front of the billionaire industrialist.

The regular cover art of "WEST COAST AVENGERS" #4 by Ben Harvey

Alien Verses Captain America #3 - Marvel Comics

ALIEN VERSES CAPTAIN AMERICA No. 3, March 2026

Packed full of planetwide invasions, grisly infestations and some seriously scintillating close combat, those readers who enjoy witnessing Xenomorphs massacre both heavily-armed soldiers and hapless civilians with the same deadly precision will doubtless have enjoyed Issue Three of “Alien Verses Captain America”. Indeed, Frank Tieri’s plot for this twenty-page periodical races along at a truly breath-taking pace, and only occasionally pauses to allow the likes of Sergeant Nick Fury to momentarily mourn the deaths of his Howling Commandos before throwing its audience back into a writhing mass of all-devouring aliens.

However, such unrelenting storytelling does arguably result in the American author taking a few somewhat jarring short-cuts when it comes to explaining some pretty important events, like the Kree’s Supreme Intelligence being ruthlessly slaughtered by a heavily-mutated chestburster. Sure, this comic’s opening does a grand job in depicting the Empire’s initial fall before the razor sharp teeth and spiked tails of the extra-terrestrials on the planet Hala. But there’s no explanation as to how the ‘militaristic, blue-skinned humanoids’ subsequently manage to vanquish their merciless foes under the leadership of Supremor Mar-Vell.

In fact, apart from the Kree clearly assuming the mantle of galactic defenders against the Xenomorph hordes, this book doesn’t debatably provide all that much information about them at all – and seemingly supposes that any onlookers already know about their large, interstellar civilisation. Such an assumption can prove a little problematic at times, such as when Tieri suddenly introduces Yon-Rogg into the narrative from completely out of the blue, and due to the commander’s physical similarity to Mar-Vell, could easily be mistaken for the “decorated captain” himself – an oversight which isn’t clarified until Steve Rogers calls him by name several panels later.

Easily doing most of the publication’s heavy-lifting though has to be Stefano Raffaele and colour artist Neeraj Menon. Together the creative pair provide some gobsmackingly good layouts, and provide so many intriguing insights into the fall of Hala, that some perusing bibliophiles may well wish that this particular instalment of the mini-series went into much further detail as to the aforementioned fall of the Kree’s artificial intelligence; “The Gods of Pama were unkind to us that day. Many lives were lost.”

Writer: Frank Tieri, Artist: Stefano Raffaele, and Color Artist: Neeraj Menon

West Coast Avengers [2024] #3 - Marvel Comics

WEST COAST AVENGERS No. 3, March 2025

Advertised as being the comic in which Iron Man and War Machine finally reveal just “how their Ultron became a hero”, Gerry Duggan’s storyline for Issue Three of “West Coast Avengers” probably didn’t live up to its audience’s expectations. Sure, the twenty-page periodical does provide its readers with some sort of insight into why one of Hank Pym’s mechanical monstrosities suddenly decided to join Tony Stark’s super-team whilst the convalescing artificial intelligence was orbiting the Earth. But precisely what the motivation for so shocking a change in behaviour could be is never debatably disclosed; “I will find out enemies, the Avengers, and make them allies. I will live to serve.”

Instead, the majority of this magazine has the “veteran of Deadpool, X-Men, Star Wars, and Gotham City” depicting just how dangerously dysfunctional this particular incarnation of the “Wackos” is, with the likes of both Blue Bolt and Firestar appearing to be utterly incapable of following their team leader’s instructions. Indeed, arguably the highlight of this book is Tommy Watt’s repeated attempts to best the One and his cyborg-cultists against Iron Man's wishes, only to keep being continually flattened by them.

Furthermore, Angelica Jones’ complete inability to pull her fire-laced punches, even though her opponents are still partially human, shows just how far down the slippery slope of alcoholism the former New Warrior has sadly fallen. However, rather than make the reader sympathetic to the young woman’s plight, Duggan pens her with such arrogance and hubris that the character becomes increasingly disagreeable – most notably when Firestar shows no remorse for burning a chap who is subsequently almost killed by the One as a punishment for hitting Blue Bolt into a lamp post.  

With such ‘choppy’ writing, it is therefore perhaps not too unexpected to find Danny Kim’s layouts rather disappointing too. This comic’s aforementioned opening featuring a number of Ultron’s holding court on the Moon’s surface debatably lacks any sense of true drama, whilst many of the artist’s panels appear to alternate between some rather impressively detailed close-ups – such as when Spider-Woman realises one of the One’s followers is terminally ill Meredith, to some rather bland, almost amateurish figures – as seen when a rather disconcertingly rotund War Machine decides to deploy his riot package in mid-air.

The regular cover art of "WEST COAST AVENGERS" #3 by Ben Harvey