Wednesday, 28 June 2017

Aliens: Dead Orbit #2 - Dark Horse Comics

ALIENS: DEAD ORBIT No. 2, May 2017
Packed full of pulse-pounding corridor chases, chest-bursting chaos and blood-soaked baby xenomorphs dashing for freedom from the confines of a juddering corpse’s rib cage, James Stokoe’s narrative for Issue Two of “Dead Orbit” doesn’t admittedly bring anything particularly new to the “Aliens” franchise. But frankly, it’s doubtful that many of this twenty-two page periodical’s fans really cared, for in replicating the motion picture series’ more graphically memorable moments, and then weaving them amongst his own tale of terror on board the Spacteria 284255, the Canadian writer genuinely appears to capture all the spine-tingling horror of H.R. Giger’s merciless extra-terrestrials.

Indeed, within moments of the Weyland-Yutani way station’s newly-arrived patients starting to shudder and convulse in the Med-bay, it is likely the vast majority of this comic’s readership felt their hearts starting to beat a little faster; especially when Doc Harrow angrily remonstrates with his skipper that he is doing all he can simply to sedate and stabilise the badly mutilated “three unlicensed passengers”. This all-pervading sense of unease doesn’t abate either, just because the scene disconcertingly shifts to Wascylewski’s more sedentary investigation into the supposed freebooter salvager’s ship manifest.

Coldly curious as to why the recovered deep space vessel’s “payroll suggests” it still has five missing crewmembers, the engineer’s partial briefing to his shipmates actually succeeds in slowly heightening the storyline’s mounting tension up until the point where Captain Hassan is suddenly urgently called back to Medical, and Stokoe pencils some truly gruesome splash pages depicting infant aliens erupting from the inside of their ill-fated carriers. This sequence, notable for the carousel of panels showing the open-mouthed horror on the faces of “Wassy” and his dumb-struck colleagues, is incredibly-well illustrated, and goes a long way to recapturing all the chaotic atmosphere of Kane's dinner-time demise in the original 1979 British-American film “Alien”; “Stay back! Don’t touch them!”

Perhaps far less satisfying, is sadly the comic book artist’s conclusion to this publication, which disappointingly switches back to Wascylewski’s ‘present day’ predicament as the increasingly derelict fuel depot continues to break apart, and the protagonist finds himself momentarily breathing vacuum. Eyes bulging, gasping for a lungful of non-existent air, and unable to acquire an emergency rebreather, the sole survivor is shown one minute blacking out before the station’s computer can recalibrate the life support systems for that area, and then in the next being inexplicably dragged off into darkness by a pair of slavering drones...
Story, Art and Lettering: James Stokoe

Sunday, 25 June 2017

Star Trek: Boldly Go #9 - IDW Publishing

STAR TREK: BOLDLY GO No. 9, June 2017
If Mike Johnson and Ryan Parrott’s goal with their one-shot storyline for Issue Nine of “Star Trek: Boldly Go” was to turn the Vulcan race into a dislikeably arrogant people, who are as judgemental and condescendingly conceited as they are frustratingly logical, then this twenty-page periodical’s narrative definitely works on every level. For whilst the character of Sarek, marvellously rendered by “series-regular artist” Tony Shasteen to replicate the facial features of actor Ben Cross, comes across as a well-meaning, pleasantly-mannered member of the relocated race, the likes of Uhura’s fellow Vulcan teacher and Spock’s drill rig companion smack of inter-galactic hubris and personal unpleasantness which would rival that of the Klingon House of Duras.

Indeed, for some reason, the collaborative writing partnership seem to actually go out of their way to make the stoically cultured aliens appear disconcertingly disagreeable, and even pen one not only nastily suggesting that Nyota is not an “adequate mate” for the Ambassador’s son because she is a worthless ‘incompetent’ human with “volatile emotions”. But then venomously implying that it is simply not logical “for any Vulcan to choose a mate who is not Vulcan” because such senseless selfishness would threaten the survival of their species.

Just how the Starfleet Lieutenant stops herself from punching the poisonous educationalist, or her partner’s egotistical colleague, is doubtless a testament to Uhura’s patient Federation training. Yet surely, even that wouldn’t prevent the Communications Officer from having a sharp word to say in retaliation towards the pointy-eared extra-terrestrials; especially when they derogatively refer to her as Spock’s “human friend” and suggest she “is in need of medical attention” when she is literally stood right beside them saving their new planet… 

Sadly, all this obnoxiousness doesn’t help the publication’s scandalously poor storyline either, which seems far too nonsensically contrived to even be read worthy. Presumptuous and lackadaisical, the tale never even attempts to explain just why the “geothermal anomaly” at “the Voroth Massif near the Southern Pole” was not detected by the Vulcan’s “initial planetary scans prior to colonization”, nor how the new radioactive isotope’s ability will help make them “self-sufficient.” And let’s not even mention the ludicrously lazy conclusion when New Vulcan is apparently spared a cataclysmic fate by the ghosts of its centaur-like “native inhabitants”; “Spock’s best hypothesis is that they are psychic echoes of the last survivors.”
The regular cover art of "STAR TREK: BOLDLY GO" No. 9 by George Caltsoudas

Wednesday, 21 June 2017

Injection #12 - Image Comics

INJECTION No. 12, April 2017
Bedevilled by overly-long, drawn-out sequences and enough needless dialogue to make even the head of a romantic poet like William Wordsworth spin, Warren Ellis’ narrative for Issue Twelve of “Injection” doubtless made many of this title’s 8,615 fans wish that they’d just simply stuck to reading “Image Comics” brief publication promotion blurb rather than the twenty-page periodical itself. In fact, the publisher’s one-liner “Brigid Roth uncovers the death box known as the Cold House” pretty much sums up the entire contents of the English novelist’s storyline without necessitating the need to peruse endless panels pressed full of colourful metaphors, unnecessary expletives, and poorly penned conversational pieces concerning Emma Louise Beaufort’s “brief and surprisingly fun career as a getaway driver.”

Sadly, this apparent obsession by the Eagle Award-winner with anything that doesn’t seemingly progress the book’s plot, yet painstakingly pads out the tale, runs rampant throughout this comic, and resultantly numerous pages are seemingly squandered depicting Professor Derwa Kernick’s identification of “an old Cornish spirit”, Roth’s tedious banter with her new driver en route “to the local police station”, and a disconcertingly bizarre telephone conversation featuring Maria Kilbride and the “supposedly sorcerous” penis of Rasputin. Indeed, Just why Brigid even needed to ‘recruit’ a criminally-inclined female chauffeur, or later contact the Cross Culture-Contamination Unit founder “now it’s got interesting” is far from apparent, and thereby makes the Essex-born writer’s inclusion of the former Lowlands University professor talking whilst looking at the Mad Monk’s pickled sexual organ all the more gratuitous and gravely grotesque; “I will hunt you down and skin you and believe me I have done that before --”  

Unfortunately, all these pointless detours and meaningless side-missions, badly detract from the magazine’s cliff-hanger conclusion, and ruin what otherwise would have been a seriously sinister story involving the Force Projection International not only discovering the skeletal remains of numerous people who had presumably been buried alive by “wee spriggan fellas”, but a chillingly menacing stone monument, known as the “Cold House”, which reeks of “the space between here” and “all the folk of the Other World.” As it is however, this particular instalment of Ellis and penciler Declan Shalvey’s supposed “techno-thriller” appears to lurch from inconsequential instance to aimless act, disastrously diluting any of the “horror” its creative team originally promised when the series was first advertised.
Writer: Warren Ellis, Artist: Declan Shalvey, and Color: Jordie Bellaire

Sunday, 18 June 2017

Captain America: Steve Rogers #12 - Marvel Comics

Shifting 32,567 copies in February 2017, at least according to “Diamond Comic Distributors”, it’s hard to imagine that many followers of Issue Twelve of “Captain America: Steve Rogers” weren’t enthralled by its cacophony of conflict and marvellously realised “Universal Newsreel” footage of Captain America “leading the charge against the [Third] Reich and their allies in the evil organization known as Hydra!” True, the vast majority of Nick Spencer’s writing is frustratingly as erratically penned as the inconsistent artwork of Javier Pina & Andres Guinaldo is poorly pencilled. But that still doesn’t stop the comic’s patriotic pulse from pounding when the titular character, fighting “alongside his best pal, Bucky”, confronts Nazi automatons and gas-masked goose-stepping troopers or, some seventy years later, “the creation of the Mad Thinker”.

In fact, the S.H.I.E.L.D. director’s ‘fist-fight’ with the Awesome Android inside the Museum of American History, is arguably worth this book’s cover price alone, as it genuinely seems to return to a far simply time when the Sentinel of Liberty just stood toe-to-toe with his opponent and outfought them using his fighting savvy and pugilistic smarts. Certainly the sequence, somewhat annoyingly dotted about throughout the twenty-one page periodical, contains all the elements needed for a sense-shattering ‘punch-up’; and one which Rogers only wins when he stops trying to trade like-for-like blows with the “artificial lifeform” and instead targets a natural weak-point of the robot's humanoid-shaped “almost indestructible body”; “Never fear, dear viewer -- We’ll always come out ahead in the end now that we have Captain America on our side!”

Far less impressive, and frankly followable, is Spencer’s sub-plot concerning the Taskmaster and Black Ant trying to sell Maria Hill the footage of the First Avenger whispering “Hail Hydra” to a captive Doctor Erik Selvig in Bagalia. Just why the former S.H.I.E.L.D. leader is conveniently skulking about the shadows of “the nation of super-criminals” is contrivingly explained by her “trying to find something -- anything -- that can get me back in the action.” Yet that doesn’t explain her willingness to agree Anthony Masters’ proposal to get “first refusal on every arms deal that comes across your desk” once the ex-Director has been reinstated, nor Elisa Sinclair’s revelation at being Madame Hydra?
Writer: Nick Spencer, Artists: Javier Pina & Andres Guinaldo, and Colorist: Rachelle Rosenberg

Saturday, 17 June 2017

Uber: Invasion #6 - Avatar Press

UBER: INVASION No. 6, May 2017
Bringing an end to “what will be the first trade of Uber Invasion” this particular twenty-two periodical initially focuses upon the reactivation of one of “the first wave of Japanese enhanced soldiers”, Hideki, and his three month sabbatical upon a desert island in order to become the Battleship Yamato. Honourable, dedicated and loyal to his Empire, the Okinawa veteran’s sense of duty, and occasional questioning of his handler’s ‘animal experiments’ in Manchukuo, admittedly makes for something of a sedentary narrative, despite Daniel Gete’s opening splash illustration depicting the warrior holding the bloodied corpse of an American uber by the throat. But also appears a necessary ‘evil’ by Kieron Gillen, in order to explain just how one of General Ushijima’s many miyoko has suddenly become so powerful that he can “devastate San Diego’s harbour and its defences the moment he was able to see them.”

Disappointingly, this rare glimpse of Hideki’s tremendous power, which fleetingly includes his “complete annihilation of the city on foot”, is then followed by a seemingly cumbersome conversational piece between Miss Stephanie and Eamonn O’Connor, concerning the grisly fate of the American’s older brother. Set against the backdrop of Freddie Rivers “relatively humane euthanasia” of Dixie in a darkly foreboding wooden barn, this disconcerting, dialogue-heavy scene appears to simply repeat Razor’s ever-present doubts as to H.M.H. Colossus’ fate in Paris, as well as his own role in the fight against “the German battleships”, and strangely suggests that the title’s creator has swapped the two brother’s first names around; with both the super-powered adolescent and British scientist referring to the deceased “first Allied enhanced human” as “Eamonn” rather than Patrick?

Just as arguably frustrating to this title's 4,314 followers, must have been Gillen’s decision to conclude Issue Six of “Uber: Invasion” with General George S. Patton spending four entire pages contemplating whether his army is going to cross “the goddam Alps” and risk being ‘isolated and destroyed’. If the former music journalist’s previous scene didn’t smack of superfluous prevarication then this supposed ‘insight’ into the military thought-processes of “Old Blood and Guts” certainly is, and provides an incredibly dissatisfying conclusion to a comic book which primarily appeared destined to continue the series’ graphically gruesome depiction of an alternative World War Two.
The regular cover art of "UBER: INVASION" No. 6 by Daniel Gete

Friday, 16 June 2017

Captain America: Steve Rogers #11 - Marvel Comics

In many ways, Nick Spencer would arguably have been far better off simply sticking to a script detailing the demise of Doctor Abraham Erskine in his ‘controversial’ Cosmic Cube altered reality, than trying to additionally squeeze both the funeral of Jack Flag and a nauseatingly long speech by the supposed Sentinel of Liberty into Issue Eleven of “Captain America: Steve Rogers”. Indeed, the Will Eisner Comic Industry Award-nominee’s technique of darting back and forth along the titular character’s time-stream not only erodes any sense of sombreness to Harrison’s reasonably well-attended burial proceedings. But actually detracts from the utter sense of betrayal and shock supposedly intended by this comic’s depiction of the naïve Super-Soldier scientist being cold-bloodedly gunned down in his own quarters whilst preparing his fresh-faced assassin some “rindergulasch”; “I made far too much, I am afraid.”

As it stands however, this twenty-two page periodical’s biggest problem is Cap’s terrifyingly trite monologue/discourse, which somehow manages to ‘run’ a staggering thirty panels in length, before culminating in Helmut Zemo bear-hugging his childhood Hydra friend, and promising to aid him in his mission to wrest control of the fictional terrorist organization from Johann Schmidt. Horrifically word-heavy and self-righteously monotonous, this discourse sadly permeates the entire book, and in doing so must surely have bored many of this title’s dwindling 36,610 followers. Certainly, the frustrating story-telling technique hardly helps create an atmosphere to “electrify” its readers as “Marvel Worldwide” optimistically advertised at the time of this comic’s publication.

Sadly, not even Spencer’s handling of Abraham’s murder is without its faults though, as it’s based upon the absurd assumption that as far back as 1940 Hydra owned “something Fenhoff invented” which allowed them to steal the minds of the dead; a preposterous-looking device pencilled by Jesus Saiz, which Rogers is clearly oblivious to. This unbelievably convenient piece of equipment at least vindicates why Zemo killed the Jewish scientist before he had a chance to test out his Super-Soldier serum. Yet it doesn’t explain why Steve attempted to poison the German chemist’s coffee a few days earlier (when such a contrived contraption wasn’t to hand), nor the Allies motivation to ‘broker a deal’ with the untrustworthy Arnim Zola to continue Erskine’s work before the scientist had even been killed?
The variant cover art of "CAPTAIN AMERICA: STEVE ROGERS" No. 11 by Joe Jusko

Wednesday, 14 June 2017

Captain America: Steve Rogers #10 - Marvel Comics

Frustratingly flitting between events in pre-war New York City and those of the ‘present day’, much of Nick Spencer’s script for Issue Ten of “Captain America: Steve Rogers” must have driven its 40,051 strong readership to despair with its choppy carousel of short-lived set-pieces. For whilst this twenty-page periodical does include an admittedly painfully prolonged chase scene which depicts the dethroned Maria Hill fleeing incarceration on board the S.H.I.E.L.D. Hellcarrier Iliad, its entire opening half actually consists of little more than six-panel sequences that leap about from an adolescent titular character serving hot drinks to Doctor Abraham Erskine and General Phillips in a diner, to numerous political deliberations involving Internal Civil Tribunals, Senate Majority leaders and Hydra.

Fortunately however, once Annie’s bright red purse is snatched “from behind the bar” and the thief cornered down an alleyway by a well-meaning young Rogers, the American author finally starts penning something worthy of the ‘emotional investment and audience involvement’ the former “Progressive Charter Party” politician has aspired to create since first revealing the “most trusted and revered figure in the Marvel Universe” as a “Hydra loyalist”. In fact, it’s disconcertingly hard not to feel a genuine sense of pride for the badly battered Steve, as he unfalteringly hands his friend her stolen purse back and ‘wins’ the respect of both Erskine and Phillips as a result; even if fans of the title know that this bloodied teenager is ‘the ultimate betrayer’ and was actually planning on poisoning the “German Jewish scientist” just moments earlier.

Equally as diabolically enthralling is Spencer’s portrayal of the Sentinel of Liberty as he visits comatose victim Jack Flag with every intention of killing the helpless hospital patient via a syringe full of poison. Solemnly paced, and all the more visually impactive on account of Rachelle Rosenberg’s red-hued palette, it’s easy to imagine this publication’s audience collectively holding their breath as the First Avenger, on the verge of committing a most murderous act, gravely acknowledges that the badly injured “minor patriotic hero” “deserved better than this.”

Sadly, such moments of high tension and compelling apprehension are badly let down by this comic’s artistic quartet of Jesus Saiz, Ted Brandt & Ro Stein, and Kevin Libranda. Substandard at best, at least when its Albacete-born illustrator isn’t pencilling the book’s flamboyantly visualised ‘flashbacks’, the poorly rendered figures and crudely-sketched facial features disappointingly drag down the quality of this magazine’s storytelling and even negatively impact upon Roger’s heinously gripping attempt to cold-bloodedly kill his occasional partner, Harrison.
Writer: Nick Spencer, and Artists: Jesus Saiz, Ted Brandt & Ro Stein, and Kevin Libranda

Tuesday, 13 June 2017

Conan The Slayer #9 - Dark Horse Comics

CONAN THE SLAYER No. 9, May 2017
Wisely sticking predominantly to Robert E. Howard’s Thirties script, the success of this “Dark Horse Comics” adaption of “The Devil In Iron” arguably rests far more upon the shoulders of its artist than Cullen Bunn’s pen. In fact, the book’s weakest moment, when Conan stumbles across one of Khosatral Khel’s “shaven-headed priests” emerging from a secret tunnel and spouts a mercifully short-lived nonsensical soliloquy, appears to be the only time the Cape Fear-born author ill-advisedly steps markedly away from the adventure’s original text; “Is my fortune good or bad? Bad. Always bad. Except when it is not. Heh. And then it is worse.”

Fortunately, such a heavy reliance upon the pencilling ability of Sergio Davila is not, for the most part at least, misplaced, with the Spaniard’s rendering of the “deserted Dagor” reborn into a green-stoned city, proving to be a particular feast for the eyes. Similarly impressive, is the Cataluna-born illustrator’s rendering of Khel himself. Phenomenally physiqued, being more than a muscular match for the Cimmerian, the red-hued giant appropriately dominates every panel in which he appears and actually seems more formidably alive within Issue Nine of “Conan The Slayer” than he actually does on Howard’s printed page.

Indeed, considering that this particular instalment not only covers “the transmutation of the being men called Khosatral Khel” from out of the Abyss and his subsequent creation of the City of Dagon, but its bloody fall at the hands of its slaves, the Yuetshi as well, it is disappointing that the ancient demon isn’t given more ‘screen time’. Certainly the subjugation and subsequent revolt by the “fierce and brutish people [who] appeared on the shores of the sea” would have been a more interesting area for Bunn to explore, rather than his ham-fisted aforementioned attempt to depict Conan supposedly philosophising over his poor luck.

Sadly however, Davila does seem to struggle to consistently pencil the barbarian’s savage facial features, and resultantly, more than once portrays the incredulous adventurer as some sort of doe-eyed caricature that would not look out of place within the pages of a manga magazine. These momentary lapses are thankfully only occasional, yet disappointingly permeate the entire publication and only seem to disappear as the artist reaches the periodical’s epic conclusion when the Cimmerian hurls his sword point at Khel’s exposed chest and disbelievingly watches his blade shatter upon contact with Khosatral’s impenetrable flesh.
Script: Cullen Bunn, Artist: Sergio Davila, and Colors: Michael Atiyeh

Monday, 12 June 2017

Nemesis The Warlock #4 - Eagle Comics

NEMESIS THE WARLOCK No. 4, December 1984
Arguably devoting far more time upon the titular character’s arch-rival, the supposedly slain Tomás de Torquemada, than the series’ lead protagonist, Issue Four of “Nemesis The Warlock” must still have delighted it’s ‘schoolboy’ fanbase due to Pat Mills’ spine-tingling premise of having all the galaxy’s human prisoners being guarded on a planet ruled by giant, talking spiders. Indeed, it’s hard to think of a more terrifying fate for the misguided Terminators of Terra, than living out the rest of their lives under the baleful eight-eyes of intelligent arachnids; “It is a judgement on us for not heeding the words of Torquemada!”

Frustratingly however, such a diabolical fate for Mankind’s murderously, blood-thirsty warriors is simply hinted at to begin with, on account of "the godfather of British comics" deciding to start this tome by ‘filling in’ the background as to just “what made Torquemada the way he was”. Admittedly, this short-story depicting a young Tomas being treacherously sold into alien servitude only to escape by biting the tongue of a Manticore, certainly gives the ‘damaged’ adolescent plenty of grounds for hating both extra-terrestrials and the humans who collaborate with them. But for such a momentous tale it is disappointingly brief, and in no way lives up to the expectations set by Jesus Redondo’s sense-shattering splash illustration depicting Brother Baruda fending off a huge black ‘eight legs’, which so promisingly precedes it.

Somewhat contrarily, the Ipswich-born author’s subsequent attempt to resurrect “the most cruel human of all time” within the space of five pages seems incredibly ponderously-paced; especially when six panels alone are dedicated to Sister Alvit playing a game of charades with the other Battle-Maidens due to her being “forbidden to speak”. Surely it would have been far better to have truncated such a sequence, and either provided the narrative with some additional sense-shattering ‘footage’ of the savage battles taking place on “Zonar - planet of the Fachans”, “Remora - planet of the Tritons”, or Garuda - planet of the Rukhans, "who fly into action on their hippogriffs…”?

Regardless, Mills’ script for this thirty-two page anthology really ‘pulls out all the stops’ once Baruda “and four of the toughest Terminators” inject “themselves with a diluted dose” of spider venom and climb the prison’s poisonous web wall. In fact, the party’s pulse-pounding race through the jungle is superbly penned (and pencilled by Redonda), with its “thousands of wild spiders” slowly culling the escapee’s meagre number in all manner of gruesome and agonisingly unpleasant ways…
Script: Pat Mills, Art: Jesus Redondo, and Color: Ian Stead

Sunday, 11 June 2017

Star Trek: Boldly Go #8 - IDW Publishing

STAR TREK: BOLDLY GO No. 8, May 2017
Despite featuring the sort of ‘run of the mill’ plot that wouldn’t have looked out of place within the pages of a “World Distributors Limited” Seventies ‘Star Trek Annual’, Issue Eight of “Star Trek: Boldly Go” must still have pleased the majority of its readership with Mike Johnson and Ryan Parrott’s mixture of asteroid-based gunplay and Jefferies tube tribulations. In fact, the creative duo’s opening ‘salvo’, featuring James Kirk phaser-fighting his way onto the bridge of an assassin’s space shuttle is undoubtedly the highlight of this twenty-page periodical’s script.

Sadly however, this initially pulse-pounding, and subsequently engaging tale of “diplomatic disaster” is rather frustratingly ruined by the two-parter’s narrative resting upon a Starfleet cadet’s ability to mind meld with the dead body of the Romulan Ambassador. Admittedly, the Vulcan race’s ability to read the thoughts of comatose people is actually documented within the American television franchise itself. But never before has this ‘transference technique’ been shown to conjure up the thoughts and feelings of the dead before, and resultantly rather smacks of the collaborative writing team reaching out for a rather contrived plot device in order to help them lazily resolve their storytelling.

Just as bizarre is Shev’s amazingly quick, and utterly inexplicable relationship reversal with the Andorian Ambassador. In this adventure’s previous instalment it was made abundantly clear that the cadet’s father was far from happy with both his son’s “decision to attend Starfleet Academy” and the blue-skinned boy’s failure to seemingly put his family/race first. However, now his offspring has been found innocent of assassinating Joltair, the stern faced politician unaccountably states he no longer believes Shev to be a “fool” and for some unfathomable reason even begrudgingly acknowledges that perhaps there is some merit to the youngster’s chosen career; “I cannot say that I am in complete agreement… But you will always have a home on Andoria.”

Described by Group Editor Sarah Gaydos as a “guest artist” who “wraps things up with her dynamic style in a tale guaranteed to keep you guessing”, Megan Leven’s illustrations for this particular publication are certainly “cartoony”. Yet whilst such a label could well be (mis)construed as being highly ‘dismissive of the penciler’s drawing skill’, on this occasion it simply means that the action, whether it be Kirk acrobatically leaping from asteroid to asteroid on account of his "hours spent watching the women's Zero-G volleyball team at the Academy, or Spock's monotone discussions with the Romulans, is cleanly drawn and competently rendered.
The regular cover art of "STAR TREK: BOLDLY GO" No. 8 by George Caltsoudas

Saturday, 3 June 2017

Captain America: Steve Rogers #9 - Marvel Comics

Advertised as featuring the titular character “searching desperately for Kobik” and subsequently reaching “out to a hero that can help — Avril Kincaid, the all-new Quasar!”, it’s not really clear whether this twenty-two page periodical’s publisher, “Marvel Worldwide”, were as confused and discombobulated by Nick Spencer’s script as the comic’s 42,637 strong audience must have been. Indeed, considering that Issue Nine of “Captain America: Steve Rogers” is also supposedly meant to contain “a threat from beyond the stars [which] pushes an already-weakened S.H.I.E.L.D. to the brink” it's generally hard to reconcile the story promised with the disjointed, and utterly unrelated shenanigans printed inside.

For starters, the aforementioned Kincaid doesn’t appear within this comic from start to finish, and rather than focusing on the living embodiment of the Cosmic Cube, Steve Rogers is decidedly busy battling the Cult of the Darkhold alongside Union Jack on the Scottish Highlands. There also appears to be little which can threaten Nicky Fury’s old espionage, special law-enforcement, and counter-terrorism agency if Maria Hill’s boast of a “planetary defense shield” which provides the planet with “a truly impenetrable force field”, can be believed…

Admittedly, such an outrageous difference in content as to what was marketed doesn’t necessarily mean that this bizarre compilation of events from 1940, now, “days earlier”, now, 1940, now, then, now, then, now and 1940, isn't an entertaining read. Au contraire, as Captain America’s bloodthirsty battle with an imprisoned Arthurian demon genuinely provides plenty of pulse-pounding thrills and spills. But much of this book’s enjoyment is ruined by its failure to live up to those initial expectations, and arguably made all the worse by the horribly choppy narrative Spencer insists on penning for the comic; “But you never cared about the book, did you?”

Just as disagreeable are Javier Pina and Andres Guinaldo’s illustrations. The duo’s mismatched pencilling styles consistently ‘jolt’ the reader out of the action each and every time the pair replace one another, and proves especially annoying towards the conclusion of Hill’s trial, when the Director of S.H.I.E.L.D. is suddenly drawn as looking like some dislikeable, arrogant, self-righteous, sneering braggart, rather than an operative who is fighting for her career (and probably liberty) and doing the best job she believes she can in the current circumstances.
The variant cover art of "CAPTAIN AMERICA: STEVE ROGERS" No. 9 by Jack Kirby