Shang-Chi [2021] #9 - Marvel Comics

SHANG-CHI No. 9, April 2022

Clearly depicting the titular character’s facially-disfigured grandfather as this series’ central villain, as well as teasing the comic’s audience that a low-level thug residing in Hawaii is actually a prospective heir to Zheng Zu’s villainy, this “next phase of Shang-Chi’s legend” certainly strives to provide its readers with an enthralling mixture of treacherous intrigues and utterly insane action. But whilst Gene Luen Yang’s central plot purely focuses upon Chieftain Xin’s utterly ruthless obsession to destroy everyone in the Master of Kung Fu’s bloodline, the actual logic as to just how his dinosaur-like taotie both scent and then subsequently track their hapless victims is arguably rather contrived.

Indeed, having been summoned out of thin air from the dimension of Ta-Lo, the voracious beasts seem understandably intent of savagely dispatching the owner of the blood from which they materialised – Commander Hand. However, having quickly lost one of their number to the martial arts expert and his two equally as skilled sisters, the surviving two beasts suddenly just slope straight off Mauna Kea Summit so as to attack the utterly dislikeable mugger, Falo, and the Colorado-contained prisoner Deadly Sabre. Just why the “sharp-toothed beasts” depart having failed to successfully gorge themselves upon the flesh of Shang-Chi, Esme and Sister Staff is unexplained, as is how one of the fiends somehow locates Takeshi buried deep inside a maximum security prison for super villains on another land mass..?

Fortunately though, once such quibbles are set aside, this twenty-page periodical contains an incredible amount of sense-shattering shenanigans with which to beguile even the most casual bibliophile. Yang’s portrayal of Xin as an untrustworthy, lying, homicidal maniac is debatably faultless, as the guardian of Qilin Island’s stone gateway readily admits deceiving the “Chi-Meister” with the promise of Jiang Li’s safe return, simply so his fearsome Qilin Riders could ambush Zheng Zu’s son and brutally ride him down with their bestial mounts.

Likewise, there is plenty to admire within the layouts of Marcus To, would was revealed by “Marvel Worldwide” a few months prior to this comic’s release as the title’s “new ongoing artist.” The Canadian illustrator does a first-rate job of pencilling all the anger-fuelled violence of this book’s battles with Xin and the taotie, and it is abundantly clear why he was also chosen in September 2021 to live stream a 'How to Draw Shang-Chi' video for the New York-based publisher’s “YouTube” page.

The regular cover art of "SHANG-CHI" #9 by Leinil Frances Yu & Sunny Gho

Artemis & The Assassin #5 - AfterShock Comics

ARTEMIS & THE ASSASSIN No. 5, September 2020

Despite Stephanie Phillips’ heartfelt “Thank You” to this mini-series’ readers at the end of this comic showing just how much thought the American author put into her storyline, it is arguably doubtful many within this book’s audience actually found its conclusion particularly satisfying. For whilst Issue Five of “Artemis And The Assassin” unquestionably contains a few resolutions to the overall narrative, it leaves so many more plot-threads still disappointingly up in the air that doubtless many a bibliophile were probably fully-expecting a sixth instalment.

Indeed, not even the near obliteration of Isak, complete with exploding eyeball, disintegrated arm and severed foot, seems to have permanently resulted in the mass-murdering company executive’s demise – courtesy of Dutch Henderson inexplicably making a well-timed appearance from the past with a working copy of the ‘book of the Dead’. Such a dissatisfying revival obviously sets up the opportunity for a future sequel, but frustratingly doesn’t in any way help explain just why the time traveller’s company from the future was employed to interfere with the success of the Allied invasion during World War Two in the first place..?

Similarly as bamboozling is the actual source and limitations of Maya’s supernatural powers. The deadly assassin has already demonstrated her susceptibility to physical injuries during this five-parter’s previous editions, yet during this particular twenty-page periodical she appears perfectly able to ‘shrug off’ a sword blade straight through the gut without much effort. In fact, this fatal wound only seems to show its bloody impact towards the end of her unsuccessful fisticuffs with Isak, and then it doesn’t seem to stop her literally blowing her overconfident adversary up with the woman’s all-too convenient magical energy; “Look at this power. You don’t even know what you’re capable of. I did this. I gave you this power.”

Sadly, even Virginia Hall appears to develop some 'super-powers' so as to overcome her awkwardly-placed teleportation back into the past. Historically deemed "the most dangerous of all Allied spies" by the Gestapo, "the limping lady" arrives smack in the middle of a well-armed German guard-post, and despite her prosthetic leg, both outruns and then outfights all of her gun-toting opponents before contrivingly completing an identical feat with a disbelieving French Resistance cell.

Writer: Stephanie Phillips, Artist: Francesca Fantini, and Colorist: Lauren Affe

Geek-Girl #8 - Markosia Enterprises

GEEK-GIRL No. 8, December 2021

Packed full of a plethora of plots, Sam Johnson’s script for this “extra-sized issue” certainly does a good job in ‘hooking’ its readers, whether they stay for Geek-Girl’s big battle against the formidably-sized Digger Mensch, the mysterious discovery of an old man and his cloned wife living deep inside Johnny Carlyle’s multi-storied Headquarters in Maine, or the incredible, dimension-jumping exploits of Cabra Cini. In fact, in many ways it’s a shame this twenty-four page publication isn’t even larger so as to give the likes of the “Voodoo junkie hitwoman” and the bizarre happenings inside the Infinite even more ‘screen time’.

Foremost of these story-threads however, has to be Tyler’s unearthing of Gerry and Theresa. The elderly people’s plight is actually quite heart-breaking, with the building’s cold-hearted owner appearing to be as ruthless a landlord as he was a scheming salesman of high-tech weapons. Luckily, things appear to have been resolved in the short-term when Ruby Kaye decides it would be fine to give the pensioners a ‘stay of execution’. Although, that status quo sadly doesn’t last all that long once the criminally-inclined Digger arrives to permanently remove the former residents; “Yeah. I’m just here to do a job -- Johnny needs them out… They were s’posed to be gone yesterday.”

Just as intriguingly enjoyable are the insights Johnson’s writing provides on the portal-ridden universe of Cabra Cini. The Lady of Voodoo’s ability to traverse “Limbo’s crazy cousin -- locked away in the attic”, courtesy of some magical symbols, looks set to generate some sense-shattering shenanigans in this ongoing series’ future instalments. But in addition, the twisted domain also seems to have a second connection to our modern day world, thanks to the comatose hospital patient Kristina and her eyeless duplicate who is depicted dinning on chicken, vegetables and potatoes with a disconcertingly masked Lisa back in the Infinite.

Providing this periodical with some prodigious pencilling is Carlos Granda, who really does a splendid job during this comic’s opening of showing just what a massive, sprawl of corridors and doors the super-team’s premises consists of. Likewise, the artist really imbues Mensch with all the angry frustration a bibliophile might expect from a criminal whose “crooked drinking buddies” are starting to deride, now his boss has seemingly turned away from numerous nefarious activities.

The regular cover art to "GEEK-GIRL" #8 by Carlos Granda & Chunlin Zhao

Moon Knight [2021] #7 - Marvel Comics

MOON KNIGHT No. 7, March 2022

Although Jed MacKay’s narrative for Issue Seven of “Moon Knight” debatably doesn’t depict its titular character “fighting his way through the super-crime underworld” in quite the grand manner its solicit synopsis suggests, the comic still must have utterly enthralled the majority of its audience with its splendid mixture of base-level detective work and disconcerting treachery. Indeed, “Headhunters” seems to contain a plethora of intriguing hooks with which to snare any unsuspecting bibliophile who just happens to have picked up this pulse-pounding publication off of the spinner rack for a cursory perusal; “Marsdale would go to the grave before he’d rat, and Clown’s dead.”

To begin with, the Canadian composer does a first-rate job in developing a mysteriously sinister background for this ongoing series’ central antagonist, Zodiac. The masked murderer seems to inspire a strange sense of loyalty with some within “the twilight half-world of New York City’s super villainy”, such as an almost fanatical Manslaughter Marsdale, whilst those more likely to blab to the authorities appear unable to literally keep their heads. This tense situation really helps build-up the sadistic malevolence of the anarchist, to the point where it becomes crystal clear to the reader that anyone in his presence, particularly those friendly with Marc Spector, are in deadly danger.

Likewise, this twenty-page periodical contains plenty of spotlight on the former West Coast Avenger’s fellow team-mate Tigra, as the pair slowly grind out a path to the eerily-dark abode of Eliot Franklin’s half-brother, the Clown. This partnership doesn’t unfortunately actually see the dynamic duo fight anyone, but the ‘friendly’ banter between the two as they stalk their psychopathic prey is well-written. In addition, the later revelation that all is not what it seems with Greer Nelson’s motivation to join the Fist of Khonshu’s side, makes the heroic weretiger’s presence all the more absorbing.

Internal intrigues aside, what also makes this comic so successful are the action-packed panels pencilled by Federico Sabbatini. 8-Ball’s death-defying drop towards an industrial car shredder is incredibly well-drawn by the Italian artist, with the clank of the chains keeping him alive just about being audible over the terrifying sound of the huge machine’s always-grinding teeth. However, it is probably the fast-paced bout of pugilism between Moon Knight and Marsdale which is the highlight of this book, as the two determined combatants trade a series of bone-crunching blows and kicks with one another.

Writer: Jed MacKay, Artist: Federico Sabbatini, and Color Artist: Rachelle Rosenberg

Shadowman #7 - Valiant Entertainment

SHADOWMAN No. 7, March 2022

Considering the sheer scale of the invasion Cullen Bunn attempts to encapsulate within this twenty-page periodical's storyline, as literally hundreds of Blights tear through “the veil” to conquer the world of the living, the American author’s technique of having Shadowman narrate the events via a soliloquy certainly does its job. However, for those ‘Valianteers’ who enjoy a comic’s cast actually talking to one another whilst desperately fighting off numerous ghoulish horrors spilling out from several dimensional gateways, this publication-long inner monologue can debatably prove a little tiring to wade through after a while.

Thankfully though, the titular character’s disconcertingly defeatist, dialogue-heavy thoughts as to how wrong he was to believe he could “bring about a peaceful resolution” to the mass mêlée doesn’t interfere too much with the general spectacle of seeing some of Valiant Comics’ greatest super-heroes going toe-to-toe against the clawing hands of flesh-hungry skeletons. Indeed, alongside a brief cameo of Bloodshot grimly gunning down some multi-toothed monstrosity with a mass of bullets, one of the highlights of this book has to be Alyssa and the Arbettors almost getting the better of Deadside in her physical form with an entrapment spell.

Likewise, there’s plenty for fans of Punk Mambo to enjoy, courtesy of the British magic-user seemingly taking centre-stage during the sprawling conflict’s biggest moment. Armed with a mystical harpoon, Victoria Greaves-Trott dramatically demonstrates just what a kick-ass “Mohawk-sporting, voodoo priestess” she can be, even though her attempt to skewer the personification of Deadside ultimately proves unsuccessful and the feisty, pink-haired rebel is fought off by Master Darque; “Keep them at bay? Keep them busy? Wait for an opening? Pick yourself up? Stay on your feet? Brush the dust of creation off your shoulders? Move? Duck? Dodge? Keep yourself alive as long as you can?”

Still, perhaps this comic’s ultimate success largely sits upon the shoulders of Pedro Andreo, whose sublime pencilling makes the heroes’ pulse-pounding predicament a visual treat for the eyes.. Absolutely crammed full of sense-shattering scuffles and dynamically-drawn disputes, the Spaniard’s panels make it super easy to imagine both the cacophony of sounds and the dour determination of the combatants, as it becomes clear to Jack Boniface’s friends that the living are fighting a losing battle…

The regular cover art of "SHADOWMAN" #7 by John Davis-Hunt

Captain Carter #1 - Marvel Comics

CAPTAIN CARTER No. 1, May 2022

Starting his storyline off after this comic’s titular character has already been revived from her near-eighty year sleep in the frozen Artic Ocean, Jamie McKelvie’s chance to create his own version of the onscreen World War II hero certainly seems to try to plunge its audience straight into some action-packed shenanigans. But whilst the bemused Howling Commando’s brief disagreement with a Russian military representative who claims to have “legitimate” ownership of her certainly must have caused a smile with some of this book’s bibliophiles, the rest of the author’s narrative regrettably lacks any real action until this twenty-page periodical’s final quarter.

Instead, the “prolific comics creator” pens a fairly straightforward set-up which quite neatly establishes the “woman out of time” with both a somewhat zany sidekick, in the shape of neighbour Harley, and an invitation from the Prime Minister to work alongside the newly-formed Special Tactical Reserve for International Key Emergencies – S.T.R.I.K.E. These scenes are obviously necessary so as to provide Carter with a “footing in a modern world that’s gotten a lot more complicated”. However, they also mean that the reader must first negotiate an awful lot of somewhat sedentary, word-heavy dialogue and discussion before “the recipient of the Super Soldier Serum” finally wields her famous circular shield; “Coming for me is one thing. Hurting innocent people to get to me -- That’s quite another.”

Interestingly though, in addition to this attack upon a red London bus by Hydra, the scenario also raises a question as to whether Harry Williams can be entirely trusted as the head of the British government. McKelvie does a splendid job in making it clear the Prime Minister is not best pleased with Peggy when she spurns a photo opportunity with him so as to consider his proposal concerning S.T.R.I.K.E., and this doubt as to the politician’s moral compass grows when it becomes clear that the somewhat suspicious ambush is precisely the motivation needed for the hero to accept his offer.

Likewise, there is plenty to enjoy with Marika Cresta’s artwork, most notably the aforementioned terrorist raid, with the “rising star” making Captain Carter’s fury at the harm to innocents abundantly clear in both her facial expression and body posture. Indeed, it’s clear why during a pre-publication interview for the New York City-based publisher that Jamie stated he couldn’t wait “for people to see Marika's pages - there's so much life and energy to Peggy and the rest of the cast, and the action scenes are stunning."

Writer: Jamie McKelvie, Artist: Marika Cresta, and Color Artist: Erick Arciniega

Star Trek #5 - Marvel Comics

STAR TREK No. 5, August 1980

Considering that Mike W. Barr would go on to write “for every one of the first four incarnations of Star Trek: Star Trek, Star Trek: The Next Generation, Star Trek: Deep Space Nine and Star Trek: Voyager, in either comic book or other media”, his penmanship for “The Haunting Of The Enterprise!” must surely have proved something of a disappointment to fans of the science fiction series in August 1980. Indeed, having been ‘set up rather nicely’ by Marv Wolfman in this ongoing title’s previous issue, the Ohio-born author’s decision to blame the Constitution-class starship’s “encounter [with] what appears to be a haunted house in space” upon the Klingons comes as a major disappointment, and arguably appears even more ‘forced’ when it turns out the warrior race have created such an illusion plundering the memories of an imprisoned human “horror film archivist”.

Of course, that isn’t to say that Issue Five of “Star Trek” doesn’t have its moments of action-packed adventure, as at least one of Admiral Kirk’s personnel is dynamically-drawn by Dave Cockrum falling prey to the aggressive aliens during an early, sense-shattering phaser-exchange. But in between a subsequent carousel of short-lived ‘fight or flight’ hauntings aboard the U.S.S. Enterprise, the vast majority of this comic’s narrative rather perplexingly focuses upon the Klingon Captain patiently explaining to a captive Spock precisely what their Empire’s cunning plan concerning the Federation vessel actually is, and exactly how their incredibly-powerful thought enhancer operates utilising the "plentiful free hydrogen atoms pervading space”.

This exposition is obviously much-needed so as to allow this book’s bibliophiles to understand just how the likes of Doctor McCoy are suddenly confronted by “representations of Earth legends Dracula and Frankenstein’s Monster.” However, it’s highly unlikely that even the most arrogant of extra-terrestrials would describe their covert operation to a captive enemy officer in such fine detail, and then shockingly leave them practically alone with their technologically advanced machinery so the Vulcan scientist could mind-meld with its occupant; “After all, what harm could it do? Your superior is in the next room. If I make a suspicious move, you have but to call out…”

Regrettably, even the presence of prisoner Raytag M'Gora is simply used as a contrivance in order to better explain how the Klingons are able to broadcast their deadly fantasies so far into Federation space. Rather than being a tragic soul still tormented by his previous captors to the point where he continually spouts “mumbo-jumbo”, the Normedian instead is unconvincingly turned into a willing pawn of the Empire, who endures a skull implant so as to project “the Earthman’s creations throughout your vessel!”

Writer: Mike W. Barr, Artists: Dave Cockrum & Klaus Janson, and Colorist: Carl Gafford

Iron Man [2020] #16 - Marvel Comics

IRON MAN No. 16, March 2022

Seemingly determined to make Tony Stark appear even more egotistical than ever before, Christopher Cantwell’s narrative for Issue Sixteen of “Iron Man” was probably rather hard to wade through for those fans of Shellhead who recall the genius inventor’s simpler days when he was just a man fighting a carousel of super-villains in a technologically-advanced armoured suit. Indeed, the American producer’s reimagining of the Golden Avenger as a cosmically-transformed Iron God disappointingly doesn’t arguably lead to any sort of action whatsoever, but rather ensures that this twenty-page periodical predominantly consists of several characters just talking to one another; “Steve. Let me just wrap this -- Steve. Can I just. Finish. Please?”

Foremost of these dialogue-driven discussions is the silver-coloured deity’s disagreement with an understandably concerned Captain America over the billionaire’s ill-thought out idea to imbue everyone in the world with “my intellect”, and turn them into “Stark-level geniuses.” The sheer hubris on display by the titular character in this ‘set-piece’ is both absolutely breath-taking and extremely well-penned, as the Chicago-born writer makes the narcissist’s words all the more threatening by occasionally switching the spotlight onto the troubled concerns of his apprehensive audience, rather than focusing purely on the giant-sized figure towering over Washington Square Park.

However, instead of Tony’s poorly-planned decision leading to some exciting, action-packed adventure where the ultra-evolved industrialist’s misguided good intention causes a criminal mastermind to lay siege to New York City using their enhanced intelligence quotient, or even commit a minor felony for that matter, Cantwell’s script instead rather tamely just depicts a drawn-out series of tongue-in-cheek ‘six-panel long’ insights into how Iron God’s unrequested gift has impacted upon the lives of everyday mortal folk.

Perhaps therefore this publication’s best moment is when Jackson Weele is suddenly startled awake from a coma, and momentarily appears to be about to cause chaos to the Big Apple’s traffic network whilst dangerously driving a gigantic Big Wheel. Dynamically drawn by Julius Ohta, this initially intriguing confrontation looks set to pit Hellcat against a classic Spider-Man minor league foe from the late Seventies, yet lamentably swiftly peters out due to Stark simply unceremoniously cocooning Marv Wolfman’s co-creation within an energy bubble.

The regular cover art of "IRON MAN" #16 by Alex Ross

Harley Quinn #9 - DC Comics

HARLEY QUINN No. 9, January 2022

Offering absolutely no explanation whatsoever as to just how the happenings within “DC Comics” crossover event “Fear State” have progressed for this twenty-two page periodical’s titular character, Stephanie Phillips’ central plot for Issue Nine of “Harley Quinn” probably completely baffled those readers naïve to the vigilante’s team-up “with the Gotham City Sirens to take down Scarecrow.” Indeed, apart from the “former psychologist turned heroic clown” and Poison Ivy clearly needing to place as much distance between themselves and an exploding building in Alleytown, the American author disappointingly doesn’t debatably even touch upon the pair’s exploits prior to this comic’s opening; “Run Red! Bella said there’s a car out front we can take to get back to Gotham.”

Happily however, the same is not true for this book’s secondary storyline, which features the increasingly likeable Kevin bravely attempting to save the lives of Professor Strange’s unpleasant lackeys who have become trapped inside the fiery remains of S.A.F.E. Headquarters. This genuinely dramatic rescue mission is extremely well-penned, as the kind-hearted sidekick heroically sets aside his prejudices towards the entombed orderlies who previously had tortured him, and uses his considerable strength to brutally tear open a seemingly sealed door.

Easily this publication’s biggest highlight though, is the former-minion’s tense confrontation with the utterly unscrupulous Lockwood, who appears well and truly doomed deep inside one of the fast-perishing building’s secure facilities. Phillips does an excellent job of depicting the internal conflict taking place within Kevin’s mind as he struggles to do ‘the right thing’, and then sparks a genuine rush of loathing for Strange’s senior henchman when he later repays his saviour by leaving him to die alone beneath some falling rubble.

Riley Rossmo’s layouts are also well-worthy of praise, with the artist pencilling some truly memorable action sequences, such as Quinn’s nod to “that car chase in Bullitt” and the vehicle’s subsequent destruction at the hands of Eli Kaufmann’s less than impressive alter-ego, Keepsake. The Canadian proves particularly adept at drawing the heat emanating from the destruction surrounding Harley’s rotund-shaped friend, which genuinely seems to threaten to blister the very fingers of any unsuspecting bibliophile holding this book in their hands.

Writer: Stephanie Phillips, Artist: Riley Rossmo, and Colors: Ivan Plascencia

Artemis & The Assassin #4 - AfterShock Comics

ARTEMIS & THE ASSASSIN No. 4, August 2020

Providing its audience with a highly anticipated flashback sequence to 261 B.C.E. and the ruler of Kalinga’s “bloody war against Emperor Ashoka’s forces” in order to provide Maya with a catastrophic origin story, Stephanie Phillips’ script for “We Don’t Ask Why” disconcertingly sees this mini-series’ storyline cross over the line from science fiction into science fantasy. In fact, this entire twenty-page periodical suddenly continually emphasises the supernatural disposition of both this book’s mean-spirited time traveller and her well-dressed, mysterious benefactor – who apparently is unable to die despite the best efforts of some Khopesh-carrying Ancient Egyptians.

Perhaps naturally, these forays into the supernatural provide this comic with some of its more action-orientated moments, most notably Isak’s aforementioned fracas in 2200 B.C.E. where the dapper-looking company executive rather nonchalantly cuts down a pair of Dutch Henderson’s bodyguards during his recovery of the anachronistic cowboy’s stolen bracelet. But considering that up until this point all the advantages the time travellers have ‘enjoyed’ over their historical adversaries have appeared to be technological advancements, this publication’s surprising revelation that they may be so much more is arguably somewhat discombobulating.

Indeed, the notion that Maya was somehow brought back to life using the secret knowledge contained within several antique tomes following her demise as an infant is debatably rather jarring, especially when her restoration by “the new leader of the Nine” apparently also imbues the archer with the swirling blue supernatural energies from which she can fashion her bow and arrows; “For generations, my people existed with the sole purpose of protecting the book… Until the dams broke. The water took everything I knew… It almost took me, too.”

Far less perturbing are Francesca Fantini’s proficient pencils, which definitely help imbue this comic’s more violent sequences with some additional savagery. Isak being almost cut in two by some deadly curved blades is a good example of this, with the action actually being presented via some shadowy silhouettes moving at great speed as opposed to a straightforward panel depicting the mutilation. Such a technique genuinely lets the reader’s imagination ‘fill in the gaps’, and potentially harkens back to the death of Anck-su-namun in Stephen Sommers’ 1999 film “The Mummy”.

Writer & Creator: Stephanie Phillips, and Artist: Francesca Fantini

Black Widow #14 - Marvel Comics

BLACK WIDOW No. 14, April 2022

Unequivocally crammed full of pulse-pounding pugilism and featuring a truly chilling cliffhanger of a conclusion, it is easy to see why “Marvel Worldwide” proudly publicised Issue Fourteen of “Black Widow” as being part of an “Eisner-winning series”. For whilst this third instalment to Kelly Thompson's “Die By The Blade” narrative certainly contains a few monetary pauses in its awesome action, even these exchanges between the likes of Yelena Belova and Winter Soldier, or the Host and Living Blade, are simply dripping with both tension and menace; “That was not our arrangement. If you, break this deal, you will not be happy… In the end.”

Leading the charge for much of this adrenalin-infused adventure is Natasha Romanoff’s nail-biting battle with “a villain worth dying for” through the various claustrophobic corridors and ventilation shafts of the Golden Gate Gala charity event. The sheer chemistry between the titular character and her sword-wielding arch-nemesis from Madripoor is absolutely palpable, due to it being made crystal clear straight from the ‘get-go’ by the “ruthless predator” that this hectic confrontation will be a fight to the death.

Similarly as suspenseful though, is the comic’s surprising revelation that the unlawful auction of endangered species which the Black Widow and her team thought to thwart is actually a sale where the ultra-rich can acquire their own captive super-powered humans. This shock twist is tremendously well-penned by the American author and creates plenty of apprehension as Lucy Nguyen must join forces with the twin “socialite siblings” Liv and Lars to escape their imprisonment before they’re all carted off with Spider-Girl to their new owners.

Helping to sell this sense-shattering storyline are Elena Casagrande’s dynamically-drawn layouts and Elisabetta D’Amico’s impressive inks. The creative dynamic duo do an incredible job of depicting the sheer pace of this book’s fight sequences by combining some oddly-angled panels with plenty of well-pencilled pictures featuring all sorts of motion blur special effects. In addition, the scene portraying Romanoff patiently working her work through a series of oppressive air-vents, all the while trying to contact her fellow costumed crime-fighters so as to concoct a new plan of attack, will doubtless cause many a bibliophile to literally hold their breath just in case their excited exhalation betrays the Avenger’s physical presence to the nearby Living Blade.

The regular cover art of "BLACK WIDOW" #14 by Adam Hughes

Moon Knight [2021] #6 - Marvel Comics

MOON KNIGHT No. 6, February 2022

Partially setting aside this ongoing series’ main narrative of the titular character being plagued by the maniacal machinations of the mysterious Zodiac, Jed MacKay’s script for Issue Six of “Moon Knight” actually focuses upon the rather intriguing origin story of Doctor Badr, and the Egyptian physician’s rebirth as “a worshipper of Khonshu.” However, rather than completely ‘sideline’ Marc Spector’s desperate battle to save “the reformed Hydra veteran nicknamed Soldier” from being cut to pieces, the Canadian author instead rather cleverly weaves the two different scenarios together so as to create an enthrallingly relevant tale of death and supernatural resurrection.

This merger is incredibly well-penned with Hunter Moon being busy both recounting his shockingly gory demise at the hands of a horde of blood-hungry vampires to a semi-conscious Fist of Khonshu, as well as carefully bandaging up his badly beaten patient’s wounds, and setting the bruised vigilante upon the road to reconciliation with the pair’s nocturnal deity; “And that is why I have borne you such animosity. What I spent my life longing for… You have thrown away like it was nothing.”

Furthermore, despite a good percentage of this comic consisting of “the god's second high priest” waxing lyrical as to the virtues of being an instrument of the "Shepherd of to the Lost", there’s still plenty of pulse-pounding pugilism on show to keep this book’s more action-orientated sated too. Admittedly, the West Coast Avenger isn’t actually the one dishing out the punishment, courtesy of being floored by the Midnight Mission’s fiery destruction and a subsequent beating at the hands of Zodiac. But Hunter Moon’s sudden appearance certainly makes up for that, as the anti-hero violently body slams the masked anarchist into the side of a car just as the merciless villain was about to ‘motivate’ Spector by mutilating a helpless Soldier.

Notably supporting MacKay with this twenty-page periodical is Alessandro Cappuccio, whose dynamic pencilling really helps sell the sheer sense of desperation in Reese as the vampire begs the man who has previously tried to kill her to help save her friend. This emotional sequence, atmospherically coloured by Rachelle Rosenberg, genuinely helps sell the rationale behind just why Badr would subsequently confront Zodiac, and use all his healing abilities to bring Moon Knight back from the brink of death.

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

Star Trek #4 - Marvel Comics

STAR TREK No. 4, July 1980

Despite being declared “the starship Enterprise's weirdest voyage” on its cover, fans of Gene Roddenberry’s science-fiction franchise probably soon spotted the similarities between this comic’s script and the two televised adventures from the original series – “Dagger Of The Mind” and “Catspaw”. But whilst the plot to Issue Four of “Star Trek” quite unashamedly appears to somewhat heavily borrow from these Sixties broadcasts, there’s still plenty of exciting action for its readers to enjoy as Marv Wolfman disconcertingly pits Rear Admiral James Tiberius Kirk against the likes of Count Dracula and Frankenstein’s monster.

Foremost of these enthralling draws is the seventeen-page periodical’s opening, which sees the Constitution-class vessel’s crew dramatically trying to recapture an utterly mad extra-terrestrial prisoner within the spacecraft’s catacomb of corridors. The Brooklyn-born writer does a splendid job in putting the eyeless Raytag M’Gora’s extraordinary ability to “see in the same manner that an Earth bat sees” to good use, by having it first appear as a strength when he outfights Kirk in unarmed combat, and then later as a weakness; “Scotty… Channel a sonic backlash through intership communications!”

Similarly as well penned is the mystery surrounding the strange materialisation of Bram Stoker’s Transylvanian nobleman, and the vampire’s subsequent shocking murder of Ambassador R’Kgg. Just how “an old Earth Victorian mansion, circa 1800” happens to be sat floating just outside Klingon Space provides an intriguing hook, and the tension as Kirk, Spock and McCoy explore the bizarre haunted house is arguably palpable; especially once it becomes clear that the plethora of Universal classic monsters encountered are apparently real according to the landing party’s tricorder.

Delightfully adding plenty of “Thok!” and “Krak!” to this publication’s proceedings are the excellent layouts of Dave Cockrum, whose swirling clouds of vapour and groaning ghostly spectres go a long way to add to this comic’s horror-themed atmosphere. The Inkpot Award-winner’s prodigious pencilling also always seems to portray the U.S.S. Enterprise's commanding officer at the head of the conflict, whether it be engaging a spike-tailed Normedian in close combat, desperately blasting away at the Lord of the Undead with his phaser, or drop-kicking Frankenstein's creature through a bedroom window in an effort to rescue a blonde-haired damsel in distress.

Script/Edits: Marv Wolfman, Pencils: Dave Cockrum, and Inks: Klaus Janson

Iron Man [2020] #15 - Marvel Comics

IRON MAN No. 15, February 2022

Considering that in essence this entire twenty-page periodical simply consists of a closely-contested slugfest between Tony Stark’s Iron God persona with that of the cosmically-powered Michael Korvac, there’s a surprisingly substantial hook to be found with Christopher Cantwell’s narrative for “What Of Lazarus?” in the guise of an old Larry Lieber co-creation from October 1963. In fact, many of this comic’s readers were probably wishing that the American author focused far more upon the final exploits of Draconius’ sole-surviving Wobbow than the two “newly nigh-invincible entities” as they forcefully “vie for absolute dominance.”

For starters, whereas this publication’s central thread of Iron Man and his ‘arch-nemesis’ is debatably badly bogged down with a seemingly endless argument over just who will stop who from controlling the entire universe, the notion of a fatally injured shape-shifter desperately seeking solace upon the planet Satania so as to tell the true story of his hapless world’s destruction is incredibly engrossing. The Chicago-born writer doesn’t even bother to give the refugee a name, yet somehow injects the character with plenty of genuine pathos as the green-skinned alien flees his fast-disintegrating planet in a rocket ship “with a single copy of our great history.”

Likewise, Iron Man’s sudden confrontation with the Living Tribunal and “some friends” proves far more fascinating when viewed from the lone Wobbow’s perspective, than that of the self-opinionated Stark. This scene, which includes several other celestial-sized deities such as Oblivion, Eternity, Death and Mistress Love, should arguably have been seriously sense-shattering. But due to his massive ego, Tony talks to these ‘cosmic abstract entities’ as if they were equals, whereas the tiny extra-terrestrial, witnessing the exchange during his space-flight to safety, truly appreciates the sheer spectacle of such a galaxy-sized gathering; “But what I saw next… I’m a holy man, but never did I believe I would encounter so many gods on a single day… On our Doomsday…”

Quite possibly this publication’s biggest win however, is Ibraim Roberson’s excellent pencilling, which manages to provide the battle amongst the planets with all the civilisation-destroying grandeur such a colossal conflict would cause. In addition, the visual illustrator somehow manages to imbue the nameless Wobbow with all the bitter sadness and emotional torment a bibliophile might expect from a single being fleeing from the senseless end to his sun, world and harmless race…

The regular cover art of "IRON MAN" #15 by Alex Ross

Harley Quinn #8 - DC Comics

HARLEY QUINN No. 8, December 2021

Considering that this twenty-two page periodical plunges its audience smack bang in the middle of “DC Comics” crossover storyline “Fear State” without any warning or explanation, it is arguably hard to understand just how Issue Eight of “Harley Quinn” managed to sell over three thousand more copies than it did the month before. Sure, die-hard fans Of the Dark Knight were always going to turn out in force to collect as many Bat-titles as possible concerning the Scarecrow’s “plan to control Gotham City through the power of fear”. But for those readers solely settling upon the adventures of “Harls”, much of this publication’s plot debatably doesn’t make much sense.

Of course, that isn’t to say that one-third of the way through this comic Stephanie Phillips doesn’t attempt to bring the book’s audience somewhat up to speed with what has taken place since the end of this ongoing series’ previous edition. However, this double splash-page flashback sequence spends half of its time focused upon Quinzel’s childhood and early romance with Pamela Isley in a heavy-handed attempt to be humorous, rather than explaining how the titular character ended up canoodling with a clone of Poison Ivy at the Grove Street Terminal, in Alleytown, alongside Catwoman, Gardener, and the criminal super-team - the Caucus of Corruption.

Fortunately, what this magazine lacks in continuity with its predecessor, it possibly makes up for with an intriguing sub-thread featuring Kevin as a have-a-go hero back in Gotham City. The rotund side-kick, donned in a conspicuously pink costume does his very best to defend a supposedly helpless unarmed woman, when she is attacked by a gang of the Magistrate’s heavily-armoured officers, and it's a shame the duo’s subsequent journey towards the increasingly damaged S.A.F.E. Tower doesn’t feature more heavily in this book; “Whoa… What is it they say about bringing hockey sticks to a gun fi--?”

Happily, this comic also contains some superb artwork by Riley Rossmo. The Canadian artist really nails Kevin’s evident awkwardness at being a vigilante with a heart of gold, who clearly just wants to stand up against injustice despite his excessive bulk and self-disbelief.  In addition, the instructor at the Alberta College of Art and Design also does a stellar job in pencilling both the mysterious Sam’s kick-ass fighting technique, as well as capturing the sheer insanity of Professor Hugo Strange when he openly admits to Lockwood that he’s the one destroying his own high-rise hospital.

Writer: Stephanie Phillips, Artist: Riley Rossmo, and Colors: Ivan Plascencia

Star Trek: The Mirror War: Geordi #1 - IDW Publishing

STAR TREK: THE MIRROR WAR: GEORDI No. 1, March 2022

For those fans of Gene Roddenberry’s science fiction franchise “Star Trek: The Next Generation” and actor LeVar Burton’s extremely heart-warming performance as the U.S.S. Enterprise-D’s Geordi La Forge, J. Holtham’s script for this twenty-page long one-shot is sure to prove a disconcertingly dark reading experience. In fact, it arguably isn’t until the blind, recently beaten up adolescent mercilessly sets his own parents ablaze whilst the hapless couple are fast asleep in their bed during a flashback scene, that it really strikes home just how different to the character’s televised counterpart this comic’s “permutation of the mirror universe” truly is.

For example, the Terran chief engineer is easily as cold-hearted and calculating as any of the other unscrupulous doppelgangers depicted within this parallel dimension, appearing to genuinely care very deeply for fellow officer Gwen Liu during his early days at Utopia Planitia, before unflinchingly reporting the young woman to his superiors when she plans to murder the highly dislikeable Commander Sanchez during a routine inspection of a warp engine; “Losing Sanchez would have cost the project months. A simple cost-benefit analysis.”

This almost inhuman betrayal of someone who willingly gave both her body and soul to La Forge is well-penned by the author, and would debatably rock any bibliophile within this book’s audience who had unconsciously been lulled into a false sense of security by believing this Geordi from an alternative reality has almost anything in common with his much more humane prime incarnation. Indeed, perhaps to emphasis this particular point and the man’s terrifying ruthlessness, Holtham actually depicts the Lieutenant Commander recalling his feelings for Liu later on in the publication when he discovers she has since died, and acknowledging that his ex-lover was simply “a weakness I had to get rid of. Burn out. Before it consumed me. Before I lost focus.”

Possibly this comic’s sole disappointment is therefore that none of this intriguing narrative actually seems to progress the mini-series’ overall plot. Admittedly, this ‘deep-dive’ into the chief engineer’s psyche is compelling enough, especially when he seems to be at the mercy of a shrouded figure who has him permanently locked inside an agoniser booth. But there have already been glimpses of the officer’s opportunistic barbarity during the main “Mirror War” title’s run, and once it is revealed the entire situation has been manufactured by Inquisitor Troi just to test La Forge’s loyalty, the entire premise debatably falls a little flat.

The regular cover art to "STAR TREK: THE MIRROR WAR: GEORDI" #1 by Carlos Rodriguez

Rick And Morty Verses Dungeons & Dragons #4 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS No. 4, December 2018

Debatably abandoning any strong notion that this comic’s central cast are actually Rick Sanchez and his daughter’s dysfunctional family in favour of a party of brave, world-saving adventurers, Patrick Rothfuss and Jim Zub’s script for Issue Four of "Rick And Morty Verses Dungeons & Dragons" certainly demonstrates both the writers’ love and intimate knowledge of the “fantasy tabletop role-playing game originally designed by Gary Gygax and Dave Arneson.” In fact, it is arguably easy to forget at times that this book isn’t simply about Kiir Bravian and the confident Abjurer’s desperate quest to thwart “the sacrifice of six non-human children”, as opposed to being a tie-in to Adult Swim’s animated television programme.

Happily however, this full-on ‘dungonfest’ proves to be an incredibly enjoyable read, simply packed full of excitement, tension, destruction and even the shock death of one of its lead characters. In addition, despite having been physically transformed into the gnome bard Gee-Willikers Petalebutt, Morty’s acid-tongued grandfather persistently provides some genuine laugh-out-loud moments as the diminutive-sized musician no longer finds himself the centre of attention, and instead falls victim to a plethora of fantasy-based scenarios – whether it be an encounter with a gelatinous cube, a monstrous red dragon, or even failing the Athletics skill check required to cross a bottomless ravine via a rope.

Summer Smith’s alter-ego Ari Strongbow is also blessed with some considerable ‘screen time’ within this twenty-five page periodical, courtesy of the ogre-hating ranger’s comprehensive backstory and gut-wrenching sacrifice made towards the end of the book. This gruesome demise is poignantly penned by the creative team, as it leads into a surprisingly emotional moment with Kiir (Jerry) deciding he doesn’t wish to dwell inside the ‘D&D universe’ now the warrior of the wilderness has died, and the surviving quartet subsequently returning to a seemingly empty home; “I mean, we could clone her, or bring in a Summer from another dimension, but her brain, her memories… It wouldn’t be her.”

Equally as enthralling as this publication’s writing is Troy Little’s pencilling, which absolutely excels in depicting all the storyline’s action. Of particular note though, are the incredibly well-pencilled antics of Petalebutt, whose facial gestures when he has either been partially-disintegrated from the waist down by a hungry jelly, or trying to read a just out-of-reach tome in the Greyhold Library, are utterly hilarious to peruse.

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

Moon Knight [2021] #5 - Marvel Comics

MOON KNIGHT No. 5, January 2022

Whilst the revelation as to the actual identity of the person behind the titular character’s most recent exploits may well have occurred somewhat too soon for many of this ongoing series’ readers, it certainly provides Jed MacKay with an excellent opportunity to pen an exhilarating thrill-ride across the night-time rooftops of New York City. Indeed, despite Issue Five of “Moon Knight” containing a fair few dialogue-driven scenes, such as the Fist of Khonshu surprisingly sitting down to tea and cakes with Soldier’s aged mother or Doctor Andrea Sterman’s superhuman therapy sessions, there’s a palpable pace to this twenty-page periodical’s plot.

To begin with, presumably this comic’s entire audience are completely wrong-footed with the assumption that Marc Spector’s “new nemesis” is a former Hydra operative-turned-Manhattan tenant who has covertly managed to befriend the out-of-favour West Coast Avenger, and even previously ‘teamed-up’ with him on an earlier adventure against Leonard Hawley. This accusatory thread is subsequently made all the more convincing once the costumed crime-fighter has located his hidden enemy’s “other place” and discovered it be packed full of “parabolic and laser mics… all pointed at the Midnight Mission.”

What happens next though, is arguably quite unexpected and helps ramp up the tension within this publication’s already intriguing narrative by several notches. The mysterious Zodiac is not Soldier, and has simply set the former terrorist up. In addition, the enigmatic anarchist has manacled his badly battered Judas goat to a radiator inside a Midnight Mission which is absolutely crammed full of explosives, and half-expects Moon Knight to simply leave the man to die before the bomb’s fast running out timer expires; “You can admit that you’re a phony, and save yourself. I didn’t lock the door on my way out, so you’re free to go.”

Obviously, the “Lunar Legionnaire" decides to stay with his captive friend and attempts to cut through the hardened chain with a micro plasma torch. However, rather than depict a routine, play-by-numbers rescue mission, the super-tight panel layouts and wonderfully focused pencilling by Alessandro Cappuccio, as well as some almost blinding colours by Rachelle Rosenberg, very much put the vigilante’s valiant efforts in doubt right up until the moment when Marc's neighbourhood headquarters violently blows up.

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

Harley Quinn #7 - DC Comics

HARLEY QUINN No. 7, November 2021

Introducing a plethora of ‘tongue-in-cheek’ new villains in the shape of the Caucus of Corruption, and tentatively tying in to “DC Comics” comic book crossover storyline "Fear State", Stephanie Phillips’ script for Issue Seven of “Harley Quinn” probably left its 29,000 strong audience wanting a bit more from the twenty-two page periodical’s plot. Indeed, for those readers blissfully unaware of Doctor Jonathan Crane’s attempt to control Gotham City using his infamous fear toxin and the rumoured death of the Dark Knight, this book’s central premise concerning the titular character taking her Clowns Support Group on a supposedly therapeutic camping trip is arguably bemusing at best.

Fortunately, things do eventually start to ‘heat up’ towards the end of this publication, once Harleen Quinzel realises that an extraordinarily lengthy, multi-panel mediation sequence is “so boring” and sets out with Kevin on a quest to recover a lost dog called Waffles. This romp through the woodland is still debatably unduly lengthy, thanks in part to the female anti-hero angrily misinterpreting her friend’s concern as to her wellbeing as being purely chauvinistic. But at least it ends with the leading cast encountering a truly formidable-looking bear and having to hilariously run for their very lives; “He’s gaining on us!”

Likewise, the American author pens an intriguing insight into the mad happenings currently occurring upon the streets on Gotham now Batman is apparently no more. The large scale looting by the metropolis’ lower end criminals makes perfect sense. However, it is the writer’s depiction of Professor Hugo Strange which really captures the utter insanity of the rioting, as the maniacal psychiatrist dons a replica Caped Crusader costume and dishes out punishment to anyone foolish enough to get within his grasp – even innocent shop owners simply trying to protect their property.

Quite possibly this comic’s main draw therefore lies within the layouts of Riley Rossmo, whose pencilling of Quinn’s aforementioned encounter with a gigantic grizzly encapsulates all the sheer terror imaginable should a street-level anti-hero confront so massive a wild animal. In addition, the stark megalomania visible in Strange’s eyes as he stands laughing out loud amidst the chaos of Gotham City is truly palpable, and leaves no doubt at all that the super-villain is completely bonkers.

Writer: Stephanie Phillips, Artist: Riley Rossmo, and Colors: Ivan Plascencia

BRZRKR #7 - BOOM! Studios

BRZRKR No. 7, February 2022

Considering that this entire twenty-four page periodical essentially comprises of little more than a conversation between the titular character and his long-time patron Caldwell, it is incredible just how utterly enthralling Keanu Reeves and Matt Kindt’s narrative for Issue Seven of “BRZRKR” actually is. For whilst such a premise unapologetically relies upon a seemingly endless series of text boxes and word balloons crammed full of dialogue and exposition, the discussion’s actual subject matter arguably captures the attention straight from the start, as the bespectacled anthropologist begins a lengthy explanation as to the origin behind the immortal mercenary's latest acquisition from ancient antiquity; “You and Keever did well on the last mission. You have no idea how long I’ve been working to acquire that little box.”

This highly engaging flashback sequence rather neatly transports the reader back through time, from the nefarious, criminal underworld of the modern-day relic market to “the birth of a new religion” at the Battle of Babylonia in 2300 B.C. Such a rich tapestry of drama rather succinctly shows just what a miraculous effect upon humanity the long-lived warrior has had, and ultimately provides the publication with a somewhat disconcerting moment when it’s revealed that the unimpressive-looking piece of shrivelled, grey matter so many people have died over through the millennia is just the wizened remains of a severed hand.

Similarly as perturbing is the disclosure as to just how obsessed with his ‘old friend’ Caldwell actually is, to the point where in his younger days, the cold-hearted collector rather matter-of-factly murdered both men and woman with his bare hands so as to gain access to their knowledge and/or property. This utter obsession helps reinforce just how duplicitous the bespectacled benefactor is, and, alongside the self-centred sponsor’s insane fixation upon identifying the very birthplace of the Berzerker, rather rivetingly makes it clear that whatever experiment he recommends the immortal participate in next, is definitely not going to have the soul-searching subject’s best interests at heart.

Throwing just the odd bucket of gore and bodily mutilation into the mix is artist Ron Garney, whose ability to imbue all of the numerous flashback sequences with a genuine sense of their respective civilisations and chronologies, really helps sell the sheer scale of how much time has passed since some of the events took place. Of particular note is the illustrator’s ability to pencil the sheer savagery of the aforementioned ancient battle in Mesopotamia, where limbs, entrails and organs are bloodthirstily hewn all over the place.

The regular cover art for "BRZRKR" #7 by Lee Garbett

Rick And Morty Verses Dungeons & Dragons #3 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS No. 3, November 2018

For those readers able to wade through this twenty-five page periodical’s opening dialogue-driven half, there’s an incredible amount to enjoy in “Reality Bites (For 3D6+1)”. Indeed, once Kiir Bravian’s band of adventurers encounter their first wandering monster, Patrick Rothfuss & Jim Zub weave an incredibly entertaining narrative, which is not only absolutely packed full of some sense-shattering Fifth Edition-inspired shenanigans. But also contains some genuine ‘laugh-out-loud’ moments, such as when the party’s pointy-eared wizard successfully goes toe-to-toe with a Half-Ogre sorcerer; “You motherf****r! I’m going to rip off your d*ck and kick it into the sun! Who the f**k plays an Abjurer? Seriously!”

Disappointingly though, the same praise cannot arguably be heaped upon this comic’s first few scenes as Rick attempts to locate “a dimension where the Dungeons & Dragons paradigms are real” following Jerry’s unfortunate destruction of the fuming-mad scientist’s fantasy gaming simulator. Sure, there’s undoubtedly some fun to be gleaned from the family’s friction over this turn of events. However, there’s an incredible amount of word balloons to be navigated before a somewhat familiar-looking “smarmy little dice-deucing megalomaniac” of a Dungeon Master finally transports the central cast literally into the heat of battle.

Fortunately, this publication’s penmanship improves dramatically once Morty’s father surprisingly leads his family against a pair of truly massive Ogres, and with some satisfaction witnesses both his wife and children successfully overcome the super-strong monsters. This action-sequence really is enthrallingly written, and contains plenty of moments of genuine concern, courtesy of the alternative world’s visitors all being vulnerable to death should they tragically receive a fatal wound.

Suffering somewhat similarly to this comic’s storyline, Troy Little’s artwork inside Issue Three of "Rick And Morty Verses Dungeons & Dragons" is also debatably a game of two halves. The Canadian cartoonist’s pencilling prior to the lead characters’ transforming themselves into their role-playing alter-egos looks decidedly off-point when compared to the illustrator's much more detailed panels later on in the book. In fact, there’s such a marked contrast between the quality of the drawing, that some bibliophiles may well have found themselves checking the comic’s creators to see whether someone else was responsible for the early layouts.

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