Harley Quinn #6 - DC Comics

HARLEY QUINN No. 6, October 2021

Featuring a somewhat run-of-the-mill storyline concerning the titular character successfully stopping Professor Strange’s importation of illicit drugs from Alleytown into the Secure And Fearless Engagement (S.A.F.E.) program, as well as the artwork of ‘guest’ contributor Laura Braga, it is perhaps easy to see just why Issue Six of “Harley Quinn” saw a disappointing drop in sales of some 4,000 copies during August 2021. Sure, Stephanie Phillips pens some truly exhilarating fight-scenes for Catwoman with which to showcase Selina Kyle’s formidable fighting skills, but so straightforward are the threats facing this publication’s pair of anti-heroes that it’s debatably hard to shake off the feeling that this particular comic is simply a ‘holding statement’ before the American author’s larger narrative resumes anew with the next instalment. Indeed, the actual ‘raid’ upon Hugo’s secret warehouse is surprisingly over before it has really started, due to Bill Finger’s whip-wielding co-creation almost single-handedly taking down the building’s balaclava-wearing malcontents within the space of just of a few panels; “There’s at least fifteen guys with guns down there… You can’t just expect to fight them all without some kind of distraction or --” 

Instead, what “Cat & Quinn” offers its readers is a disconcertingly discouraging tale involving an utterly inept Harleen Frances Quinzel, who would seemingly have been killed by a contingent of the Magistrate’s paramilitary super-soldiers in the East End at the very beginning of this book, if not for the timely arrival of Catwoman. Dull-witted, clumsy, and seemingly incapable of viewing the behaviour of her team-mate as anything other than some sort of sexual advance, the supposedly star-struck Gotham City Siren is arguably unrecognisable from the fast-thinking “trained psychiatrist” this ongoing series has previously portrayed her as, and sadly is given little to do apart from annoyingly wax lyrical as to how great she thinks Kyle’s black cat-suited alter-ego is.

Unnervingly adding to this twenty-two page periodical’s soporific storytelling are Braga’s aforementioned illustrations, which whilst being prodigiously pencilled, as well as eye-catchingly coloured by Arif Prianto, somewhat jar in their serious-looking aesthetic with Phillips’ rather blatant tongue-in-cheek adventure. The Italian can undoubtedly draw some truly superb high-octane action sequences, most notably that of Selina dispatching a number of Strange’s goons with a flurry of kicks and backflips during the book’s later stages. However, this style doesn’t debatably transfer over so well to those scenes in which a spellbound Quinn gets all ‘gooey’ over working alongside Imagine Games Network's eleventh 'Comic Book villain of All Time'.

Writer: Stephanie Phillips, Artist: Laura Braga, and Colors: Arif Prianto

Strange Academy #13 - Marvel Comics

STRANGE ACADEMY No. 13, January 2022

Split between “a tour of a famous NOLA graveyard” and Emily Bright’s own personal field trip deep inside the Sorcerer Supreme’s darkest dungeon, Issue Thirteen of “Strange Academy” is definitely a two-sided affair which contains plenty of answers to several previously unsolved mysteries. But whilst such sub-plots as the secret origin of Zoe Laveau and the identity of the man behind a certain cellar door are enthrallingly explored, it does arguably cause this twenty-page periodical to lack any sort of action whatsoever; “Soooooo, what kind of trouble have you all been up to tonight?”

Fortunately however, so dialogue-driven a publication doesn’t mean that Skottie Young hasn’t penned a truly mesmerising narrative for this comic, with the super snake-filled story as to how Laveau became one of the walking dead proving to be a highlight of the book. Desperate to please both her parents, as well as live up to the high expectations of her magical heritage, it is quite easy to see why the young girl would fall prey to the deceitful ‘drugs’ of Gaslamp in order to develop her own powers, and why later on her mother would turn to so extreme a solution as zombifying her dead daughter just so the woman could bring her back from beyond the grave.

Likewise, there’s a satisfying sense of resolution to Bright’s storyline concerning the Imperator and the disconcertingly dismal fate which Doctor Strange has seemingly ordained for the leader of the Empirikul. Initially, it appears certain that the American author will disappointingly fall into the usual trap of depicting the well-meaning child stupidly releasing the deadly villain through her utter naivety. But splendidly, that simply isn’t the case with this tale, and instead Young provides a heart-warming outcome involving the Stone of Shackles in which debatably everyone comes away happy.

Of course, that doesn’t mean for a moment that this comic is just packed full of sickeningly sweet feel good moments, as Calvin Morse’s uncertain future at the school persistently lingers over the student throughout the entire comic. Bereft of any actual magic, and already late with his school presentation for Zelma Stanton, the orphan’s aggressive anger at his peers’ special abilities appears destined to make him a suitable puppet to manipulate by the sinister Gaslamp in a future instalment…

The regular cover art of "STRANGE ACADEMY" #13 by Humberto Ramos & Edgar Delgado

Harley Quinn #5 - DC Comics

HARLEY QUINN No. 5, September 2021

Somewhat disconcertingly starting with the suggestion that Hugo Strange’s obsession with Batman might actually be “a sexual thing”, Stephanie Phillips’ second instalment to her “No Good Deed” storyline might have initially perplexed some within this comic’s 36,000 strong circulation. In fact, this twenty-two page periodical’s opening quarter could arguably be criticised as consisting of little more than a rather perplexing, dialogue-drowning sequence in which Harley Quinn simply doesn’t stop talking psychobabble to her captor for approximately thirty-five panels straight; “Is this a bad time to tell ya I gotta pee? I drank an extra-large caramel latte before breakin’ in here…”

Happily however, all these speech bubbles are eventually shown to simply be part of the qualified psychiatrist’s cunning plan to be left alone in a toilet cubicle long enough so as to rid herself of her handcuffs, and summon the help of Solomon Grundy from the sewers. This marvellous team-up results in just the sort of beatings a bibliophile might hope Strange’s sadistic orderlies would receive following the physical abuse they themselves have heaped upon their hapless patients, and additionally clears the way for a short-lived but satisfying bout of fisticuffs between the persistently talking Gotham City Siren and the formidably-sized professor himself.

Similarly as successful as this comic’s action-packed antics is the American author’s subplot that “another hand [is] working behind the scenes” to antagonise Quinn, who is called Keepsake. Somewhat shockingly this mysterious new villain certainly seems capable of berating Hugo as if the bespectacled leader of the S.A.F.E. programme was just one of his own underlings, and also appears to intriguingly arm himself with an astonishing array of items presumably stolen from his previous fallen foes.

Helping this publication bound along with plenty of dynamic energy are Riley Rossmo’s layouts, which initially go a long way to making Quinn’s aforementioned semi-soliloquy during the book’s opening, much more tolerable. Indeed, Strange’s prodigiously pencilled rooftop confrontation with the Dark Knight during a thunderstorm, is undoubtedly one of this comic’s biggest draws, and definitely helps this tome’s readers partially navigate Harley’s incessant banter with Hugo until he eventually caves in and permits the anti-heroine to go to the hospital facility's bathroom.

Written by: Stephanie Phillips, Art & Cover by: Riley Rossmo, and Colored by: Ivan Plascencia

Alien #8 - Marvel Comics

ALIEN No. 8, January 2022

If Phillip Kennedy Johnson’s plan for Issue Eight of “Alien” was to make the title’s audience actually hope that the comic’s cast get horribly eviscerated by the “dangerous alien species known as Xenomorphs”, then his script certainly seems to succeed. For whilst no particular character actually behaves quite so badly as to warrant such a truly grotesque demise as being literally torn asunder by one of Hans Ruedi Giger’s co-creations, many readers would arguably be hard pressed to recollect a more dislikeable ensemble of farmers, technicians and settlers within a single publication.

Indeed, straight from the start of this particular twenty-page periodical, the residents of the moon colony Euridice demonstrate an incredible unwillingness to believe the eye witness account of their previously infallible leader that their farmsteads have been ‘invaded’ by a deadly extra-terrestrial, and instead seem far more concerned with fuel lines poisoning the soil or the wreck of the Heraclides causing years’ worth of damage by selfishly ripping “right through our cornfields and the orchard.”

Even the basic interactions between the various community members smacks of the Spinners being solely invested in their own needs and personal ambitions, rather than acknowledging that a large number of people have died quite horrifically in a spaceship crash. The utterly obnoxious Gunnar is debatably the best example of such a disagreeable outlook upon life by supposedly taking some moral high ground over Jane when he feels her terminal illness is detrimentally affecting her decision-making, and then later repulsively trying to pressurise Becca into continuing an intimate relationship with him despite the man already having a partner; “Tabby don’t know nothin’ that I don’t tell her. Only thing she needs to know is -- Nng.”

Happily however, once the Aliens do decide to make their presence known mid-way through the book, then the action undeniably begins to pick up, with artist Salvador Larroca pencilling a superbly paced chase scene from the remnants of the U.A.S. Extrasolar vessel back to Ambrose’s innocent-looking residence. This entire gauntlet is as thrillingly to peruse as its terrifying for those traversing it, and arguably ends with an astonishingly good cliff-hanger of a conclusion when one of the Spinners is dramatically revealed to be a malevolently-minded synthetic.

The regular cover art to "ALIEN" #8 by Marc Aspinall

Star Trek: The Mirror War #2 - IDW Publishing

STAR TREK: THE MIRROR WAR No. 2, November 2021

Featuring various short-lived interludes concerning the Klingon Regent Worf, almost the entire cast of Deep Space Nine, Ro Laren and even “the obnoxious Okona”, David and Scott Tipton’s narrative for Issue Two of “Star Trek: The Mirror War” could arguably be criticised in places for seeming a little too choppy in its storytelling. But whilst this comic’s twenty-page plot certainly does leap about quite a bit, the book’s basic premise of Captain Picard ruthlessly recovering one of his recently stolen secret supply caches still provides plenty of fun, action-packed antics both in outer space as well as planet-side. 

Indeed, Jean-Luc’s no-nonsense quest to track down the hideout of Thadiun amidst the Chandler Asteroid Belt offers this publication’s authors the perfect opportunity to showcase just how markedly different the crew of the I.S.S. Enterprise-D actually are from their small screen counter-parts in our universe. Foremost of these disconcerting dissimilarities is the increasingly tense relationship demonstrated between Riker and Troi, who despite secretly plotting to take the Galaxy-class starship’s captaincy for themselves, are quickly at one another’s throats when the Commander demands the Inquisitor to “do your job” and teach a troubled Data to process the android’s shock at being betrayed by his supposed friend Reginald Barclay.

Equally as intriguing though, is this comic’s depiction of the sovereign of the Klingon-Cardassian Alliance. The sudden appearance of Worf’s flagship, the Negh’Var, in orbit around Tyraeus 2 just as the Enterprise is about to depart is debatably one of this book’s many highlights, and not only shows just how powerfully brief space battles can be in this alternate 24th century timeline. But also illustrates just how prickly the bond between Barclay and Data has become, and how catastrophic such intense quarrelling can be in a life or death situation for the rest of the starship’s crew; “If you’ll just listen to me, damn it! Try rerouting around the damaged components --” 

Also adding enormously to the storytelling are Gavin Smith’s layouts, which do a simply splendid job of illustrating just how aggressively violent the Mirror Universe actually is. The likes of Picard and Riker seem to be forever snarling at their subordinates whenever the slightest happenstance goes against their wishes, and this makes even the somewhat sedentary sequences set upon the bridge positively bubble with potential volatility.

Writers: Scott & David Tipton, Artist: Gavin Smith, and Colorist: Charlie Kirchoff

Battlestar Galactica #2 - Marvel Comics

BATTLESTAR GALACTICA No. 2, April 1979

Sporting a truly dynamic cover illustration by Jeff Aclin and Bob McLeod which strongly suggests Commander Adama’s lone battlestar will soon be mercilessly attacked by a plethora of deadly Cylon raider ships, Roger McKenzie’s narrative for “Exodus” probably came across as something of a major disappointment for its readers in January 1979, considering that the comic’s plot predominantly focuses upon the human fleet’s food shortages as opposed to any sense-shattering spaceship battle. True, this seventeen-page periodical does depict some intriguing insight into the motivations behind Baltar’s titanic treachery against his fellow colonials, but witnessing the traitor’s unsurprising comeuppance later on at the hands of the Imperious Leader doesn’t debatably work as this book’s biggest highlight; “But… What have you done? What of our bargain? My colony was to be spared!”

Instead, the American author spends a good portion of his penmanship slowly depicting the supply issues being experienced by the crumbling convoy, courtesy of pluton poisoning, and the disconcerting rise of the utterly odious Sire Uri “to the Quorum of Twelve after the Cylon attack against the Twelve Colonies.” Such sub-plots are obviously crucial to explaining just why Captain Apollo is later galvanised into recommending he leads a seemingly suicidal mission through the heavily mined Nova of Magadon so as to ensure the supposed “safety of the entire fleet”. However, these scenes are so dialogue-heavy that it is decidedly difficult to traverse them without the publication’s already pedestrian pacing almost grinding to a complete halt.

Luckily though, Jeff Aclin’s script for Issue Two of “Battlestar Galactica” does at least include the introduction of child-friendly favourite, Muffet Two, and provides plenty of spotlight upon Serina’s fast developing relationship with Adam’s eldest son. These scenes set aboard the Rising Star appear to do an excellent job of adapting the televised sequences shown in “Saga of a Star-World”, as well as genuinely helping convey a sense of family between Apollo, the ‘famous female news reporter’ and her young son, Boxey.

Ernie Colon’s artwork should also receive some praise for at least trying to add some dynamism to this comic’s lack-lustre narrative. The Puerto Rican artist’s illustrations of Uri and Lieutenant Jolly are, admittedly, somewhat different from their small screen counterparts in physical appearance, yet they both still manage to imbue some of the characters’ unique personality, particularly the bald-headed Galactican politician who positively exudes his self-centred vileness in every panel in which he appears.

Script: Roger McKenzie, Art & Letters: Ernie Colon, and Colors: Bob Sharen

Black Widow #12 - Marvel Comics

BLACK WIDOW No. 12, December 2021

Restricted to just twenty pages, Kelly Thompson somehow manages to cover an incredible amount of ground with her script for Issue Twelve of “Black Widow”. Indeed, the Eisner Award-winner's technique of populating this periodical with a number of insights into the leading cast members’ motivations, followed by an increasingly fraught covert mission to infiltrate a mysterious “high society group” arguably allows her to pen the perfect mix of characterisation and action-packed super-heroic action; “Next time you wish to use me as a pommel horse, please ask.”

One such success is undoubtedly the sense of vulnerability the American author manages to imbue this comic’s titular character with straight from the start. It’s debatably difficult to imagine Natasha Romanoff having any sort of weakness, but the Avenger’s obsession as to how her infant son is developing whilst in hiding from her deadly foes is wonderfully written, as is her evident anger at the Winter Soldier when she chides him for letting her people find James and Stevie despite him supposedly protecting their identities from such enquiries.

Likewise, the unfurling of Romanova’s plan to discover just what is actually occurring at the Golden Gate Gala is equally as well delivered, with all the ex-Soviet spy’s numerous contingencies quickly failing during the time it takes for a single dance with the annual benefit’s glamorous host. Considering that a number of players within this game are Avengers, such as the smart-mouthed Hawkeye, the dread slowly creeping across Black Widow as she is increasingly outwitted by her unknown foe is actually quite palpable.

Adding enormously to the deepening sense of fear in the former KGB agent is Elena Casagrande’s pencilling, which goes a long way to show just how decadently opulent and disconcertingly violent San Francisco’s criminal world is. Natasha and Yelena Belova’s pulse-pounding battle with a corridor of animal mask-wearing goons is probably the highlight of this comic. Yet it is the Italian illustrator’s handling of Romanoff catching sight of the mythic Living Blade at this book’s end which will most likely remain within the reader’s mind, courtesy of some wonderful blurring of her line art so as to provide some forced perspective, and a truly haunted look in the defector’s piercing green eyes.

The regular cover art of "BLACK WIDOW" #12 by Adam Hughes

Star Trek: The Mirror War #1 - IDW Publishing

STAR TREK: THE MIRROR WAR No. 1, October 2021

Promising a “brand-new series from writers David & Scott Tipton, where familiar faces and exciting new surprises await around every corner”, Issue One of “Star Trek: The Mirror Universe” certainly packs an incredible amount of Next Generation-flavoured action and adventure inside its twenty pages. In fact, this comic’s sense-shattering opening, which intermingles Captain Picard’s successful attempt to steal a small fortune from an intergalactic criminal with Inquisitor Troi’s somewhat seductive interrogation of Lieutenant Barclay following his return from “the newly discovered alternate universe”, is arguably faultless in its execution.

Such a pulse-pounding pace doesn’t debatably stop either, especially once Jean-Luc’s plan to steal a shipment of dilithium from a Vor’cha-class attack cruiser gets under way, and the entire I.S.S. Enterprise-D’s senior staff beam themselves directly onto the Klingon vessel’s bridge. The sheer ferocity of this shock attack is genuinely breath-taking, with the nail-biting tension of the audacious mission literally leaping off the printed page as Picard earnestly galvanises his subordinates into a frenzy of phaser-fire and frantic piratical action; “Quickly, quickly, everyone -- It won’t be long before the rest of the crew realizes what we’re doing. Data, there are over two thousand Klingons and Cardassians on this ship. You can’t kill them all yourself.”

Even this book’s less exhilarating interludes still contain plenty to keep fans of Gene Roddenberry’s science-fiction franchise utterly enthralled, with the Tipton brothers providing the likes of Ensign Crusher and Leah Brahms with plenty of spotlight. However, it is probably the Mirror Universe’s version of Chief O’Brien who arguably steals the show, with the decidedly nervous engineer having the entire weight of the captain’s grand scheme momentarily rested upon his broad shoulders when he is ordered to re-programme the Galaxy-class starship’s transporter routines “to make sure that we can beam through the shields of that cruiser”.

Gavin Smith’s contribution to this publication can also not be overstated, with the artist’s ability to imbue all this comic’s characters with the disconcertingly sinister sneer of their violent lives making them appear both amiably familiar and dangerously foreign at the same time. Indeed, despite some of the Indianapolis-born illustrator’s noticeable visual differences with their small screen counterparts, it is hard not to associate this book’s sizeable cast with those of the television show until one of them does something distinctly unfriendly, such as Barclay threatening to have O’Brien ‘permanently’ replaced.

Writers: Scott Tipton & David Tipton, Artist: Gavin Smith, and Colorist: Charlie Kirchoff

Harley Quinn #4 - DC Comics

HARLEY QUINN No. 4, August 2021

For those amongst this comic’s 47,000 readers who were anticipating some sort of team-up or dust-off between its titular character and the formidably-sized Solomon Grundy, Stephanie Phillips’ script for Issue Four of “Harley Quinn” was probably something of a major disappointment. Indeed, considering this book’s pre-publication publicity by “DC Comics”, complete with a massively foreboding cover illustration of the zombie super-villain menacing Quinzel down inside a dank sewer, the fact that the pair of colourful criminals only engage in a short-lived game of chess with one another is probably the last thing anyone was actually expecting.

Sadly however, so brief an appearance by the giant revenant is arguably just one of this particular twenty-two page periodical’s problems, with the American author seemingly struggling with the book’s pacing and relying upon Riley Rossmo to significantly pad out the publication with his prodigious pencilling. The aforementioned boardgame between the Gotham City Siren and Alfred Bester’s co-creation is an example of this, although perhaps a much more noticeable one involves a continuous thirty-eight panel sequence of Kevin simply being injected with a hallucinogenic drug by Hugo Strange.

Fortunately, Phillips’ narrative does debatably pick up once Harleen finally decides to rescue her sidekick, and momentarily adopts the tactics of the Dark Knight himself so as to infiltrate the S.A.F.E. Headquarters with the minimum of fuss. This rather tongue-in-cheek scene is very well penned, and contains all the laugh-out-loud humour a bibliophile might expect from a set-piece involving the trained psychiatrist turned costumed vigilante: “I’m not sure if that makes Batman the naked lady or the ass in this particular scenario… maybe both?”

Likewise, the writing also appears much stronger just as soon as Harley’s infamous bad luck strikes her stealthy rescue attempt, and she once again resorts to simply battering her numerous foes black and blue with a baseball bat. Dynamically drawn by this comic’s regular Canadian artist, Quinn’s battle inside the confined space of a lift with three of Strange’s sadistic orderlies is probably this book’s highlight, and sets the storyline up for a cracking cliff-hanger when the anti-hero reaches the blacked out tenth floor…

Written by: Stephanie Phillips, Art & Cover by: Riley Rossmo, and Colored by: Ivan Plascencia

Judas Breed #2 - PenInkColor Studios

JUDAS BREED No. 2, August 2016

Predominantly concerned with Connie Beaumont and her crewmates desperately struggling to save one of their own from an alien arthropod attack, Kenneth Brown’s script for Issue Two of “Judas Breed” does an amazing job of combining a person’s natural scepticism at such extra-terrestrial life actually existing with the far less forgiving perspective of them then using such a lethal creature as a weapon for the military. In fact, one of this twenty-eight page periodical’s many strengths is its storyline’s ability to move away from the nail-biting terror of Linda’s murderous metamorphosis as she literally starts tearing her friends apart to the more subtle Machiavellian machinations of Alex Hunter on board Olympus Base One.

Enjoyably however, there’s also much more to this comic than a simple case of an aggressive alien monster being sought after by the Armed Forces Intelligence Department, due to its author imbuing it considerably-sized cast with as much character as its panels allow. Arguably taking the lion’s share of this spotlight is the kind-hearted Tony and more matter-of-fact Kevin, whose somewhat contrasting reactions to all the death and destruction around them rather engagingly throws the unlikely duo together, and resultantly makes their shocking combined fate towards the very end of this publication all the more disconcerting.

Equally as effective is the penmanship behind Doctor Michelle Lee Walker and the aforementioned Hunter, which eventually establishes the pair as this narrative’s lead antagonists. Alex quite quickly settles into the role of a cold-hearted governmental killer who is prepared to go to any lengths in order to keep the extra-terrestrial’s existence a secret, even poisoning a tray of delicious donuts. Yet it isn’t until this comic’s distinctly disturbing conclusion that Kenneth cleverly reveals his storyline’s amiable, silver-haired scientist to be perfectly happy to disavow her medical morals so as to make “a lot of money in the process.” 

Likewise, the contribution of Ryan Best’s artwork to the success of this book cannot be overstated either, with the illustrator pencilling some genuinely chilling moments during Linda’s transformation into a walking machine of destruction. The savagely sudden deaths of Greg and Bradley show just how insanely vicious the alien arthropod can be, and this brutality contrasts nicely with the complete lack of emotion on Hunter’s face when he later nonchalantly orders Angela to ensure Tony and Kevin are permanently ‘cleaned up’.

Written by: Kenneth A. Brown, Illustrated by: Ryan Best, and Lettered by: HDE

Artemis & The Assassin #2 - AfterShock Comics

ARTEMIS & THE ASSASSIN No. 2, June 2020

Beginning with a genuinely heart-wrenching flashback as to just how as a young girl Virginia Hall came to lose her leg in a childhood accident, Stephanie Phillips’ script for Issue Two of “Artemis And The Assassin” certainly establishes what a gutsy fighter the “infamous spy” from World War Two actually is. But such raw determination to defy the odds doesn’t debatably explain just how the soldier still manages to ‘get the drop’ on Maya when the time-travelling assassin is about to murder her in Nazi-occupied France.

Indeed, if the American author has previously established anything following this mini-series’ opening instalment it is how utterly ruthless and cold-hearted the killer from the future actually is, so simply standing idly by whilst waiting for Virginia to “put my [false] leg on first” before she executes her with an energy arrow through the forehead is arguably somewhat out of character for the no-nonsense exterminator; “It’s my job to kill you… And I always do my job.”

Happily however, such an implausible delay in Maya fulfilling her mysterious mission does allow Meghan Hetrick to pencil a seriously pulse-pounding, action-filled adventure for the rest of this twenty-one page periodical, as the pair repeatedly wrestle with one another whilst simultaneously trying to survive a German assault upon the French resistance movement. This flurry of activity not only provides Hall with an opportunity to demonstrate her humanity by actually saving her assailant from the Fuhrer’s goose-stepping goons, but also allows Maya to once again demonstrate just how deadly she is with her hand-weapon when she instinctively dispatches a pair of the disabled spy’s friends who foolishly pull pistols out in order to stop her.

Intriguingly though, it is this publication’s secondary tale “Zen And The Art Of Assassination” which truly shows just how disturbingly dark Phillip’s blood-splattered world of hired killers actually is, with a smirking Isak demanding that his bow-carrying protégé kill a child in the little girl’s nursery if Maya wishes “to prove that you are ready for your own missions.” Proficiently pencilled by Francesca Fantini, this backstory goes a long way to explain just why the now fully-grown assassin is both so pitiless towards her targets, and hates her employer with such barely-restrained gusto.

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

Harley Quinn #3 - DC Comics

HARLEY QUINN No. 3, July 2021

Delving deeply into the disconcertingly dark dealings of Hugo Strange’s S.A.F.E. programme for Gotham City’s hapless citizens, there was surely plenty for fans of Stephanie Phillips’ penmanship to enjoy inside “No Good Deed”. Yet whilst the American author does a great job in depicting Bill Finger’s utterly insane co-creation, it is her treatment of Harleen Frances Quinzel’s seldom-seen psychiatric skills which cleverly help to really show the sheer murderous insanity of one of Batman’s most deadly super-villains; “But, after performin’ experiments on severed prisoner heads with electricity…”

Indeed, the contrast between the two head-doctors during their “war of wellness” almost literally leaps off the page, as the supposedly legitimate professor unsympathetically increases the chemical dosage of some poor experimental test subject securely strapped to a state-of-the-art medical facility bed. Whilst the penniless, oft-times criminal titular character holds her first poorly-attended “support group meeting” with the promise of coffee and donuts, but genuinely seems intent on trying to help the likes of Eric who is depressed at the thought that “maybe the Clowns don’t deserve normal.”

Similarly as well-written is this publication’s extensive fight sequence, which involves Strange’s “right-hand man-child Lockwood” successfully infiltrating Quinn’s low-key session so as to detain all its attendees, including Harley and her loyal helper Kevin. This chaotic punch-up is as crazy as it comes, courtesy of “Arkham Asylum’s most sadistic guard” bringing numerous reinforcements to the party in an effort to detain the Joker’s ex-girlfriend, and is packed full of mean-spirited orderlies zapping innocents with numerous shock-rods.

Pencilled with plenty of dynamic pace and action by Riley Rossmo, the Gotham City Siren’s brutal battle against “my favourite [person] to imagine beating savagely with various pieces of landscaping equipment” really is the book’s highlight, especially once the fighting escalates outside and the “expert gymnast” is able to literally get her hands on her bald-headed assailant. However, what is also enjoyable is that Phillips fails to fall into the trap of having our colourfully-costumed heroine readily overcome such significant odds, and resultantly ends this particular twenty-two page periodical with Quinn having to save just herself by retreating into the metropolis’ dingy sewer system.

The regular cover art of "HARLEY QUINN" #3 by Riley Rossmo

Warhammer 40,000: Sisters Of Battle #3 - Marvel Comics

WARHAMMER 40,000: SISTERS OF BATTLE No. 3, December 2021

Whilst there’s certainly ample going on inside Torunn Grønbekk’s well-penned narrative for Issue Three of “Warhammer 40,000: Sisters Of Battle”, it will probably be hard for some of this mini-series’ loyal followers not to feel a slight sense of déjà vu as this comic’s lead protagonists simply continue to travel ever “deeper into the tunnels of Siscia.” Indeed, a fair portion of this twenty-page periodical’s plot could somewhat harshly be viewed as consisting of little more than Canoness Veridyan’s squad once again gunning down a number of emaciated chaos sympathisers against the all-too familiar backdrop of some grungy-looking, subterranean city tunnels; “Are you sure this is the correct path, Novitiate?”

Mercifully though, for those readers able to persevere with this arguable repetitiveness, the Norwegian author still manages to include plenty of intriguing moments with which to keep any fan of “the all-female military force” suitably hooked, such as a tantalising flashback sequence concerning Canoness Selene’s confession on the planet Balta some twenty-three years in the past. These insights into the Emperor’s faithful genuinely help bring some extra depth of character to this comic’s central cast, and help demonstrate just why the tightly-knit crew have been able to outfight so extensively-entrenched an enemy as Milady Crea’s daemonic rebellion.

Furthermore, Grønbekk cloaks the harsh-talking Inquisitor Ander with a thoroughly dislikeable, yet wholly enthralling, shroud of secrecy. Clearly keeping his cards incredibly close to his chest, the member of the Ordo Hereticus absolutely reeks of distrust during his curt conversations with Canoness Preceptor on board the Retribution-class battleship, Fiery Heart, and in doing so makes it disconcertingly clear that Veridyan’s supposedly straightforward mission to merely “retrieve a lost Inquisitorial acolyte” from a heretical uprising is far from the actual truth of the matter.

Ably aiding Torunn with this book’s storytelling is Edgar Salazar, whose well-pencilled layouts certainly contain plenty of “no-holds-barred action” whenever the script requires it. However, it is debatably the Mexican illustrator’s touchingly tender moment portraying Cassia’s life-saving blessing from the Emperor himself, which is potentially the artist’s finest contribution to this particular publication. Surrounded by her aghast comrades-in-arms, the unconscious warrior’s seemingly fatal throat wound is astonishingly shown to miraculously close in unison with the gathering’s vocal prayers for the Master of Mankind to show mercy.

The regular cover art of "WARHAMMER 40,000: SISTERS OF BATTLE" #3 by Dave Wilkins

Lady Freedom #3 - Second Sight Publishing

LADY FREEDOM No. 3, September 2021

Starting with a marvellously dramatic opening from “the past” which features the all-powerful Echelon finally coming face-to-face with the enigmatic Tomorrow Man on the defeated planet of Na’mus, Issue Three of “Lady Freedom” certainly appears to be about to embark upon a truly titanic tale of near omnipotent super-beings brutally battering one another into next week. However, despite such a pulse-pounding bout of earth-shaking pugilism undeniably taking place between the two cosmic heavyweights, a lot of what occurs within the rest of this twenty-seven page periodical is arguably far less accessible; “Fool, that feeble effort will not stop what has been set in motion.”

To begin with Lady Freedom and Miss Enigma are suddenly found to be “engaged in a secret mission” together on a far distant world, where its murky swamplands are infested with some sort of robotic Komodo dragons. Just how the crime-fighting couple happen to have reached such a location is disconcertingly never explained by Arthur Bellfield, nor how the pair knew this was where they’d find both Tomorrow Girl and the mysterious Matrix of All. Instead, one of the titular character’s “most trusted allies” simply appears out of nowhere, hands over a baby to the Native American and then is shockingly murdered by Enigma with a bullet straight through the head.

Similarly as disconcerting though, is this comic’s secondary plot-thread which sees Camille Arboghast become the target of a surprise attack by two of Echelon’s extra-terrestrial minions. Gor and Vara definitely make an impressive impact upon the reader with their remarkable ability to defeat Scarlett in just five seconds, but apart from a single line suggesting that they come from a future where “you’re going to be one of the greats”, there doesn’t seem to be much rationale as to why the deadly duo have been dispatched to tackle Lady Freedom’s friends.

Luckily, Larry Spike Jarrell’s pencilling is debatably worth this publication’s cover price alone, with Echelon’s aforementioned battle against Tomorrow Man providing the artist with the opportunity to sketch some seriously sense-shattering panels. Whether it be some jaw-breaking blows to the chin, or some horrendously savage batterings with a metallic hammer, the illustrator manages to imbue all this comic’s fight sequences with some eye-watering brutality.

The regular cover of "LADY FREEDOM" #3 by Larry Spike Jarrell

Batman: The Adventures Continue Season Two #2 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON TWO No. 2, September 2021

For those aficionados familiar with Mayor Hamilton Hill from the “Batman: The Animated Series” during the early Nineties, Alan Burnett and Paul Dini’s collaborative storyline for “Court Fight” probably left something of a sour taste in the month. For whilst there is some comfort to be taken from their twenty-page plot showing that the Gotham City’s gray-haired politician didn’t actually die following an assassination attempt during this title’s previous instalment, it instead disconcertingly depicts the former lawyer as the despicable leader of the metropolis’ “sinister Court of Owls”.

Such a shift in this character’s predominantly lawful personality really jars with the sensibilities, considering that the public official has previously been depicted overseeing many city improvement projects, like the creation of Stonegate Penitentiary and the municipal’s public transport system. Sure, the elected leader could be somewhat supercilious and headstrong when dealing with Commissioner Jim Gordon, especially where “the [early] activities of Batman” were concerned. But the man always seemed have the people’s safety at the centre of his decision-making, and even boasted that no city was “more free of crime” than Gotham under his tenure as its mayor.

In Issue Two of “Batman: The Adventures Continue Season Two” however, such a respectable authority figure is shown to be nothing more than another in a long line of power-mad dictators, who apparently changes his entire lifetime’s ethos following a chance glimpse at an old journal he “stumbled upon” during one of Vernon Vreeland’s “idiotic parties”. So sudden a ‘moment of clarity’ debatably makes little logical sense considering the fundamentally legitimate Hill previously seen on the small screen, and certainly doesn’t seem convincing when a rejuvenated Hamilton then threatens to murder his son in cold blood if he doesn’t help fund the rebuilding of the ancient criminal organisation.

Fortunately, what this twenty-page periodical’s plot possibly lacks in credibility it arguably makes up for with its inclusion of Boston Brand’s supernatural alter-ego, Deadman. The deceased acrobat provides this comic with both some tongue-in-cheek silliness, as he momentarily possesses Alfred the Butler, as well as some all-too deadly seriousness, when it becomes apparent the supposedly immortal ghost can actually be harmed by the lethal touch of the nefarious Talons; “I feel like I’m burning up! Can’t… Get Out… I’m dissipating! How much deader can a dead man get?”

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON TWO" #2 by Kris Anka

Harley Quinn #2 - DC Comics

HARLEY QUINN No. 2, June 2021

Setting aside some significant time to better develop the background to the titular character’s “new sidekick, Kevin”, Stephanie Phillips narrative for Issue Two of “Harley Quinn” certainly seems to have made a concerted effort to push the Joker’s ex-girlfriend even further along her personal road to redemption. In fact, at one point the former super-villain’s tubby clown even spirals into a deep depression when he ashamedly recalls burning “down a tacky strip mall” and starts questioning his colourfully-costumed leader as to why a hero like her would even want to work alongside a non-deserving bad guy such as himself.

Happily however, such a dialogue-heavy discourse is incredibly well-penned by the American author, and demonstrates a touching side to Harleen Frances Quinzel as she gently ushers her enormous friend around by the arm, whilst reassuring him that “if I can go good, there’s definitely hope for you, Kev.” Such a genuinely emotional scene concerning the trained psychiatrist is rarely seen on the printed page, and arguably would cause even the most hard-hearted of readers to significantly soften their attitude towards the pair of wannabe vigilantes.

In addition, the discussion ends on a super-funny high-note as Quinn is shown to still be somewhat struggling with her own felonious behaviour, as she subsequently helps her ‘partner-in-crime-fighting’ break into the aforementioned boarded up shop simply to “see if there’s anythin’ good left in this old thrift store.” This blatant burglary, whose unlawfulness seems to be totally overlooked by the hopeless Harley, also sets up an excellent opportunity for artist Riley Rossmo to pencil a stunningly dynamic action sequence involving the Gotham City Siren fighting off a pair of “deranged hospital orderlies [armed] with electrified cattle prods” who have been sent to detain her “for mandatory therapy sessions”.

Equally as successfully written is the establishment of Hugo Strange as this storyline’s central antagonist. Seemingly supported by the metropolis’ Mayor Nakano as the head of the municipal’s S.A.F.E. program, the supposedly reformed doctor is quickly shown to be as evil as ever when he embraces the paranoia of its population, and starts treating everyone accused of being a clown, even when he knows the innocent patient has been wrongly condemned; “That is what’s wrong with Gotham City. Mask… No mask… Honestly it makes no difference to me. This entire city needs to take a good long look in the mirror.”

The regular cover art of "HARLEY QUINN" #2 by Riley Rossmo