Chris Claremont Anniversary Special #1 - Marvel Comics

CHRIS CLAREMONT ANNIVERSARY SPECIAL No. 1, January 2021

Perhaps best known by comic collectors everywhere for his unprecedented writing spell on “Uncanny X-Men” from 1975–1991, there can surely be little argument that if any “Marvel Comics” contributor deserved a fiftieth anniversary special to celebrate their “enormous impact” on the New York City-based publisher’s long-running success, it is Chris Claremont. But whilst this thirty-two page periodical undeniably contains a plethora of “characters created and defined by the pen of” the British-born American author, the publication’s rather choppy plot makes it debatably easy to see just why such a well-meaning commemorative work was only the eighty-eighth best-selling title in January 2021 - at least according to the Direct Market distributors for that month.

To begin with, Dani Moonstar’s “mission across time and space for an incredible psychic showdown against the Shadow King” isn’t all that obvious until some way through the narrative. Up until this point, the Eagle Award-winner’s storyline seems to just lurch from antagonist to antagonist as Mirage initially appears to face the fiery fury of Dark Phoenix, followed by the utterly bizarre villainous super-team of Mister Fantastic, Doctor Doom and the Sub-Mariner. Admittedly, all of these foes are later shown to have been manipulated by Amahl Farouk, but it isn’t until a watery image of the “multiversal manifestation” is finally pencilled in a panel that is becomes clear this mismatch from various realities is being stage-managed; “I so love it when my victim’s fight. Their souls become much yummier. Wonder who’ll die first?”  

However, Just because any perusing bibliophile now knows that Professor X's nemesis is behind Moonstar's subsequent encounters doesn't help provide them with any particular rhyme or reason for specifically occurring. A thoroughly ferocious fist-fight between Binary and a possessed Rogue is probably the best of the bunch, with Claremont's unusually blood-thirsty incarnation of Anna Marie disconcertingly appearing all-too keen to dispatch Carol Danvers with an energy blast through the chest. Yet, despite being dynamically drawn, even this action-packed sequence becomes head-scratchingly surreal when it appears to have been simply a holodeck simulation concluded by the sudden appearance of Corsair and the rest of his Starjammers.

Perhaps this comic’s biggest let down though comes with its ending, which abruptly follows the lone New Mutants’ ultimately successful fight against an utterly sadistic Gambit. Having been beaten to tears by the Shadow King, and then subsequently saved by ‘Ro Munroe, Dani is depicted triumphantly flying away into the night’s sky on Brightwind only to then be shown aiming an arrow at Hela's head in the very next panel. This jolting transition apparently marks the point where the Goddess of Death becomes convinced Moonstar was good enough to become a Valkyrie, and bemusingly congratulates the understandably angry youth for passing “thy test.”

The regular cover art of "CHRIS CLAREMONT ANNIVERSARY SPECIAL" #1 by Salvador Larroca

Iron Man [2020] #13 - Marvel Comics

IRON MAN No. 13, December 2021

Presented by “Marvel Worldwide” as an “epic showdown between Iron Man and his allies and Korvac and his cohort”, Christopher Cantwell’s narrative for “The Great I-M” must certainly have enthralled the vast majority of its audience due to its sense-shattering series of pulse-pounding punch-ups. Indeed, the American author even manages to pen Frog Man momentarily duking it out against this title’s central antagonist by having Eugene Patilio’s alter-ego literally getting a double-footed drop on the “human cyborg turned deity” before being badly blasted at point-blank range.

Admittedly, such an action-packed assault upon the readers’ senses could ultimately prove a little laborious if an endless chain of jaw-breaking thumps and crackling energy beams was all Issue Thirteen of “Iron Man” had to offer. But rather enjoyably, the television showrunner also uses these frantic skirmishes as a means of illustrating just how close to universal disaster Shell-head’s “Space Friends” actually are, whilst also presenting the odd glimmer of humour to an otherwise deeply dark storyline involving the Power Cosmic; “What’s up, my Little Pony?”

In addition, this twenty-page periodical’s plot provides Patsy Walker with plenty of spotlight to show just why the former Defender is still very much a fighting force to be reckoned with even when facing the formidable potential of “a power-crazed god”. Hellcat’s burgeoning partnership with Isaac Christians is particularly well-written, and really helps establish the super-hero’s fighting savvy when she arranges for the Gargoyle to hurl her into battle after spotting that the original Human Torch is actually being manipulated by one of Basil Sandhurst’s mind control discs.

Helping add loads of dynamism to this comic’s antics is Carlos Alberto Fernandez Urbano (Cafu), whose ability to bring so many ferocious fist-fights to blistering life cannot arguably be over-stated. The Spanish artist’s panels showing Iron Man’s maniacally mad hatred for Michael Korvac really help make Stark’s almost unhinged raw fury highly believable, especially when it becomes clear that despite all the billionaire’s best efforts to physically pummel the sentient machine to dust, it still might not be enough from stopping the utterly insane android from altering the course of human existence forever…

The regular cover art of "IRON MAN" #13 by Alex Ross

Pinpoint: Collected Edition - Second Sight Publishing [Part One]

PINPOINT: COLLECTED EDITION, December 2020

Wall-to-wall with testosterone-filled combat, as well as featuring an enthralling plot containing missing agents, a mysterious island “which emits some sort of nigh-undetectable natural radiation” and a gang of ruthless killers, it’s doubtful many fans of Alfred Paige’s titular creation will be disappointed with Philipp Morgan’s script for this opening third to “Pinpoint: Collected Edition”. Indeed, any initially dubious bibliophile should find themselves instantly hooked by this trade paperback's combination of plain-talking dialogue and explosive action sequences just as soon as they encounter its opening flashback depicting the Black Ops operative’s torrid time serving in Afghanistan.

Admittedly, the arrogant “rough man” himself is arguably somewhat dislikeable as he contemptibly outraces two police patrol vehicles to ensure he arrives at his meeting with Avery Davis on schedule, and subsequently just hands his motorcycle helmet to the well-spoken women waiting in the wings to welcome him. But Washington’s brashness is soon shown to simply be the veteran soldier’s way of surviving the harsh environments he regularly finds himself inhabiting, even when surrounded by a murderous mob of heavily-armed children determined to discover what the man has in his luggage; “What the hell is wrong with you kids!! Tell your boys to put the guns down and you might even live to see puberty.”

Equally as intriguing as Pinpoint’s very personal motivation for accepting such a lethal-looking mission is the way this publication’s storyline is actually plotted. Initially beginning with James’ aforementioned military time inside the landlocked Islamic Emirate, the audience are suddenly brought bang-up-to-date with a chairbound James being horribly tortured by the very criminal he visited Eden to encounter, before being unceremoniously deposited back to the bald-headed agent’s initial briefing by Davis at an undisclosed security facility somewhere within the United States’ capital. This rollercoaster of a ride only really settles down once Washington is aboard a containment vessel heading for the island, and does a sterling job in showing how maniacally murderous a pathway the lone ‘cutthroat’ is travelling along.

Edson Alves is also a pivotal part of the successful storytelling taking place within this graphic novel's first twenty-five pages. The artist imbues Pinpoint with all the muscled mass a reader would arguably expect from an operative who heavily relies upon physical intimidation to see him safely through a dangerous scenario, and undoubtedly pencils one of this comic’s highlights when James angrily stubs out his cigar in the left eye socket of an unwisely belligerent bartender.

Story: Alfred Paige, Plots/Scripts: Philipp Morgan, and Pencils: Edson Alves

What If? #6 - Marvel Comics

WHAT IF? No. 6, December 1977

Initially re-treading the somewhat familiar old ground of the Fantastic Four’s origin story, this thirty-three page periodical certainly seems to take a while to get going with its unusual premise of depicting Marvel’s first family with “different super-powers”. Indeed, Roy Thomas’ script for Issue Six of “What If?” somewhat surprisingly opens with Reed Richards’ famous blue-costumed quartet initially battling a group of ‘every day’ armed robbers for a good dozen panels before the Watcher even steps in to suggest that the cosmic rays which mutated Jack Kirby’s co-creations could have given the heroes other special abilities if their personality traits had been less distinctive on the day of their unsuccessful space mission.

Disappointingly however, such a disconcertingly long wait isn’t arguably worth it either with Uatu’s unimaginatively retconned “New Fantastic Four” from an alternative reality consisting of a giant floating brain, Ben Grimm sprouting wings and Sue Storm pitifully just taking on the plasticity of her future husband from Earth-616. Only Johnny’s transformation is debatably intriguing, with the hot-headed youth changing into a living robot which has an “empathic ability to turn on any kind of machine”, courtesy of his apparent “fascination with and knowledge of [all] things mechanical.” 

Just as head-scratching is Thomas’ central storyline, which follows in the footsteps of Doctor Doom attempting to steal “the priceless treasure of Blackbeard the Pirate” for his own evil ends. Rather than have Invisible Girl abducted though, as per Stan Lee’s narrative for Issue Five of “Fantastic Four”, Latveria’s monarch instead matter-of-factly walks into the Baxter Building unharmed and convinces Reed’s bodiless intellect that he can build him a humanoid body capable of enjoying “the succulence of a superb meal” if he would accompany him back to the Doomstadt.

Of course, the small eastern Kingdom’s supreme leader has absolutely no intention of actually helping his hated rival reignite his romance with Sue through an “anthropomorphic housing”, and soon reveals he merely requires “Big Brain” as a power source for the heavily-armoured dictator’s infamous time machine. This nightmarish scenario, admittedly well-pencilled by Jim Craig and Rick Hoberg, certainly provides the rest of the team with some excellent opportunities to demonstrate their various powers. But ultimately depicts all three protagonists individually failing in their efforts to defeat Victor in hand-to-hand combat, and therefore becoming wholly reliant upon Richards to save the day by permanently sending “my mind into Doom’s body!”

Writer/Editor: Roy Thomas, and Pencilers: Jim Craig and Rick Hoberg

Shang-Chi [2021] #5 - Marvel Comics

SHANG-CHI No. 5, December 2021

Rather intriguingly portraying the “Earth’s Mightiest Heroes” as a cadre of treacherous, holier-than-thou bad-guys, Gene Luen Yang’s script for Issue Five of “Shang-Chi” certainly provides the titular character with an opportunity to show just why he is known as the Master of Kung Fu. Indeed, this somewhat frantically-paced twenty-page periodical’s highlight is probably Brother Hand’s highly successful skirmish against a fully-powered Iron Man, who arrogantly believes his advanced technology makes him impervious to any and all harm; “Cutting-edge armour verses human fists! Face it, Shang! You can’t beat me!”

Enjoyably however, watching a wholly dislikeable Tony Stark get his clock cleaned courtesy of “an adamantium-plated three-section staff” isn’t the only utterly mesmerising moment the American author’s narrative has to offer, with the supreme commander’s skirmish against the cybernetically enhanced Mister Red Dot providing plenty of sense-shattering shenanigans too. This scintillating start to the comic really sets the tone for the rest of the publication, and ultimately shows the loathsome lengths the Avengers will apparently stoop to when it is later revealed the murderous gangster was actually hired by Iron Man to help him infiltrate the Five Weapons Society’s intelligence database.

Such a shoddy deception, which at one point actually sees the crook fire a bullet at an unarmed Shang-Chi’s head, strongly suggests that the supposed super-team have lost any sense of lawfulness in their obsession to obtain “definitive proof” that the former ‘Hero-For-Hire’ has been detrimentally changed by his nefarious father’s criminal organisation. In fact, by this book’s end, it is clear that Stark is completely oblivious that it is actually he who has been despicably deceiving his former friend throughout the adventure, and not the Master of Kung Fu who “lied straight to my face!” 

Equally as effective in making this comic a certifiable winner are Dike Ruan’s layouts, which really help project Shang-Chi’s dazzling dynamism whenever confronted by a physical challenge. The warrior’s aforementioned battle against Iron Man is a great example of this, with the Chinese artist showing just how slow the Golden Avenger is when facing an opponent unfettered by a need to solely rely upon his state-of-the-art weaponry in order to win a fight.

Writer: Gene Luen Yang, Artist: Dike Ruan, and Colorist: Triona Farrell

The Immortal Hulk #50 - Marvel Comics

IMMORTAL HULK No. 50, December 2021

Boasting a “giant-sized finale” which would supposedly see the titular character have all of his numerous questions fully answered by the One Below All, this whopping eighty-two-page periodical certainly contains plenty of room for Al Ewing to bring “the last issue of The Immortal Hulk” to a thoroughly satisfying conclusion. But whilst this weighty tome ends with a successfully liberated Bruce Banner confidently making his way out of the Fantastic Four’s Baxter Building, it is arguably not particularly clear just how the Gamma-based boffin’s Joe Fixit persona actually managed to achieve such a euphoric victory over the Leader behind the Green Door.

Indeed, considering that this ongoing series has apparently been heading for a fateful confrontation between the founding Avenger and Samuel Sterns’ monstrously malformed alter-ego for some considerable time, this punishingly long publication seems to be debatably lacking any pulse-pounding pugilism whatsoever; “Smashing ain’t gonna do it. He’s too big. But I figure this cr*p goes right into his giant brain -- and I figure we’re strong enough to pull it inside out.”

Fortunately though, “Of Hell And Of Death” is blessed with a much more enthralling secondary plot set way back in Ohio 1901. This seemingly unlinked tale of treachery and holier than thou murder focuses upon the Reverend Robert Sterns visiting his brother, Samuel, to purportedly witness his scientifically minded sibling’s discovery of Gamma radiation. Steeped in a positively palpable Edwardian era atmosphere, the prolonged flashback sequence is rivetingly penned and takes on an entirely darker tone once the physically intimidating preacher reveals he knows his close relative has been secretly having an affair with his wife, Beatrice [Banner].

In addition, Joe Bennett is on top form when it comes to pencilling this ongoing series’ super-sized culmination. Along with inkers Ruy Jose and Belardino Brabo, as well as colorist Paul Mounts, the Brazilian really manages to project the increasingly hostile presence of Robert Sterns during the aforementioned altercation with his wretched brother. However, it is probably the artist’s ability to sketch some of the stomach-churning atrocities spilling out of the supreme ruler of the Multiverse which will probably ‘haunt’ this comic’s Hulk-heads the longest, especially the likes of an emaciated Leader, whose mortal shell is torn from out of a gross-looking, egg-shaped brain sack.

The regular cover art of "IMMORTAL HULK" #50 by Alex Ross

Dune: House Atreides #11 - BOOM! Studios

DUNE: HOUSE ATREIDES No. 11, October 2021

Arguably feeling more like a modern day courtroom drama rather than a futuristic space romp, Issue Eleven of “Dune: House Atreides” certainly should still delight fans of “the world's best-selling science fiction novel” with its superbly-penned mixture of political intrigue, double-crossing dealings and high-stake games of bold-faced bluff. Indeed, despite this comic’s lack of action-packed adventures, Brian Herbert and Kevin J. Anderson’s storytelling still provides an incredibly enthralling experience of life in the far distant future where Vladimir Harkonnen is absolutely desperate to see Leto Atreides be tortured following the young Duke’s imminent trial by forfeiture.

Foremost of these tantalising hooks is probably the incredible lengths Crown Prince Shaddam undertakes when faced with the possibility that his support for Project Amal will be revealed to the entire Landsraad during Leto’s tribunal. The soon-to-be Emperor’s evident fear at such a revelation is fascinating to watch, especially when he savagely turns upon his most trusted Mentat political tactician, Hasimir Fenring, for daring to suggest the Imperium blackmails the Great Houses into simply acquitting Duke Atreides; “I have not even been crowned, and this could threaten my rule. How ham-handed! And you did this without consulting me?”

Similarly as well-delivered is the duplicity of the Tleilaxu, who for once are seemingly unaware that it is they who are actually being ‘played’ in a much larger game. Determined to seek justice for the apparent unprovoked attack upon their delegation by House Atreides, the treacherous Hidar Fen Ajidica not only somewhat patronisingly manages to defy Shaddam’s order to drop his allegation against Leto with some mere well-placed words. But subsequently arranges for a pair of shape-changing assassins to unsuccessfully attack the defenceless prisoner in his cell, and resultantly causes even more chaos for "the youngest son of the 80th Padishah Emperor Elrood Corrino IX" to somehow quietly contain.

Fortunately, all of these ‘behind closed doors’ dealings are well-illustrated by Dev Pramanik (with Mariano Taibo). The Indian artist does a particularly good job in pencilling the facial expressions of “the newly crowned” Atreides during his incarceration on Kaitain, as both the evidence seems to slowly stack up against his claim of complete innocence, and his shrewd intuition helps him make full use of some surprising support from the Bene Gesserit.

The regular cover art of "DUNE: HOUSE ATREIDES" #11 by Evan Cagle

Orphan And The Five Beasts #2 - Dark Horse Comics

ORPHAN AND THE FIVE BEASTS No. 2, April 2021

Providing a somewhat detailed backstory to “the dreaded bandit leader that used to be a hero”, as well as subsequently establishing Orphan Mo as Thunderthighs’ unlikely successor, there is clearly much more to James Stokoe’s Issue Two of “Orphan And The Five Beasts” than the comic simply being a publication-long portrayal of oriental-flavoured pugilism. Yet whilst such welcome additions to this book’s plot definitely help break-up the Canadian author’s detailed depiction of the brave warrior tackling the dreaded “Two Trees Bearing Heaven” fighting style, it is her lengthy and gratuitously violent confrontation with the gigantic bearded villain which will debatably long linger within its audience’s mind’s eye. 

Indeed, considering that the storyline’s “first of the Beasts” is brutally bisected and disembowelled by a blinding series of blade blows, skewered through the legs with a pair of throwing spears and then later grotesquely torn asunder by rampaging horses, it is probably hard for any perusing bibliophile to imagine what other ghastly physical misdemeanour this title could possibly contain; “Hahaha!! Thought cutting me in half would slow me down, huh?! Thought you could stop Thunderthighs?!? You just cut off the dead weight, fool!”

Perhaps therefore it is this twenty-two page periodical’s intriguing premise that the “mountain bandits” actually thought their titanic boss was just a dislikeable “punk who crushed all of our horses”, that proves a much more palatable plot-thread. The titular character’s embarrassed shock at becoming the head of such a motley band of brigands is well-penned, and subsequently shows just how much the emaciated thieves loathed the “force of destruction that threatens all life in the valley with his indestructible legs" when they willingly aid Mo in the final stages of her battle against him.

Of course all this over-the-top wanton bloodshed is stunningly pencilled by this comic’s creator in his rather recognisable ‘frenetic, hyper-detailed style’, and must have taken an eternity to illustrate considering the sheer mass of gristle-splattered entrails on show. However, by the time Mo has finally killed the seemingly invincible monstrosity of an outlaw, the persistent panels presenting endless glimpses of torn arteries, sausage-like intestines and busted internal organs is arguably going to prove all too much for even the most dedicated of Gorehounds.

Script, Art, Letters, and Cover: James Stokoe

Star Trek #14 - Marvel Comics

STAR TREK No. 14, June 1981

Comprising of just twenty-two pages it is highly likely that many readers of “We Are Dying, Egypt, Dying!” were in awe that Martin Pasko managed to cram in so many wonderful, albeit somewhat clichéd, elements into his narrative for Issue Fourteen of “Star Trek” when it originally hit the spinner racks in early 1981. In fact, considering that this comic contains giant laser-wielding robots, an all-powerful artificial intelligence, a deadly “swarm of siderites”, mass blood transfusions, mind-controlling devices, living mummies and a planetary shrink ray which threatens to turn the U.S.S. Enterprise into the size of a harmless child’s toy, it’s arguably hard to imagine what else the Canadian author could concoct.

Rather enjoyably however, all these different oddball elements come together quite miraculously to successfully create a genuinely fun, action-packed adventure which, whilst imbuing the more tongue-in-cheek elements of televised episodes such as “Spock’s Brain” and “A Piece Of The Action”, also bounds along at a rip-roaring pace. Foremost of these various plots is arguably the long-dead alien’s highly advanced computer deciding to implant Admiral Kirk’s mind with the memories of a “descendant of Menteptah!” This malfunctioning machine soon turn’s Starfleet’s youngest ever captain into a truly merciless tyrant, and it is very easy to imagine actor William Shatner playing such an ‘over-the-top’ role with great gusto on the small screen; “I am you captain no longer! I am the Holy Pharaoh -- and I decree you shall perish!”

Similarly as bizarre though, is the notion that one of Zeta Reticuli II’s numerous pyramids contains an extraordinary weapon that is capable of defying “ev’ry physical law” Montgomery Scott knows so as to slowly reduce the Constitution-class Starship’s actual size. This astonishing predicament is debatably alarming enough in its own right, but Pasko manages to ramp up the tension even more by having artists Luke McDonnell and Gene Day create some marvellous panels in which an understandably horrified Bridge Crew are shown not to be getting any smaller, and therefore face being crushed to death inside their own space vessel by the deadly “condensation effect.”

Rounding off this book’s positive plot-threads has to be the prolific playwright’s spotlight upon the likes of Hikaru Sulu, Pavel Chekov, Nyota Uhura, Leonard McCoy and Commander Spock. For once all of these characters get some considerable planet-side action to really get their teeth into, especially Bones and his green-blooded superior officer, who both ‘enjoy’ their own solo investigations into Kirk’s strangely flummoxing behaviour.

Writer: Martin Pasko, Artists: Luke McDonnell & Gene Day, and Colorist: Carl Gafford

Artemis & The Assassin #1 - AfterShock Comics

ARTEMIS & THE ASSASSIN No. 1, March 2020

Overflowing with all manner of sense-shattering shenanigans through time, truly savage historical slayings, and plenty of gun-toting, jack-booted Nazi Germans, Stephanie Phillips’ narrative for Issue One of “Artemis And The Assassin” surely must have pleased its 7,192 readers in March 2020. In fact, it isn’t until this twenty-page periodical’s final quarter that the comic’s breath-taking pace finally comes to a natural, momentary pause as Virginia Hall finds the time for some brief bed rest, before facing this comic’s sensational cliff-hanger of a conclusion; “This… This is huge. It could change… everything. Hamlet..? Hamlet! Who the hell are you!?!”

Perhaps this publication’s principal highlight however, is the mysterious makeup of this mini-series' “top-secret assassination organisation” and the cold-blooded agency’s apparent ability to murder the likes of Grigori Rasputin in 1916, courtesy of a futuristic energy arrow straight through the eye, without adversely affecting the continuity of the planet’s established timeline. Just why people would willingly commission operatives to “interfere with watershed moments” intriguingly hangs over everything which takes place within this book, and arguably becomes even more enthralling once the well-dressed Isak insinuates that previous “cataclysmic” missions have unfortunately gone wrong.

Similarly as enjoyable as this comic’s writing though are Meghan Hetrick’s layouts, which really help both imbue Maya’s highly dislikeable character with all the haughty arrogance a bibliophile might expect from a successful hired killer, as well as add some palpable dynamism to Hall’s highly destructive detonation of a German-held bridge. Indeed, whether it be the illustrator’s depiction of “the agency’s top assassin” brutally dispatching the Russian mystic’s astonished bodyguards in a horrifically gory manner, or “the deadliest spy of World War Two” huffing and puffing her way ahead of a pack of ravenous Nazi guard-dogs, the artwork is top-notch.

Adding some extra bang for this audience’s buck is this book’s succinct secondary story “Zen And The Art Of Assassination”, which fascinatingly reveals Maya’s early days as an apprentice under the watchful eye of Isak. This ‘short’, prodigiously pencilled by Francesca Fantini, shows that even back then the two work colleagues did not apparently get on with one another, and starts to establish just who the then aspiring archer had to kill first so as to “get my own missions.”

Writer & Creator: Stephanie Phillips, and Artists: Meghan Hetrick & Francesca Fantini

Red Knight #3 - Manos Publishing

RED KNIGHT No. 3, May 2020

Quite wonderfully managing to bring this title’s first story arc “A Knight Without A Sword” to an ultra-satisfying conclusion with the brutal defeat of Nolan Sinclair’s two hired hoodlums, it is hard to imagine many super-hero comic book fans reading Issue Three of “Red Knight” would have much to complain about. But whilst Justin Cristelli’s narrative manages to depict the wealthy mob boss’ plans lethally crashing down around the crook’s head as a result of a truly epic battle between the murderous Over Kill and the titular character, the author’s greatest achievement with this publication is arguably his ability to also pen plenty of intriguing hooks for the title’s future instalments within its bumper-packed storyline.

For starters, this twenty-six page periodical provides a tantalising insight into the murky backstory as to just how the likes of an adolescent Todd McClain, Ben Lee and Wendy Harper actually received their special powers. Having been kidnapped and experimented upon by Sinclair’s unscrupulous scientists, it is entirely evident that the trio eventually escape to become the costumed crime-fighters known today. However, just who else was abducted and what happened to them is not revealed by Detective Martha Brown, nor whether the authorities can be sure that all the criminal’s clandestine trials were actually successfully shut down.

In addition, Cristelli also reveals just how the Secretary of Super Human Affairs, Matthew Grace, goes about recruiting “talented youngsters” arrested for vigilantism into the Union of Super Heroes. This sequence provides the American author with a great opportunity to showcase the significantly larger world of Red Knight, as well as name drop some of its more notable personalities, such as “the great Captain Danger and the mysterious White Shark!”

Helping provide each and every blow with plenty of bone-breaking dynamism is artist JC Grande, whose ability to prodigiously pencil the villainous Over Kill as an insanely scary, unstoppable killing machine is debatably hard to fault. Likewise, Shiloh Penfield’s work on this comic’s “Captain Danger Origin” is similarly noteworthy, cramming in the legendary protagonist’s backstory within the space of single well-laid out sheet; “Walter Watson became Captain Danger. A hero for all. If God was testing him, I’d say he passed with honours.”

Writer: Justin Cristelli, Artists: JC Grande & Shiloh Penfield, and Colorist: Forrester Randlet

Star Trek: Year Five #25 - IDW Publishing

STAR TREK: YEAR FIVE No. 25, July 2021

Purportedly penned as a bridge “between the end of the five-year mission and the beginning of Star Trek: The Motion Picture”, this “oversized epilogue” certainly tries to give the majority of the U.S.S. Enterprise’s bridge crew their own individual ‘moments in the sun.’ But whilst this approach arguably works quite well for the likes of James Tiberius Kirk as the Admiral ensures his participation on a last off-world mission before settling down as Chief of Starfleet Operations, the spotlights upon some of the science fiction series’ secondary cast are far less successful, and debatably lack any credible logic as to their change of circumstances or personnel motivations.

Indeed, perhaps one of this twenty-four page plot’s biggest problems is that it was composed by a committee of six separate authors, with each writer having their own take on just what a given character did following their Constitution-class starship’s refurbishment at the San Francisco Fleet Yards. A good example of this is Paul Cornell’s piece depicting Sulu and Chekov somehow being abducted by a group of Russians unhappy at how the Federation have treated their 'semi-civilized' community. Pavel is understandably angry at his old Soviet school friend tying him up and pointing a gun in his face, but the British novelist bizarrely has Hikaru agreeing with the ‘terrorists’ that they’ve been ill-treated and actually sharing a drink with his kidnappers once he’s been miraculously released.

Even Doctor Leonard McCoy’s backstory as to his departure from Starfleet doesn’t withstand too much scrutiny, as a bearded “Bones” is shown by Jim McCann to have simply given up his career “to retire to a farm” because Kirk told him it would ‘soothe him’. Precisely what makes the Chief Medical Officer swear “he'd never return to Starfleet” is not stated, and instead is just implied when the tale ends with the lieutenant commander wistfully looking at a photograph of his estranged daughter Joanna when she was an infant; “Tell the Admiral that I know a certain nurse who would make a damn fine doctor aboard the ship.”

However, debatably the most poorly portrayed member of the bridge crew is Uhura, who suddenly decides to visit Montgomery Scott whilst the engineer is overseeing the U.S.S. Enterprise’s renovation in space dock. Having stood and patiently listened to the Scotsman wax lyrical as to all his beloved vessel’s planned improvements, Nyota suddenly plants a kiss on the astonished Scotty’s cheek completely out of the blue and then suggestively tells him to take her out to dinner the next night because she’s ‘always enjoyed working with him’.

Writers: Jackson Lanzig & Collin Kelly, Jody Houser, Paul Cornell, Jim McCann and Brandon Easton

Moon Knight [2021] #3 - Marvel Comics

MOON KNIGHT No. 3, November 2021

Predominantly fixating itself with a seriously good bout of brutal fisticuffs between the titular character and the holier-than-thou Hunter’s Moon, Issue Three of “Moon Knight” certainly packs plenty of punch. Indeed, the repeated blows, kicks, throws and barbed comments exchanged by this comic’s two lead antagonists arguably makes for a mesmerising read, especially when despite his best efforts Marc Spector’s alter-ego actually appears to be slowly losing the battle against Khonshu’s second high priest; “Even a man has two fists… How arrogant you must be to assume a God. Our God. Would have only one.”

Enjoyably however, rather than simply hook its audience with a publication-long spell of pugilism, Jed MacKay’s script also provides plenty of stimulating spotlight upon the burgeoning secondary cast's development, with the super-hero’s Midnight Mission quickly building up a support team of its own in the shape of Ted, Reese, Soldier and Terry. This mix of humans and vampires seeking the building’s safety once Doctor Badr decides to “remove the distractions” from Mister Knight’s life actually provides the former American marine with an intriguing element of vulnerability and clearly demonstrates that the “Crescent Crusader” is no longer just fighting for himself, but for his local community.

In addition, “Two-Fisted” provides a few more titillating clues, or potential well-penned red herrings, as to the identity of the unknown malevolent force trying to break the “apostate priest.” The Canadian author initially implies that this shadowy, faceless threat could be either Moon Knight’s latest therapist, Andrea Sterman, or even the multi-faceted vigilante himself, and only much later on seemingly rules out Badr when Spector rather amusingly completely befuddles the self-centred worshipper of Khonshu by erroneously accusing him of being his “mysterious enemy”.

Adding plenty of awesome bang for one's buck are Alessandro Cappuccio’s layouts, which during the aforementioned fight sequence are as dynamically-drawn as any fan of comic book smackdowns could debatably hope for. The design of Hunter’s Moon is especially noteworthy, with the villain’s costume being just different enough to mark the criminal out during the frantically-paced fracas, and yet still disconcertingly similar to that worn by the true Fist of Khonshu.

Writer: Jed MacKay, Artist: Alessandro Cappuccio, and Color Artist: Rachelle Rosenberg

BRZRKR #5 - BOOM! Studios

BRZRKR No. 5, September 2021

Publicised by “BOOM! Studios” as “the start of a new story arc in the top-selling twelve-issue limited series by the iconic Keanu Reeves and New York Times bestselling co-writer Matt Kindt” Issue Five of “BRZRKR” undeniably shows an entirely different aspect to the immortal being who has been brutally butchering apart his legions of foes for eighty thousand years. But whilst this intriguing look at the more intimate side of the warrior’s existence proves to be an enthralling experience, there will probably be those within the comic’s audience who may well feel the seemingly endless carousel of doomed lovers throughout history starts to get a little monotonous before too long.

Indeed, having painted both a truly terrifying and touching portrayal of the titular character’s horribly painful first love some twenty-thousand years ago, it’s arguably questionable just why this book’s narrative subsequently continues to repeat the same tragic tale of stillborn babies and unsuccessful births for the rest of the twenty-four page periodical; “I never saw my child. Only later would I know its fate. It took years of making the same mistake before I realised… finally realising a future for anyone but me was impossible.”

Somewhat intriguingly however, this publication’s writing partnership does still manage to ‘wrong-foot’ its readers with a supposedly emotional bond developing between the Bezerker and Doctor Diana Ahuja. Initially it seems that the pair will be doing more than drinking Scotch together when the scientific researcher rather unprofessionally visits her ‘test subject’ one evening at his home in order to “build more of a connection between us.” However, this later appears to have been just another of the academic’s treacherous ruses to simply manipulate him into providing her with the technical data the U.S. Government wants surrounding his immortality.

Ably aiding Reeves and Kindt with their storytelling is Ron Garney, whose pencilling of the aforementioned meeting between the Bezerker and a Late Stone Age native girl is arguably the highlight of this comic. Bravely interposing between a truly gigantic brown bear and the terrified young woman, the artist goes on to sketch a heart-melting end to the smitten warrior as he is literally torn apart limb from limb by his mate’s fearful tribe, whilst she tragically gives birth to a lifeless child.

The regular cover art for "BRZRKR" #5 by Lee Garbett

Black Widow #11 - Marvel Comics

BLACK WIDOW No. 11, November 2021

Initially implying that this comic’s plot might be more focused upon the covert exploits of its titular character than her formidable flair for fatal fisticuffs, Issue Eleven of “Black Widow” arguably starts a little slowly as Natasha Romanoff simply seeks the services of a long-time informant across a five-page sedentary sequence. However, once Stan Lee’s co-creation returns from her visit to Maxi the cobbler and subsequently invites a decidedly grouchy Yelena Belova to a formal “old-timey freak show meets that Cirque Du Soleil business”, Kelly Thompson’s narrative undeniably becomes much more action-packed.

Indeed, the entirety of the remaining comic centres upon the two former Russian KGB agents as they initially swap barbed pleasantries with the disconcertingly super-powered Twins, before showing the mysterious, smartly-suited pair just why the female super-heroes are some of the best in the crime-fighting business. This vicious confrontation is as slickly presented as Liv and Lars collaborative special ability is disconcerting, and makes for an enthralling game of ‘cat and mouse’ as the combatants repeatedly swap opponents in an effort to gain the upper hand; “Well, we wanted to fight them and so we did. Always good to know where you stand. Still, a bit of injury to our pride. Yes.”

Of course, that isn’t to say that the Eisner Award-winner neglects the burgeoning abilities of Romanoff’s other team-mates either, with “The Source” also providing some significant spotlight upon both Spider-Girl and Lucy Nguyen as they train together at The Web in San Francisco. These sparring sessions are well-penned by the American author, and additionally used to show how the White Widow’s young protégés’ relationship with one another is quickly developing into a seemingly firm friendship.

Ultimately though, a lot of this book’s success is due to Rafael De Latorre’s artwork and evident ability to pack Thompson’s storyline with some truly pulse-pounding pugilism. In fact, the sense of speed which emanates from the Brazilian illustrator is electrifying, especially when they’re pencilling either the overly-muscled Liv or perturbingly emaciated Lars rapidly trading blows, knife attacks and electroshocks at close quarters with Natasha and Yelena within the confines of a circus tent.

The regular cover art of "BLACK WIDOW" #11 by Adam Hughes

Iron Man [2020] #12 - Marvel Comics

IRON MAN No. 12, November 2021

Wholly centred upon the titular character’s ultimately successful infiltration of Galactus’ multi-decked worldship, Taa II, this twenty-page periodical’s plot certainly must have provided its audience with plenty of sense-shattering shenanigans. In fact, it is difficult to imagine what more Christopher Cantwell could have squeezed into Issue Twelve of “Iron Man”, considering the lengths to which the “massive solar system-sized ship in space” goes to in order to eliminate the two fully-armoured “burglars” wandering through its numerous sectors.

For starters, the American author ensures that this comic contains plenty of sizzling laser beams and a truck-full of micro-missiles – all of which seem intent of shredding both Tony Stark’s alter-ego and Avro-X given half an opportunity. These incredibly dynamic action sequences, marvellously visualised by Angel Unzueta and colour artist Frank D’Armata, really are quite mesmerising to peruse, whilst simultaneously working as an appetiser for an astounding appearance by the World-Eater’s Punisher robots; “Wait, I think your double-A batteries are in backward. Lemme help you switch ‘em.”

Likewise, the television director does a good job penning the arrival of Michael Korvac and Iron Man’s subsequent brutal battering at the hands of the human cyborg’s super-powered minions. This vicious encounter initially seems to be going the Golden Avenger’s way, when he angrily rips one of the false god’s limbs off. However, the combined might of the Unicorn’s “power horn”, and the Controller’s daunting physical strength soon prove to be too great a hurdle for an already badly beaten Shell-head to overcome.

Perhaps therefore this comic’s sole disappointment lies in the impotence of ‘guest-star’ Colin Richard, who despite wearing a state-of-the-art battlesuit, is instantly shown to be well out of his depth when it comes to exploring Galactus’ deadly home or facing the diabolical power of the utterly insane Korvac. True, the Canadian Major’s inability to avoid one of the worldship’s opening salvos definitely helps show just how much more experienced Stark is when it comes to tackling intergalactic threats. But ultimately Avro-X appears to have been solely included within “Let Us Now Cross Over” simply so Cantwell can have someone within the storyline’s secondary cast horribly murdered by the maniacal Michael.

The regular cover art of "IRON MAN" #12 by Alex Ross

Moon Knight [2021] #2 - Marvel Comics

MOON KNIGHT No. 2, October 2021

For those readers familiar with the 1993–1994 Batman story arc “Knightfall”, Jed MacKay’s script for Issue Two of “Moon Knight” probably contained a few perplexing parallels with its premise being based upon a mysterious foe “watching it all from the shadows” whilst their super-powered henchmen attempt to “break” Marc Spector’s alter-ego. Happily however, such similarities arguably stop right there as the Canadian writer’s plot to “Strings” also contains plenty of its own innovative ideas, ranging from Reese’s realisation that she can no longer tend other people’s gory injuries since being transformed into a vampire, through to a gang of cutlery-wielding “killer geriatrics” stalking the streets at night looking for hapless victims to attack.

Indeed, perhaps this twenty-page periodical’s biggest draw lies in the co-creation of the writer's villainous Leonard Hawley, who appears to have the highly disconcerting special ability to make people do what he wants them to should they get a taste of the janitor’s sweat. Such a repulsive aptitude is genuinely unsettling, especially when the possible mutant proudly boasts how he has been slowly “doping the building’s water supply” so as to ‘infect’ all the tenement’s residents with his diluted perspiration; “I’m gonna sic all these old, fragile folks on you… How many of these old-timers are you going to kill or cripple on your way out?”  

There’s also a lot to be said for the first appearance of Soldier, who initially accompanies Mister Knight back to his mother’s apartment after she tried to mysteriously murder the heavily-tattooed young man. This fiercely loyal character initially looks set to make an intriguing comrade-in-arms for the white-costumed crime-fighter throughout this book’s entire adventure until he too shockingly falls under Hawley’s mind-controlling spell, and helplessly places a pistol against the base of the hero’s skull.

Undeniably helping in this comic’s storytelling are Alessandro Cappuccio’s layouts, which allow MacKay’s tale to play out in an enjoyably straightforward fashion. Along with some brain-blowing depictions of the inner workings of Spector’s brain, the artist does an especially fine job of pencilling poor Reese swiftly succumbing to the “blood-stink” of Soldier’s injuries, as well as replicating the distortion seen from a one hundred and eighty degree internal security camera.

Writer: Jed MacKay, Artist: Alessandro Cappuccio, and Color Artist: Rachelle Rosenberg

Shang-Chi [2021] #4 - Marvel Comics

SHANG-CHI No. 4, November 2021

After promising its readers a truly titanic tussle by purportedly pitting the titular character against the New York City-based publisher’s foremost family, Gene Luen Yang’s actual storyline for this fourth instalment to his “Shang-Chi Verses The Marvel Universe” probably came as something of a disappointment considering that the combatants only trade punches for two pages. However, despite this lack of pulse-pounding pugilism, the comic still arguably provides an enthralling hook in the shape of the world’s greatest heroes becoming increasingly concerned that the Master of Kung-Fu is fast-becoming a major criminal threat.

Indeed, Reed Richards’ sudden cold-hearted withdrawal of an offer to help Brother Hand rescue his sister from the Negative Zone because the incredible inventor arrogantly believes his worst fears as to the martial artist’s change of morality are true is wonderfully penned by the American author. The so called scientist simply assumes all the rumours as to Shang-Chi’s association with his dead father’s nefarious organisation are true, and then adopts a holier-than-thou attitude later on when his own pitiless inaction forces his former friend to ‘borrow’ the Baxter Building’s transit vehicle; “You broke into my lab?! Used my equipment without my permission?!”

Equally as intriguing though is Mister Fantastic’s response to directly contact Captain America once the deadly assassin and the Five Weapons Society’s House Champions have peacefully departed. It is clear that the human mutate has quite made up his mind as to the felonious status of “the Chi-Meister”, and seemingly intends to put a stop to whatever machinations he erroneously believes Zheng Zu’s son is plotting with the help of the Avengers. Such a sanctimonious stance debatably typifies the self-righteous Richards’ creed that only he knows best, and, as with this book’s narrative, seems destined to actually ‘push’ Shang-Chi into behaving precisely as the super-team’s leader dreads.

Ably assisting Yang in depicting this ‘long game’ plot point is Dike Ruan, who manages to present a rather impressive visualisation of Jack Kirby’s surreal Antimatter Underverse. The concept artist’s praying mantis-like aliens are suitably disconcerting, as are the illustrator’s prodigiously pencilled panels showing the Master of Kung-Fu besting a cocksure Benjamin Grimm by simply applying two fingers to one of the Thing’s pressure points.

The regular cover art of "SHANG-CHI" #4 by Leinil Frances Yu & Sunny Gho

Batman: The Detective #5 - DC Comics

BATMAN: THE DETECTIVE No. 5, November 2021

Fascinatingly filled full of numerous international allies and associates, Tom Taylor’s thoroughly engrossing storyline for Issue Five of “Batman: The Detective” probably surprised some within its audience as to the sheer breath-taking scope of the European Alliance of the Bat. In fact, this twenty-two page periodical portrays the Dark Knight having such an extensive crime-fighting network of “agency heads, police chiefs, diplomats, spies and mercenaries” across the planet’s Northern Hemisphere that it is difficult to imagine any criminal managing to evade arrest for too long once they come to the Caped Crusader’s notice.

Enjoyably however, such all-encompassing affiliates doesn’t mean for a moment that the Australian author simply relies upon them to do the titular character’s actual work for him. But rather just uses the authorities as a means to set-up a truly brutal face-off against “the villainous Equilibrium” in Belgium, by having Commissioner Origi swiftly notify the costumed vigilante that the homicidal group are planning a mass execution inside the Brussels Convention Centre; “Don’t send in a negotiator. They won’t be releasing the hostages. They’re going to murder them. I’m going in.”

What follows is a pulse-poundingly paced punch-up between Batman and a significant number of armed foes, who are soon mostly put out of action by the eye-watering combination of a rampaging mobile Bat-Cave and plenty of tear gas. Superbly pencilled by Andy Kubert, this dynamically-drawn action sequence really has it all, from large-scale damage as the Dark Knight’s mighty machine drives straight through the building’s multi-paned glass exterior through to the super-hero diving amongst a myriad of bullets so as to clobber his opponents senseless at close quarters. 

Perhaps this comic’s biggest hook though is how Taylor depicts his incarnation of Bruce Wayne’s alter-ego slowly struggling with the onset of age. The hard-hitting cowled crime-fighter is clearly aware he is no longer young enough to simply go toe-to-toe with his enemies, so employs every gadget which he can to help put the odds in his favour. This intriguing vulnerability is particularly exposed towards the end of the fight, when Batman realises he won’t be able to take down the heavily-muscled Sullivan on his own, and must rely upon Squire to cosh the unhinged brute from behind before he has his head literally ripped off.

Writer: Tom Taylor, Pencils: Andy Kubert, and Inks: Sandra Hope

Warhammer 40,000: Sisters Of Battle #2 - Marvel Comics

WARHAMMER 40,000: SISTERS OF BATTLE No. 2, November 2021

Providing its audience with a disconcertingly bleak flashback to a time when Novitiate Ghita was just a small, blonde-haired adolescent running through the dangerous alleyways of Siscia so as to be with her pitifully disfigured friends, Torunn Grønbekk’s storyline for Issue Two of “Warhammer 40,000: Sisters Of Battle” certainly shows the stagnant human civilisation of the far future in the very worst of lights. But whilst such decadence will doubtless make some readers question just why the chaos-infested industrial planet is actually worth saving, it does help emphasise every small act of kindness which the Adepta Sororitas can provide for those colonists who prove worthy.

Indeed, by having her narrative focus upon such a small number of Sisters of Battle amidst such a massive, violent uprising the Norwegian author ensures that every decision, thought, and observation that the Emperor’s loyal warriors make are absolutely crucial to the success of their covert mission. This attention to detail really helps ramp up the tension as the tightly-knitted Kill Team find themselves being drawn deeper down the daemon-filled tunnels, and actually adds some palatable weight to the rulings made by the Canoness Veridyan; “We have two choices. Try to get through the main gates or take down the sentry gun.”

Likewise, there’s a definite sense of threat from even the most poorly-armed opponent, which forces the titular characters to choose their targets and opportunities wisely. This concern, even when facing three seemingly weaponless workers in a subterranean settlement imbues the comic’s atmosphere with a genuine sense of dread and foreboding, especially when the faithless begin making bizarre incarnations against the Emperor and transform together into a huge, grinning monstrosity from beyond the warp.

Edgar Salazar is also at the top of his game with this book’s pencilling, making it abundantly clear with his well-populated panels just how massive the heretical uprising is which the Adepta Sororitas are slowly infiltrating, as well as how uncomfortably tiny the loyalist penetration squad actually are. In addition, the sad demise of Sister Superior Cassia is heartbreakingly drawn and it is easy to see the anguish upon Veridyan’s face as she caringly cradles her dying friend’s fast-failing form.

The regular cover art of "WARHAMMER 40,000: SISTERS OF BATTLE" #2 by Dave Wilkins

Strange Academy #12 - Marvel Comics

STRANGE ACADEMY No. 12, October 2021

As publication-long pulse pounding punch-ups go, Skottie Young’s script for Issue Twelve of “Strange Academy” certainly still manages to squeeze in a ton of exposition involving the evil machinations of Mister Misery, as well as just how Calvin Morse seemingly acquired his magical powers in the first place. In fact the American author also does a pretty good job of using the cataclysmic kerfuffle with Stephen Strange’s deadly creation to show just how united all the Academy’s enigmatic individuals have become now the ongoing series “second story arc” is finally brought “to a rip-roaring climax!!!”

Admittedly, most of the explanations occur via a somewhat lengthy flashback sequence at the start of the fight in which it’s revealed that having previously been eaten by the Master of the Mystic Arts, the “Thing in the Cellar” was still able to somehow escape and take the form of a leather jacket for the hapless Calvin to wear. But once this particular writing technique has done its ‘scene-setting’ the rest of the students’ development takes place during the actual frenzied fighting, as Mister Misery effectively tackles each character on a one-by-one basis; “You cannot simply take me off like the coat I pretended to be. If you could, you might have earned your place here and not be just the Trickster God’s joke!”

Perhaps the most noteworthy of these spotlights happens to the daughter of the famous demon S'ym, Dessy, who arguably demonstrates during her confrontation with the multi-eyed monster of pain that she is already a formidably powerful sorceress. Cleverly deducing that her opponent “feeds on the suffering of others”, the young Limbo imp produces a startlingly scary attack containing “all the suffering in existence” which ultimately overpowers Mister Misery and once again sees the defeated, black-hearted manifestation being eaten alive.

Just as impressive as this comic’s penmanship are Humberto Ramos’ layouts, which much have taken an absolute eternity to pencil considering just how many hundreds of eyes he had to sketch just for the ‘villain of the piece’ alone. Indeed, perhaps this twenty-page periodical’s sole disappointment only comes from the Mexican artist not being given much opportunity to depict Howard the Duck’s presence throughout the sense-shattering ‘set to’.

The regular cover art of "STRANGE ACADEMY" #12 by Humberto Ramos & Edgar Delgado

Rick And Morty Verses Dungeons & Dragons #2 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS No. 2, September 2018

Packed full of Kobolds, Bugbears, Gnolls, Displacer Beasts and even the occasional chest trap, it’s quite clear from Issue Two of "Rick And Morty Verses Dungeons & Dragons" that co-writer Jim Zub was indeed allowed to “open a Pandora’s Box of insane adventure material and iconic creatures from the granddaddy of all tabletop role-playing games” when he was asked to pen this comic’s narrative by “IDW Publishing”. But whilst this mesmerising twenty-four page tome definitely does justice to Gary Gygax’s fantasy world, it is perhaps its handling of Rick Sanchez and his obsessive power gaming which really captures the spirit of this crossover limited series.

In fact the characterisation of Morty’s grandfather is arguably indistinguishable from that depicted on the ‘adult animated sitcom’, with the crackpot scientist initially appearing to be solely dedicated to helping his dysfunctional family enjoy some increasingly dark dungeoneering, only to later reveal that the entire computer-generated escapade is simply another of his infamous ego trips; “I’m still figuring out the rules here, but even I can tell that you’re cheating dad.” This underlying motivation really encapsulates the “mad science-making grandpa”, and his desperate need to be the best at whatever he does no matter the cost.  

Of course, having been called out for being “an all-powerful immortal” wizard, Rick strikes out on his own and soon demonstrates just how insanely superior he has made his virtual avatar by nonchalantly defeating a skeletal dragon and its ghastly minions single-handedly. However, once triumphantly sat upon his throne as Dungeon Master, Sanchez soon realises that he’s missing out on the sense of achievement only attained by defeating genuine challenges with his family, and subsequently skulks back to Mudville’s local tavern to join them in a quest against some “Spriggan in the woods north of town.”

Troy Little’s contribution to these tongue-in-cheek trials and tribulations also cannot be overstated, with the Canadian cartoonist capturing the look and feel of both the television show and the fighting frenzy of an underground lair crammed full of sword-wielding Kobolds with great aplomb. Indeed, one of this comic’s highlights is the way the artist lays out the exploits of the adventurers as their monstrous encounters increase in toughness, along with the injuries they receive whilst battling them.

Written by: Patrick Rothfuss & Jim Zub, Art by: Troy Little, and Colors by: Leonardo Ito