Bat-Mite #4 - DC Comics

BAT-MITE No. 4, November 2015

It is certainly clear with Dan Jurgens’ script for Issue Four of “Bat-Mite” that he “really wanted a different head space as a writer” when the American author settled down to pen “The Gold Standard”. For whilst the twenty-page periodical contains plenty of pulse-pounding pugilism two thirds of the way through the comic as Booster Gold sets about laying a serious smackdown upon the villainous Gridlock, the vast majority of this book’s set-pieces try to be much more tongue-in-cheek than a bibliophile might ordinarily expect from one of the creative team behind “The Death Of Superman” in 1993.

Indeed, Jurgens has previously gone on record to explain that he was “up for an anything goes type of series” at the time he accepted the job from “DC Comics” and that he felt the meddling imp offered “a good, fun, romp.” Sadly however, such a sense of amusement doesn’t arguably project from this particular book’s narrative, with Bill Finger’s diminutive co-creation coming across as an utterly dislikeable troublemaker as opposed to the well-meaning, slightly endearing nuisance who simply wants to emulate the good deeds of his hero, the Batman; “You ruin everything! You imbecile! You’re responsible for this disaster!”

True, the reality warping gremlin eventually makes everything he’s done wrong right by reversing his preposterous decision to makeover Michael Jon Carter, his super-powers, costume and name into something “more Batmanish!” But having already unsuccessfully tried to claim the glory of putting out the fiery remains of Reagan Bennington’s beloved photo album, and subsequently attempted to cause Booster Gold to plummet to his death when he mistakenly thought the Justice Leaguer was a deadly Silent Sentry, it’s difficult to imagine many readers had any patience left with the egotistical, ultra-frustrating meddler.

Debatably this publication’s sole salvation therefore may well rest upon the shoulders of Corin Howell, whose cartoonish reimagining of the titular character certainly helps imbue Bat-Mite with plenty of personality. The “red-headed" artist also does a great job of portraying the truly-palpable exasperation the rest of this comic’s supporting cast feel whilst interacting with the so-called “Champion of Justice”, especially Regan when she storms out of her department having realised her unwanted ‘magical’ flat-mate actually expected praise for destroying her aforementioned highly sentimental book.

Writer: Dan Jurgens, Artist: Corin Howell, and Colors: Mike Atiyeh

Orphan And The Five Beasts #1 - Dark Horse Comics

ORPHAN AND THE FIVE BEASTS No. 1, March 2021

Enthusiastically described by “Dark Horse Comics” as “a brand-new Kung-Fu epic”, James Stokoe’s script for Issue One of “Orphan And The Five Beasts” certainly seems to live up to its publisher’s promise considering the book’s “ultra-detailed fantasy imagery” and classic tale of oriental revenge. Indeed, considering that this book is packed full of far eastern mysticism, plenty of Samurai-era shenanigans and some seriously sense-shattering sword-fighting, its arguably hard to imagine why the twenty-three page periodical peddled so poorly in March 2021 that it was apparently only the eighty-second best-selling comic of the month.

Happily however, those bibliophiles fortunate enough to have picked up a copy should quickly have been beguiled by the Canadian author’s classic take on a village elder foolishly empowering a group of unworthy warriors with the supernatural abilities to defeat an all-conquering common foe, and then witnessing them treacherously misuse his teachings afterwards for their own benefits. Dying within a body-sized clay jar of boiling water, the old master’s highly-detailed flashback sequence is superbly penned, and does a splendid job of setting Orphan Mo on the path of their elder’s redemption; “Its hooks have sunk deep into the valley, spreading rot and spiritual pestilence… Ahead of you, demons walk the Earth. Go, and become an emissary for Hell!”

Equally as entertaining though, has to be the subsequent scintillating skirmish between the spiritualist’s protégé and a band of raiders who unwisely intercept a cart of monks taking much-needed goods to aid a local village. Quietly unassuming, this mini-series’ main protagonist dynamically defeats the cowardly thieves with a virtuoso performance in non-lethal close-combat, and provides this publication with a strong cliff-hanger when the young woman suddenly confronts the well-named traitor, Thunderthighs, at the temple the black-hearted bandit has usurped as his headquarters.

In addition to his enthralling writing, Stokoe’s artwork is also first-rate, with the illustrator’s knack for “over-the-top violence” creating some truly-fascinating panels which are well worth a reader spending plenty of time poring over. This attention to detail is particularly noteworthy during the brigands' aforementioned unsuccessful attempt to spirit away the amicable Abbot’s wares for their boss’s personal pleasure, as James imbues every weapon strike with an incredible sense of blinding speed and physical vitality.

Script, Art, Letters, and Cover: James Stokoe

Conan The Barbarian #25 - Marvel Comics [Part Two]

CONAN THE BARBARIAN No. 25, November 2021

Leading the charge into the second half of this “oversized spectacular” is Dan Slott’s somewhat humorous take on an evidently well-drunk titular character being unwisely recruited by a gang of rogues to steal a jewelled egg. The Eisner Award-winner definitely should be lauded for trying something different with this adventure’s story-telling, as the six-pager contains absolutely no dialogue whatsoever. However, “Night of Oblivion” is possibly so tongue-in-cheek with its waggish larks that it probably struck many a reader as being something more akin to “Groo the Wanderer” than Robert E. Howard’s sword and sorcery hero.

Indeed, it is hard to imagine Conan ever being so inebriated that he would mistakenly cause the senseless demise of the three thieves accompanying him during the subsequent blood-soaked burglary, especially when the barbarian clearly still has the wherewithal to snatch a blazing torch to burn a giant eagle to death, kill the tower’s resident wizard and rescue a helplessly bound damsel-in-distress straight afterwards. Perhaps therefore this narrative’s main takeaway can be found in Marcos Martin’s amusing artwork, most notably the Spanish illustrator’s incredible ability to pencil the look of sheer horror upon the last surviving burglar’s face as he witnesses his companions' horrible ends, and angrily realises the real threat to his life is actually the sword-wielding drunkard he recently hired.

Somewhat dishearteningly rounding off this ‘celebration’ is debatably this comic’s weakest link in the guise of James Owsley’s “Black Orchid”, which depicts an enfeebled Conan the King once again facing off against the demonic Devourer of Souls. White-haired and unable to even lift his great sword without debilitating chest pains, the American authors pens a truly depressing fate for the abdicated ruler of Aquilonia as he skewers his worm-wolfing adversary with a final, fatal effort; “My heart, Demon, is Cimmerian. You want this sword back? Come and take -- Uurrrkk --!”

Luckily, such a disconcerting destiny is soon revealed to be nothing more than a bad dream. Yet even this revelation is heavily darkened by regret and unhappiness, as the bearded monarch, who is drawn by Roberto Del La Torre as apparently sleeping whilst still wearing his crown, bemoans the fact that he has settled down to a “living hell” with Zenobia and their children rather than grown old out adventuring…

The regular cover art of "CONAN THE BARBARIAN" #25 by Geoff Shaw & Edgar Delgado

Conan The Barbarian #25 - Marvel Comics [Part One]

CONAN THE BARBARIAN No. 25, November 2021

“Celebrating three hundred issues of Conan The Barbarian”, as well as “the return of Belit”, this rather large anthology probably looked particular enticing when initially conceived by Editor Mark Basso, with its mixture of popular periods and well-liked characters from the Cimmerian’s all-encompassing adventures. However, as thirty-page periodicals go there is arguably little within this comic’s four separate storylines which is either memorable or even actually makes much sense; “Were they a reminder and a warning? Perhaps. Perhaps not. Only the gods know for certain. We cannot fear what has been or what may never be…”

To begin with series regular Jim Zub pens a debatably bizarre tale concerning Conan and “the Queen of the Seas” fighting both a younger and older version of the Hyborian Age hero deep within the bowels of a dilapidated temple. Just what the purpose of the ancient place and the two apparitions its giant metallic spheres create is never explained, and resultantly seems to have been solely manufactured to pit Belit against a supposedly inexperienced horn-helmeted Cimmerian, whilst the current incarnation of the black-haired pirate battles the future King of Aquilonia.

Admittedly, such confrontations as to who would win such skirmishes are just the sort of thing devotees of Robert E. Howard’s sword and sorcery character might endlessly debate. But it still seems odd to actually see such amateur fan fiction being explored within this particular book, especially when the Canadian author has Conan beheading his future-self after purposely receiving a double-handed axe blow to the forearm so as to “move in and disarm” his opponent. Ordinarily such a viciously strong chop, prodigiously pencilled by Cory Smith, would sever the entire limb. Yet in this narrative, the barbarian barely feels the blade nor seemingly suffers any noticeable blood loss from the calamitous injury.

Far more enjoyable, though perhaps equally as motiveless, is Larry Hama’s short-lived, claret-stained story set just “after the events of the Frost Giant’s Daughter”. This sense-shattering sword-fest simply portrays an already gore-caked Cimmerian brutally slaying three over-confident Vanir who misguidedly see the mutilated corpses surrounding their enemy as a sign he’ll be an easy victim of their spears. Needless to say Paul Davidson soon superbly sketches the fur-clad rearguard being literally hacked to pieces, and ends the yarn with the previously stranded, snow-bound foot-soldier now riding one of his attackers’ well-nourished horses.

The regular cover art of "CONAN THE BARBARIAN" #25 by Geoff Shaw & Edgar Delgado

Star Trek #13 - Marvel Comics

STAR TREK No. 13, April 1981

Essentially reading like Gene Roddenberry’s (original) science fiction franchise meets “Planet Of The Apes”, Martin Pasko’s script for Issue Thirteen of “Star Trek” probably pleased most of its readers with its elaborate blend of space battles, pulse-pounding phaser-action and mysterious murders. Indeed, coupled with the inclusion of some seriously war-like Klingons, who’ll apparently stop at nothing to conquer “the resort planet Hephaestus in the Kyros System”, as well as Joanna McCoy’s imminent marriage to a terminally ill Vulcan, and it’s hard to imagine what else the Montreal-born writer could crowbar into the space of just twenty-two pages.

Sadly though, the actual storyline holding all these dynamic elements together doesn’t debatably withstand that much scrutinization, starting with the Canadian screenwriter’s disconcerting depiction of the Klingons. True, having somehow found out that the Hephaestus primates actually obtain their intelligence as a result of a computer-chip being surgically implanted into the base of their skulls when infants, it certainly seems to make sense that the warrior species would secretly hope to negate the Treaty of Organia by destroying the ape-people’s manufacturing facility and then subsume the ‘doltish’ simians into the Klingon Empire. But it seems hard to believe that at the very cusp of victory, Kagg’s crew would suddenly decide “to back off” because the battle cruiser Kluggoth’s second-in-command inexplicably decides his leader is “an evidently-insane commander.”

Similarly as disappointing is Pasko’s handling of “Bones”. Any viewer who has watched the Sixties’ television show would be well aware of the physician’s love-hate relationship with Mister Spock, so his evident anguish at discovering that his estranged daughter plans to wed the wholly unemotional Suvak is perfectly palatable. However, despite the pair’s clear differences concerning Leonard’s divorce, it is hard to imagine such an endearingly caring character as the one actor DeForest Kelley portrayed, subsequently physically assaulting her when his daughter later questions his commitment to her mother; “He’s a Vulcan, blast it! He has no feelings! He can’t love you -- Can’t be a real husband to you…”

Perhaps therefore this Twenty-Third Century odyssey’s real draw lies within the layouts of Joe Brozowski, Tom Palmer and “D. Hands”, who do a good job in capturing the feel of “Star Trek: The Motion Picture” with their pencilling of both the new-look Klingons and Robert Fletcher’s updated Starfleet uniforms. In addition, whenever a punch is thrown, or a phaser fired, the action depicted within the panel definitely adds an extra “Whump” or “Ztt!” to the proceedings.

Writer: Martin Pasko, and Artists: Joe Brozowski, Tom Palmer and D. Hands

Star Trek: Year Five #24 - IDW Publishing

STAR TREK: YEAR FIVE No. 24, June 2021

Considering that co-writers Jackson Lanzing and Collin Kelly rather neatly conclude the first five-year voyage of the U.S.S. Enterprise with a miraculous victory against a formidable Tholian invasion force, many readers were probably quite pleased with their narrative for Issue Twenty Four of “Star Trek: Year Five”. But despite giving Captain James T. Kirk plenty of opportunity to physically punch his way out of a problem, and for Mister Spock to display a similarly impressive demonstration of pure logic, the “showrunners” script is arguably far from convincing in its storytelling.

For starters, having ferociously fought their way through an entire armada of alien space vessels single-handedly, and somehow along the way developed a super-weapon which can alter the very environment of the crystalline entities, the Enterprise’s half-Vulcan acting captain decides to just politely ask his opponents to rethink their successful conquest of all Federation territory rather than make a fight of it. Admittedly, there is little doubt the badly battered Constitution-class starship is absolutely no match for the Tholian Shardship confronting it, as the vessel “outguns us by several orders of magnitude.” But considering the non-humanoid assembly has already won, the fact they then decide to simply return to their part of the Alpha Quadrant because they’ve been ‘asked to nicely’ seemingly makes no sense at all.

Likewise, Kirk’s sudden ability to miraculously jump about his own timeline in an effort to repeatedly thwart Gary Seven from murdering him before he “became Starfleet's youngest starship captain” is inexplicably meant to have been bestowed upon Jim by a near-future version of Supervisor 194 himself. Caleb Howell has spent the best part of this title’s entire run desperately attempting to cold-bloodedly kill the Federation officer, and yet in a moment of “wibbly-wobbly, timey-wimey” madness this book’s audience are told that the homicidal maniac suddenly experiences a complete change of heart; “And it’s the moment you return, to make sure I can follow you. And stop you. You gave me the pen. As you’ll give it to me now.”

Disconcertingly, even some of this comic’s less notable cast are debatably imbued with a distinctly dire grasp of reasoning as well. The Presidential candidate Renei has previously been depicted as a ruthless leader of the Andorians, so her decision to oppose the Tholian conquest by sacrificing countless populations via atmospheric detonations on a planetary scale possibly isn’t too shocking. However, having made the callous choice to decimate half the Federation of Planets’ electorate, the Originalist politician is perturbingly still shown as being one of the two front-runners for the forthcoming election..?

Writers: Jackson Lanzig & Collin Kelly, and Artist: Silvia Califano

Commanders In Crisis #2 - Image Comics

COMMANDERS IN CRISIS No. 2, November 2020

For those bibliophiles somewhat bamboozled by Steve Orlando’s premise for this twelve-part publication, the “acclaimed” writer’s “Story So Far…” opening crawl inside Issue Two of “Commanders In Crisis” probably proved invaluable in helping them ascertain the sheer breath-taking scope of the author’s imaginative multiverse. Indeed, within the space of just four well-worded paragraphs it is made abundantly clear that the modern-day Senate faces a “tinderbox of a moment” if it supports Nelson Next’s American Individuality Act and carves the country “up into fifty-two interdependent, but autonomous, nation-states.”

Happily however, for those readers wanting more than a straightforward prose account as to the background behind this comic’s eclectic mix of characters, this particular twenty-four page periodical also presents plenty of background information as to President Rowe’s final hours on Earth-J as well. This sense-shattering sequence proves especially informative as it not only shows the rapidly disintegrating man taking “a leap of faith into the Cosmic Breech” and being reborn with special abilities, but also explains that similar events occurred to all the other former Commander-in-Chiefs who make up this planet’s super-powered team; “I gathered you four, the last survivors of doomed world’s to save this, the final Earth. Earth-Z.”

Coupled with the aforementioned opening summarisation, "The Action Of Resurrection" also ‘earmarks’ the nefarious Next as potentially being this narrative’s lead antagonist, which helps add an extra level of malignancy to his meeting with an opposing senator. The aggressive arrogance of the congressman is truly palpable as he spouts his belief that “people are sick of being called evil just because they disagree”, and then rather menacingly undermines his opponent’s equally as emotional counter-argument by telling them that “you might be more alone than you think.” 

Arguably this comic’s most intriguing element though, is that despite having been rescued by their group’s leader Frontier from debatably a fate worse than death, the rest of Crisis Command don’t simply follow her instructions without thinking. In fact, the likes of Originator make it abundantly clear that just because Nina believes she should bring John Doe back to life for twenty four hours “to reveal the name of his killer” doesn’t necessarily mean that it is a good idea. This friction between certain Think Tank members really helps raise the ante when things go awry, and doesn’t potentially bode well for the likes of Scarlet Davis when she decides to delay her current mission by helping a pair of Philadelphians learn the whereabouts of their missing grandson.

The regular cover art of "COMMANDERS IN CRISIS" #2 by Davide Tinto

Batman/Superman [2019] #16 - DC Comics

BATMAN/SUPERMAN No. 16, May 2021

Reading like an “Elseworlds” imprint, this twenty-two page “glimpse of brave new worlds within the DC Universe” certainly must have captivated the majority of its audience with its somewhat innovative manner of telling a story via two separate strands of movie reels. Indeed, Gene Luen Yang’s somewhat startling approach to this comic’s storytelling as a literal double feature probably ensured that Issue Sixteen of “Batman/Superman” was read at least a couple of times by fans of the American icons as they digested “The World Of Tomorrow” and “The World Of The Knight” both as individual and adjoined narratives; “You can either follow one story line to the end and then come back for the other or follow both story lines simultaneously! The choice is yours!”

The first of this comic’s “alternate realities” definitely contains a number of intriguing differences to the modern-day Superman’s universe, most notably that Martha Wayne somehow survived the alley-way shooting which should have caused her infant son to become the avenging Dark Knight, and has resultantly become a big name in the world of technology. Initially threatened by “the maniacal machinations of the Unknown Wizard”, this tale from Metropolis soon develops much less of a tongue-in-cheek tone as Bruce’s mother is arguably ‘earmarked’ as the true villain of the well-penned piece.

Likewise, the California-born writer creates a similarly strong adventure for Batman and Robin in this book’s secondary yarn, as the Dynamic Duo foil Spider Lady’s bold attempt to rescue the Joker and Penguin from some insane experimentation programme at Arkham Asylum. This time though, a “trans-dimensional collision” has resulted in Kal-El being killed mid-flight during the baby Kryptonian’s escape from his doomed planet, and causes Lois Lane from this comic’s Man of Steel story to shockingly appear just as the Caped Crusaders are about to battle a strange figure inside a mysterious fortress at the Arctic Circle. 

Adding enormously to all these celluloid shenanigans is Ivan Reis and his incredibly well planned layouts. The Brazilian artist is clearly on tip top form pencilling the exploits of this book’s titular characters, but it is the way in which he incorporates all of his drawings into a winding roll of film which really helps sell the suggestion that the reader is watching some old flick at the cinema, rather than simply perusing a paper-bound publication. In fact, it is easy to hear the whirr of a vintage Kodak cine projector in the background as each parable is played out.

The regular cover art for "BATMAN/SUPERMAN" #16 by Ivan Reis, Danny Miki & Sabine Rich

Harley Quinn #1 - DC Comics

HARLEY QUINN No. 1, May 2021

As “red-hot” re-launches go Stephanie Phillips’ script for Issue One of “Harley Quinn” probably landed rather well with Harleen Quinzel’s fans in March 2021, and certainly seemed to warrant the title being the twenty-first best-selling comic of that month – at least according to North American shop sales. Indeed, there’s such a palpable sense of vitality to the former psychiatrist within this twenty-two page periodical that her fierce determination to “make up for the sins of my past and help the city recover from The Joker War!” is wholly believable, especially when at one point Quinn is penned ‘running away’ from a fight with a group of disgruntled Gothamites despite the fact the anti-heroine would much rather be battering them to death for calling her a clown.

In addition, the “rising-star writer” simply doesn’t waste any time at all in depicting “your favourite Maid of Mischief” being embroiled in a brutal battle where she’s desperately swinging her infamous baseball bat for all its worth. Physically standing toe-to-toe against her old Suicide Squad team-mate Killer Croc is no mean feat, yet the American author manages to pen a persuasive action-sequence where the young woman’s elite gymnastics ability predominantly keeps her out of harm’s way against Waylon Jones’ superior super-strength.

Perhaps this book’s biggest surprise however, is in Harley’s humorously touching relationship with Batman, which somewhat surprisingly even shows a slightly sentimental side to the Dark Knight himself. The Clown Prince of Crime’s ex-squeeze genuinely seems set on making amends for everything she did during the Joker War, but that still doesn’t stop her cheekily expecting “that sweet bat-check” as payment for her now being, at least in her eyes, part of the Bat-family. This honest anticipation of a “stipend” seemingly catches the Caped Crusader by complete surprise, and later allows him to show Quinn that he does appreciate her efforts ‘to go straight’ by giving her “one of those little novelty Batman toasters” she apparently always wanted; “It literally puts your bat-symbol on the toast. Bat-toast!”

Equally as endearing is Harley’s “partner in artistic crime Riley Rossmo” whose newly-costumed titular character and cartoonish sketching style, allows the pale-skinned ‘Brooklyn-babe’ to demonstrate all of her quirky behaviour with great gusto. Although, it is debatably the Canadian artist’s stunning panels concerning the Dark Knight’s awesome battle against a mob of anti-clown rioters which really shows off his pencilling prowess.

The regular cover art of "HARLEY QUINN" #1 by Riley Rossmo

The Edge #2 - Second Sight Publishing

THE EDGE No. 2, August 2021

Packed full of some ferocious, eye-watering acts of pugilism, plus an introduction to the distinctly disturbing “Mister Idiom”, Marvin Wynn’s script for Issue Two of “The Edge” must surely have delighted its readers when it first hit the spinner racks in August 2021. Indeed, the writer’s excellent mix of high-octane antics alongside some genuinely touching emotional moments, such as the tragic deaths of Bolt’s parents in a road traffic accident when he was a toddler and Spin-Off’s understandably sombre funeral, carries this comic’s audience through its twenty-eight pages at an admirable speed.

For starters, this tome wastes very little time in giving its audience precisely what it wants with its pitiless depiction of “Round Two of Blain verses Revenant!” The sheer physical energy emanating from this no-nonsense battle is truly palpable, and somehow manages to give the likes of Mystic, Randa and their aforementioned akimbo pistols-packing comrade-in-arms all an opportunity to shine whilst facing the stone-cold killer who has already gleefully murdered two members of their strike team; “Last time you got the drop on me. I’m going to snap your freakin neck. You’re through! This is the last time we do this. Die you… Die.”   

Interestingly however, this frenzied fight isn’t simply a non-stop rollercoaster of swapped punches and bullet wounds, but also contains an enthralling sub-plot concerning Tartabull’s super-powered heroes’ desperate attempt to free Shift whilst simultaneously tangling with the nigh on unstoppable Revenant. Such a secondary goal really helps add some extra excitement to the furious combat taking place around the haplessly bound captive, especially when it isn’t made clear until the conflict’s cataclysmic end as to whether the unresponsive protagonist is actually going to survive the rescue bid.

Resultantly, a lot of this book’s heavy-lifting debatably therefore falls upon the shoulders of artist Mark Vuycankiat, who’s pencilling really helps sell every bone-breaking “Wap” and “Wuk” Blain aggressively throws his opponent’s way throughout this publication. It really is incredibly easy to hear the actual sound of these brutal blows as they land, as well as the cast’s strenuous exertions during the subsequent night-time roof-top chase across to the metropolis’ deserted docks.

The regular cover art of "THE EDGE" #2 by Mark Vuycankiat

Rick And Morty Verses Dungeons & Dragons #1 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS No. 1, February 2019

Promising a “crossover with one of the biggest fantasy franchises in the world” when “Oni Press” and “IDW Publishing” first announced in April 2018 that they were joining forces to craft a four-issue limited series entitled “Rick And Morty Verses Dungeons & Dragons”, this opening twenty-page periodical must have landed well with fans of either franchise when it appeared approximately four months later. Indeed, Patrick Rothfuss and Jim Zub’s narrative for “Rick Rolling” seemingly captures both the enigmatic energy of co-creator Justin Roiland’s animated world and the tabletop role-playing game with consummate ease; “I’m your D&D sh-uuuuurp- Sherpa, Morty. I know this game inside and out. All the modules. I made a Bard back in the old days, Morty.”

Foremost of these irresistible hooks has to be the excellent characterisation of Rick Sanchez’s always agitated grandson, whose endless quest to “get laid” suddenly throws the youth headlong into a hobby mall packed full of Gary Gygax’s most famous old school publications. Desperate to win the adoration of shop girl Annika, the fourteen-year-old frantically tries to unsuccessfully get his head around the contents of the Player’s Handbook within the space of a few hours, and subsequently finds himself asking for his maniacal grandfather’s assistance to build him “a brain-hat… And learn Dungeons & Dragons!”

Of course, having sought to teach Morty using the tried and tested method of rolling dice with a group of fellow (aged) adventurers, Rick decides the best thing to do is reconfigure the Roy arcade machine at Blips and Chips in order to provide Smith with a virtual venture. This action-packed sequence is arguably the highlight of the comic, as Morty somewhat impressively hacks his way through a countryside packed full of the Undead until he 'critically fumbles' and inadvertently skewers Sanchez with his double-handed sword.

Adding enormously to this book’s palpable sense of humour is Troy Little’s artwork, which manages to capture both the television cartoon’s aesthetic, as well as the reckless dynamism of Rick’s impulsive scientific shenanigans, with prodigious aplomb. The Canadian artist’s illustrations are especially noteworthy inside this comic’s Director’s Cut Edition, where the Prince Edward Island-born penciler’s work-in-progress pages are fascinatingly printed directly alongside Rothfuss and Zub’s original scripts.

The regular cover art of "RICK AND MORTY VERSES DUNGEONS & DRAGONS" #1 by Troy Little

Star Trek: The Mirror War #0 - IDW Publishing

STAR TREK: THE MIRROR WAR No. 0, August 2021

Starting with a thrilling infiltration of a Cardassian cargo vessel, and finishing upon the abduction of Reginald Barclay's evil doppelganger back to the Mirror Universe, it’s arguably evident straight from this twenty-page periodical’s get-go that its American authors were “absolutely thrilled” to return to the science fiction franchise’s highly popular parallel dimension. Indeed, there’s such a sense of forthright fun with this comic’s numerous capers, especially once an already frustrated Jean-Luc Picard is recalled “back to Earth to report to the Emperor personally”, that many bibliophiles were probably pre-ordering as many instalments of the planned thirteen-part event as their friendly local book store could muster.

Topping this publication’s numerous successes has to the Tipton brothers’ focus upon the Mirror Enterprise-D’s captain, and his growing resentment towards his superior officers for failing to show him the respect which he feels rightfully due. It is clear straight from this comic’s opening as the bald-headed egotist leads a raid upon a supposedly automated freighter, that the man is actually nothing more than a power-mad pirate. Yet his steadfast belief that if he ‘plays his cards right’ he could still usurp the Terran Empire’s throne for himself still makes compelling reading; “I’m taking him down. I’ll kill them all, and I’m taking him down.”

Likewise the penmanship depicting such notable Bridge Crew members such as Data and Deanna Troi proves just as entertaining, with the different character’s desires and aspirations repeatedly causing them to clash with one another – sometimes violently so. It’s hard to miss the Betazoid’s jealous glare at William Riker when the Commander appreciatively thanks the attractive Ensign Sonya Gomez for saving his life during a shoot-out, or to subsequently see the stark terror on the Inquisitor’s face when she unwisely mocks her android comrade-in-arms for missing his ‘friend’ Barclay and witnesses his cybernetically-enhanced super-strength first-hand.

Undeniably supporting all this agreeable storytelling are Carlos Nieto’s proficient pencils, which do a good job of making the comic’s considerable cast perfectly recognisable without resorting to photogenic quality portraits or well-known poses from the syndicated television series. The Spanish artist’s style really imbues the likes of Captain Picard with a dynamic, vicious athleticism which was rarely seen on the small screen, and definitely highlights that the goatee-bearded picaroon is still in his physical prime as he successfully outfights a deadly cut-throat during a sudden assassination attempt upon his life.

Writers: Scott Tipton & David Tipton, Artist: Carlos Nieto, and Colorist: DC Alonso

Conan The Barbarian #24 - Marvel Comics

CONAN THE BARBARIAN No. 24, October 2021

Besides being something of a lack-lustre lead in to “the landmark three hundredth issue next month and a shocking return to a fan-favourite Conan era”, Jim Zub’s script for “A Sacrifice At Sea” probably struck many within the publication’s audience as something of a non-story. For whilst the twenty-page periodical’s plot eventually serves up an antagonist of sorts for the Cimmerian in the shape of the unsociable navigator Naogu, it is debatably never made clear whether the mad sailor is actually responsible for either the “drowning hell” which almost sinks the good ship Crow, or the utterly bizarre sign seen “emblazoned across the sky” during a deadly storm.

Indeed, the circumstances surrounding just how Captain Hu’s sailing vessel suddenly finds itself assaulted on every side by numerous tower-tall waves during the middle of the night is never explained, as the Canadian author instead simply tries to intimate that the terrifying tempest has mysteriously been drawn to the Barbarian’s very location like a hunting hound following its prey’s scent; “And yet trouble always comes where you tread, no? What did you do to bring such a curse down upon your life?”

Of course, that isn’t to say that Issue Twenty Four of “Conan The Barbarian” doesn’t contain some pulse-pounding panels, all dynamically drawn by penciller Cory Smith, as the titular character desperately deposes a maniacally super-strong helmsman so as to allow the skipper to frantically take the wheel. Yet such a straightforward storyline as the muscle-bound adventurer simply surviving a night-time squall, no matter how lethally ferocious, is arguably hardly the stuff of Hyborian Age legends or the central basis of an entire comic book based upon Robert E. Howard’s sword and sorcery hero.

Somewhat cynically however, “A Sacrifice At Sea” doesn’t actually finish with the barbarian stoically sailing off into the sunset with the vessel’s half-dozen survivors, courtesy of Zub ‘bolting on’ to its end a short, disconcertingly unfinished tale involving the Queen of the Black Coast “years later”. This incongruous conclusion depicts Belit and her black-maned lover stumbling upon the entranceway to a temple, perturbingly prettified with the “ominous symbol” witnessed during the downpour which cost Hu and Naogu their lives, and abruptly concludes without either pirate actually stepping foot inside the wholly unwelcoming building.

Writer: Jim Zub, Artist: Cory Smith, Inker: Roberto Poggi, and Colorist: Israel Silva

Star Wars: War Of The Bounty Hunters Alpha #1 - Marvel Comics

STAR WARS: WAR OF THE BOUNTY HUNTERS ALPHA No. 1, July 2021

Announced in February 2021 by “Marvel Worldwide” as “the Star Wars comic event you’ve been waiting for”, this canon crossover miniseries’ prelude arguably asks quite a bit from its readers within the space of its opening few panels. For whilst Charles Soule’s script for “Precious Cargo” undeniably depicts Boba Fett demonstrating just how bad ass a bounty hunter he can be whilst battling inside the deadly Garkata Fighting Arena, some fans of George Lucas’ “galaxy far, far away” might find the Kamino-born clone somewhat unrecognisable from that depicted on the silver screen in Irvin Kershner's "The Empire Strikes Back".

To begin with, “one of the most feared bounty hunters in the galaxy during the reign of Emperor Palpatine” is apparently penniless to the point where he can’t even pay a doctor to repair Han Solo’s fast-failing carbonite block on the smuggler’s moon of Nar Shaddaa. This total lack of funds makes little sense considering just how successful Jango’s son has supposedly become, especially when he is strongly-favoured “by the fearsome crime lord Jabba The Hutt", and seems to have been penned simply to manufacture a reason as to why he’d leave his valuable prize behind in some disreputable backwater to be stolen.

In addition, the cold-hearted killer debatably doesn’t live up to his fearsome reputation either, despite apparently shrugging off being speared straight through the chest with an arachnid’s sharp-tipped limb during his final contest. The ill-fated Doc Ragon certainly isn’t the least bit intimidated by Fett, and even chides the bounty hunter for being historically disreputable. Whilst this book somewhat bizarrely ends with a still broke Boba impotently skulking away without any of his considerable winnings in the arena simply because he’s confronted by Kanji and a couple of the local hoodlum’s gun-toting gangsters; “You owe us for the money we lost on Wyrmen Lictor. Had a lot bet on her to win. You can earn all that back for us in one fight… Unless you’d rather just walk away.”

Easily this twenty-page periodical’s greatest asset is therefore the superb artwork of Steve McNiven, which does a truly fantastic job depicting all the dark griminess of the galaxy’s nefarious underworld, and its multitude of extra-terrestrial inhabitants. The Canadian illustrator’s ability to capture every minute detail of the central protagonist’s Mandalorian armour is excellent, as is his ability to sketch the bloody path the mercenary cuts so as to efficiently achieve his “title shot” against the tournament’s multi-limbed reigning champion.

Written by: Charles Soule, Illustrated by: Steve McNiven, and Color Art by: Laura Martin

Alien #6 - Marvel Comics

ALIEN No. 6, October 2021

Bringing this ongoing series’ opening chapter to a somewhat satisfying close, Phillip Kennedy Johnson’s narrative for Issue Six of “Alien” certainly contains its fair share of sense-shattering shocks and successful subversions of its readers’ expectations. Indeed, considering that this comic depicts an arguably unexpected death, Bishop lethally battering the terrorist Verdi-2 with a rifle butt, and the implication one of the survivors, other than Danny, is also carrying a Xenomorph embryo, it is arguably difficult to imagine just how the Eisner Award-nominee could have possibly crowbarred any more twists and turns into this particular twenty-page periodical.

Foremost of these surprises however, has to the revelation that the space station’s counsellor isn’t the only android on board Epsilon Station. Iris has arguably always come across as something of a cold-hearted killer, even if she is the supposedly loving girlfriend of Gabriel Cruz’s unconscious son. But having been prodigiously pencilled by artist Salvador Larroca being terminally bludgeoned in the head by the base’s gun-toting synthetic, the blonde-haired traitor is finally exposed to be little more than a homicidal artificial person who disconcertingly wants to “make Earth a post-organic utopia.”

Similarly as staggering, albeit much more traumatising considering he was this title’s central antagonist, is the sad demise of Weyland-Yutani’s recently retired chief of security at the hands of the lethal Alpha Xenomorph. Gabe’s survivability within the American author’s storyline has repeatedly been tested, and previously the ex-marine has always miraculously managed to come out on top despite receiving several near-fatal injuries. But having been betrayed by Director Ted Reynolds, and remotely-locked into a death spiral towards the planet’s atmosphere, Johnson sadly presents Cruz with a problem with which only the supreme sacrifice can solve; “I’d thought I’d see her again at the end. The one in the dark. But I don’t. I see an old family photo that I haven’t seen in years. It makes it all worth it, seeing them one last time…”

Enjoyably though, it is actually left to this book’s Spanish artist to provide this publication with a final sting in its tail, courtesy of the illustrator sketching a quartet of panels focusing upon the face of the space station’s cat with ever increasing scrutiny. This black-furred pet is absent throughout the rest of the comic, having only momentarily appeared in the previous edition, yet leaves the reader with a major, disheartening impression with its face-hugger scarred head…

The regular cover art of "ALIEN" #6 by InHyuk Lee

Dune: House Atreides #9 - BOOM! Studios

DUNE: HOUSE ATREIDES No. 9, August 2021

Considering just how enthrallingly impactive this publication’s opening is, as the newly ‘crowned’ Duke Leto Atreides presides over the investigation into his father’s tragic death, it is in some ways a pity that this comic book adaption’s narrative soon shifts its attention away from Caladan and transports its audience to the likes of Ix and the Spacing Guild’s central planet instead. Indeed, Brian Herbert and Kevin J. Anderson’s ability to project the emotionally tense atmosphere within the young nobleman’s courtroom is so palpable that an entire edition dedicated solely to Thufir Hawat’s initial findings, young Duncan Idaho's passionate recollection of his multiple warnings concerning the killer bull's temperament, and the subsequent interrogation of the Stablemaster would arguably have proved no chore at all.

Somewhat disappointingly though, that is not how the plot to Issue Nine of “Dune: House Atreides” plays out, as this twenty-two page periodical also follows the exploits of the son of the Ixian Ambassador to the Imperial Capital, C’Tair, the death of Elrood IX, and the murderous machinations of Baron Vladimir Harkonnen. Of course, all of these insights into the lavishly large universe of "the world's best-selling science fiction novel" are important, as they each chapter revolves around the dead Padishah Emperor’s plan to secretly support the Tleilaxu in “an ambitious research project to create a cheap and plentiful artificial form of the spice Melange.” But some bibliophiles’ minds will debatably still be distractedly racing from the revelation that Paulus was clearly murdered and that his cold-hearted wife is implicated in the despicable deed; “Mother, you will be silent, or I’ll have the guards evict you from the hall and lock you in one of the towers. I am the Duke.”

Ably aiding this comic’s storytelling are Dev Pramanik and Mariano Taibo’s layouts, which together do a proficient job in portraying the duplicitous political posturing occurring upon both Kaitain and Giedi Prime. However, it is the pencilling of Leto’s increasingly sombre mood which really catches the eye, as this book’s Indian artist really manages to imbue the somewhat thin, diminutive figure sat upon his father’s great throne with all the haunted looks a reader might expect from one so young being suddenly thrust into the limelight of the Landsraad and proclaimed “Head of a Great House.”

The regular cover art of "DUNE: HOUSE ATREIDES" #9 by Evan Cagle

Dungeons & Dragons: Legends Of Baldur's Gate #1 - IDW Publishing

DUNGEONS & DRAGONS: LEGENDS OF BALDUR'S GATE No. 1, October 2014

Featuring both a headlong dash through “the bustling urban centre”, and some sense-shattering swordplay by the Rashemaar warrior Minsc, this comic arguably doesn’t need to contain “a letter from series writer Jim Zub” to show just how much the fantasy tabletop role-playing game means to the Canadian author. Indeed, the Animex Honorary Award-winner’s love for “Dungeons & Dragons” absolutely resonates from every panel of this twenty-page periodical, as the moon elf Delina desperately attempts to outwit a pair of stone gargoyles amidst a delightful mixture of deadly danger and laugh out loud humour; “Stand down, dirty minions of evil -- Or face my hamster’s wrath!”

Furthermore, the Toronto art professor appears equally as adept at imbuing this book with some intriguing mystery and genuine sense of peril. Sure, it’s difficult to take “the legendary Ranger” too seriously when the do-gooder momentarily pauses whilst facing the murderous stone constructs simply to allow his positively rotund pet rodent to hiss at them. But beguilingly, just why the “wild mage sorcerer” who resurrected him is being chased by such devilish creatures is never explained, nor just why the fearless magic user is so convinced something terrible has happened to her brother “somewhere here in Baldur’s Gate.”

In addition, this publication’s plot is absolutely crammed full of just the sort of dice-rolling action that millions of players of Gary Gygax’s pioneering co-creation would expect, were they themselves traversing the municipal’s paved streets or visiting its famous late Fifteen-Century market in the upper city. Whether it be the aforementioned attack upon the lead-brained Minsc by a couple of vicious living statues, or his subsequent brush with the quite numerous and flamboyantly-armoured Watch, this comic contains plenty of character-driven shenanigans which could easily be recreated and enjoyed by its readers on their own RPG tabletop afterwards.

Undeniably helping Zub in his endeavour to provide this book’s audience with “that first taste of adventure” which “absolutely hooked” him is Max Dunbar, whose beautifully clean-lined style genuinely imbues this mini-series’ main cast with plenty of personality. The concept artist appears particularly good at getting across Delina’s inexperience and awkwardness when it comes to her less than successful spell-casting, with the teenager’s wide open eyes and occasional bead of sweat painting a picture of a thousand words.

Written by: Jim Zub, Art by: Max Dunbar, and Colors by: John-Paul Bove

Black Widow #10 - Marvel Comics

BLACK WIDOW No. 10, October 2021

Somewhat succinctly drawing to a close Kelly Thompson’s four-part storyline “I Am The Black Widow”, this twenty-page periodical’s plot certainly seems to do a good job of providing each member of its ever-growing line-up with plenty of ‘moments in the sun’. In fact, one of this comic’s greatest draws is its pulse-pounding coverage of “the Widows” violent confrontation with Apogee’s superhuman forces, during which Natasha Romanoff, Yelena Belova, Anya Corazon and (even the newly-arrived) Katherine Bishop are seem showing off their various special powers to the best of their abilities.

Enjoyably however, it isn’t just this book’s leading cast though who heavily feature in the defeat of the Olio’s cult-like leader, but the likes of the somewhat conceited Craig and haplessly headstrong Lucy too. These two former members of North California’s aspiring criminal organisation are a good example of the American author demonstrating that brains will consistently overcome brawn if given enough time, even if the electrically-charged Lucy is ultimately required to ‘tap into her deadly man-made gift’ so as to provide the titular character with a much-needed breather; “Taste of your own medicine, jackass. Feels cool to be dosed with something against your will, right?”

In addition, the Eisner Award-winner doesn’t fall into the trap of ending her narrative with a sickly-sweet conclusion either, preferring instead to show that there comes a cost to living the high-octane life of a meta-human, even one who has crossed back over to the side of justice. Admittedly, Lucy’s inability to now turn off her decidedly deadly touch smacks somewhat of the curse which befell the X-Man, Rogue, forty years ago. Yet the young girl’s plight still generates an intriguing attitude in some of Apogee’s antidote-affected brethren, who disconcertingly seem to feel that the woman is somehow blessed now she can “never touch anyone flesh to flesh… without hurting them” rather than cursed.

Undeniably helping this book bound along at an enjoyable pace are artists Elena Casagrande and Rafael De Latorre. The aforementioned double-splash action sequence depicting the Black and White Widows, along with Spider-Girl, is genuinely awe-inspiring, with Belova also providing a ‘laugh out loud’ moment as she ‘thwacks’ an assailant straight in the mouth whilst lecturing her battered attackers that they should be thanking her for helping them.

The regular cover art of "BLACK WIDOW" #10 by Adam Hughes

X-Men Legends #3 - Marvel Comics

X-MEN LEGENDS No. 3, June 2021

Proudly proclaimed by “Marvel Worldwide” as the return of the original so-called mutant-hunters for hire, and featuring an all-new tale set before Issue Forty-Three of “X-Factor”, this particular return to the “classic era with legends” Louise and Walter Simonson probably initially pleased its fans with an atmosphere highly reminiscent of the super-team’s heyday in 1986. In fact, it’s hard to think of a more disturbingly impactive opening than the one the Atlanta-born author pens for this publication as the treacherous Cameron Hodge not only has his head severed by Archangel, but subsequently survives the encounter as little more than a conscious dismembered body part; “When Death decapitated you, it seems he destroyed your vocal cords.”

However, by the time this twenty-page periodical is half-way through, some within this book’s audience were probably wondering just where the Eagle Award-winner was going with her plot concerning the heroes’ “sentient spaceship Ship” inexplicably trying to suddenly kill its occupants, including Cyclops and Marvel Girl’s infant son, Christopher. Admittedly, the huge vessel’s autonomic response to murder the likes of Beast and Iceman inside a fast-shrinking shuttlecraft makes for a few panels of pulse-pounding action. Yet it is arguably hard to get too excited about a narrative which wholly relies upon a killer computer to inform the reader as to what is going on when the artificial intelligence’s exposition is easily lost amidst a torrent of decentralised brains, redundant functions, two thousand year old damage, encrypted languages, and various information hubs.

Perhaps therefore this comic’s biggest hook is the all-pervading presence of Apocalypse, and En Sabah Nur’s chilling agreement to provide Hodge’s head with a new invulnerable body if the duplicitous lawyer agrees to kill X-Factor before they can further investigate their craft’s bizarre malfunction. These conversations really are incredibly well-written, with the hateful relationship between Cameron and his mutant benefactor literally leaping off every panel once the Homo Superior has fitted his “silent friend” with a working voice box.

Equally as enthralling has to be Walter Simonson’s "arting", which immediately conjures up memories of the earliest X-Men’s highly-popular adventures during the late Eighties. Indeed, this monthly’s cover is so highly reminiscent of the American penciller’s first front page illustration for the colourfully-costumed protagonists that it is easily worth the magazine’s price alone.

Writing: Louise Simonson, Arting: Walter Simonson, and Coloring: Laura Martin

Commanders In Crisis #1 - Image Comics

COMMANDERS IN CRISIS No. 1, October 2020

Considering that Steve Orlando’s job with this mini-series’ opening instalment was to introduce a mega-event with an entire universe of super-powered characters “you’ve never heard of”, Issue One of “Commanders In Crisis” was more than likely seen as something of a success by its estimated 38,500 readers in October 2020. For whilst the twenty-four page periodical doesn’t really reveal the nature of the cataclysmic fate about to befall the planet Earth, apart from the notion that it involves “cosmic sepsis”, Frontier’s investigation into the disconcerting death of a mysterious John Doe in Pennsylvania certainly provides this comic with something of an intriguing hook; “What, you writing a novel? We don’t have vampires in Philly, Gina.”

Likewise, the GLAAD Media Award-nominee’s ability to begin building an enthralling backstory to this book’s quite considerable cast is arguably evident, with the titular characters successfully tackling “Mind Muggers from seventy-seven years from now” providing four of the team with plenty of limelight. Admittedly, both Seer and Originator’s special abilities are mystifying, especially the white-costumed Quantum God, whose energy blasts wear her out within mere minutes of the brutal battle starting. But in recognising this lack of exposition, the America author does give Scarlet Davis and Sumaira Shamsie additional sheet-space later in the book by penning how differently the pair cope during the fight’s aftermath.

Quite possibly this publication’s biggest attraction however, is its revelation that apart from Nina, each of member of the Think Tank’s Crisis Command are actually the sole survivor of an alternative world where they were at one-time the President of the United States. The fact these commanders-in-chief have now all come together to supposedly save “the last Earth left” is a fascinating concept, as is Orlando’s implication that the all-consuming Cosmic Sepsis has enough self-awareness so as to be potentially attracted to our planet should things get “bad enough.”

Packing this comic’s punches with plenty of “Pow!” and “Pop!” is Davide Tinto, whose artwork throughout “The Action Of Mystery” does a good job of enhancing its storytelling. Above all the Naples-born illustrator imbues this book’s big battle with plenty of pulse-pounding pace, and even manages to include such details as the odd Mind Muggers’ brain in a backpack getting pulped by Prizefighter for the less squeamish bibliophile.

The regular cover art of "COMMANDERS IN CRISIS" #1 by Davide Tinto

Warhammer 40,000: Sisters Of Battle #1 - Marvel Comics

WARHAMMER 40,000: SISTERS OF BATTLE No. 1, October 2021

Announced in May 2021 by its publisher as “the start of the next phase of Warhammer comics at Marvel”, Issue One of “Warhammer 40,000: Sisters Of Battle” probably lived up to most Games Workshop fans’ expectations with its “no-holds-barred action, mystery, and daemons galore.” Indeed, the twenty-page periodical doesn’t even manage to last a mere handful of panels before it’s portraying a Magistrate and his fellow legal experts being flung to death from atop a high-rise building; “Your heresy will not go unpunished. Repent while you still can. Save your soul. You are about to die.”

Surprisingly however, Torunn Grønbekk’s narrative doesn’t concern itself with a large swathe of the Adepta Sororitas though, preferring instead to simply settle upon the self-contained exploits of eight Sisters of Battle, as they seek to free an Inquisitor’s acolyte from the chaotic planet of Siscia. Such a limited number of characters may well disappoint those hotly anticipating reading about the Ecclesiarchy's massed armed forces pitilessly subjugating a large-scale heresy using all the vehicles and wargear at their command. But it does mean that the Norwegian author is better able to imbue a few of the elite group with some pleasing personality.

In addition, it soon becomes evident that every casualty is going to be crucial to the success of Canoness Veridyan’s covert mission – an element which really helps to ramp up the tension once the team encounter their first potentially deadly obstacle in the shape of two men carrying Stub Guns, and are forced to dive for what scant cover the tunnel within which they are racing along can provide. This sense-shattering shoot-out also gives Grønbekk a terrific opportunity to contrast Novitiate Ghita from the rest of her fight-savvy comrades-in-arms and demonstrate just how much the female Progena of the Schola Progeniums relies upon her faith in the Emperor to see her safely through the day.

Similarly as rewarding are this comic’s layouts by Edgar Salazar, whose ability to imbue this “all-new action-packed adventure” with plenty of dynamism helps enormously with its storytelling. The expressions on the various combatants’ faces are particularly convincing in presenting people’s emotions, with the almost blissful look upon Battle Sister Elsbeth as she suicidally ignites a grenade whilst in the spine-breaking clutches of a multi-tentacled chaos spawn, disconcertingly haunting most of this book’s audience for quite some time afterwards.

The regular cover art of "WARHAMMER 40,000: SISTERS OF BATTLE" #1 by Dave Wilkins

Mighty Morphin #4 - BOOM! Studios

MIGHTY MORPHIN No. 4, February 2021

Absolutely chock-full of some truly outrageous action sequences, Ryan Parrot’s plot to Issue Four of “Mighty Morphin” must surely have worn out the majority of the superhero franchise’s fans with its mix of the utterly exhausting, city-levelling conflict concerning Lord Zedd's new Putty Prime, and the emotionally intriguing character-arc penned for Zelya of Eltar. Indeed, the twenty-page periodical arguably deserved to have been far more successful than just the hundred and forty-second best-selling title in February 2021.

For starters, the American author somehow manages to not only squeeze the humanoid battle robots Thunder Megazord and Tigerzord into this comic, but later arranges for the distinctly unique Dragonzord to make a truly, awe-inspiring appearance which momentarily appears destined to win the day for the Power Rangers. Such monstrous constructions genuinely help ‘sell’ the sheer scale of the Evil Space Aliens’ plans for the fictional city of Angel Grove, and similarly show just how disconcertingly powerful the invaders’ latest ultra-sized Putty Patroller is under the direct control of “the Emperor of all I see.”

Likewise, Parrot doesn’t just dwell upon the metropolis’ sense-shattering skyline skirmish, as his storyline also contains plenty of focus upon the individual combatants piloting the various fighting machines. In particular, one of this book’s best moments has to be the Red Ranger’s initially single-handed defence of the Megazord’s external hull against a veritable horde of Zedd’s featureless minions, whilst his team-mates desperately try to repair their disastrously-damaged Dinozord construct from within its chaos-filled cockpit; “Come on and get some, you glowy grey goblins! Let’s see if you can dethrone King Rocky!”

Enchantingly however, not every scene artist Marco Renna prodigiously pencils for this publication contains either a myriad of laser beams or a colossal, building-busting blow, as the bull-headed Farkas Bulkmeier manages to prove even more dislikeable midway through this tale, by illogically leaping to the conclusion that his best pal’s girlfriend is cheating on him. Bulk’s arrogant accusations at Candice clearly show just how much the High School bully cares for Eugene, yet they also suggest a highly anticipated comeuppance is on the cards for him once he realises that “Skull’s girlfriend… [is] an alien?”

Written by: Ryan Parrott, Illustrated by: Marco Renna, and Colored by: Walter Baiamonte