Harley Quinn #12 - DC Comics

HARLEY QUINN No. 12, April 2022

Whilst this twenty-two page periodical’s plot undeniably provides its readers with both a resolution and the sort of acrobatic-based heroics they probably would’ve expected from its titular character, Stephanie Phillips’ storyline for Issue Twelve of “Harley Quinn” arguably contains a fair few dubious, head-scratching moments. In fact, despite the colourfully-costumed crime-fighter’s evident success over the utterly insane Keepsake “and his new robot pumpkin army”, it is disappointingly never made clear just how Paul Dini’s co-creation actually managed to derail her opponent’s speeding train of death just seconds from it running straight over a helpless Kevin; “Yeah… I cut that one a bit close. Sorry about that. My math was… a little off.”

Of course, that isn’t to say that this comic’s opening third, which sees Harleen Quinzel desperately battle her way towards a ludicrously-large bomb beneath a rampaging steam locomotive, doesn’t deliver plenty of pulse-pounding tension. As the tightly-penned action sequence debatably contains one of the book’s highlights as she imagines just how the likes of Zatanna, Superman or Aquaman would resolve the cliff-hanger. But the precise nature of the baseball bat-wielding vigilante’s solution is never shown, with the audience instead simply being informed that the Gotham City Siren somehow forced the exploding train into a river just as she threw herself clear of danger.

Likewise, the narrative ends with Quinn and the freshly rebranded “Caucus Of Kicking Keepsake’s ***” leaving the defeated villain to die alone beneath a fast-falling building, without lifting so much as a finger to save him from the rubble. This abandonment to ‘certain death’ debatably goes completely against the new ‘ethical code’ Harley is supposedly now following as a ‘wannabe member of the Bat-family’, and appears particularly incongruous as it occurs straight on from the “trained psychiatrist” lengthily lecturing her band “of ex-Joker henchpeople” about their plan to heartlessly kill Eli Kaufman in cold blood.

Enjoyably however, what this comic’s script might lack in logic or exposition, it definitely makes up for with eye-catching candy, courtesy of some stellar sketching by Riley Rossmo. The “instructor at the Alberta College of Art and Design” does an incredible job of illustrating Quinzel’s agility during Kevin’s rescue mission, and provides Anne’s attack upon Keepsake’s headquarters with all the chaotic gunplay, explosions and fisticuffs a bibliophile might expect from a large-scale skirmish within a closely-confined facility.

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

Black Widow #15 - Marvel Comics

BLACK WIDOW No. 15, May 2022

Sadly bringing this ongoing series’ “legendary run” to an end, Kelly Thompson’s narrative for Issue Fifteen of “Black Widow” certainly seems to do a job good in both wrapping up the comic’s latest sense-shattering shenanigan, as well as leaving the book’s audience asking for more stories about Natasha Romanoff’s increasingly close super-heroic family. Indeed, towards the end of this twenty-page periodical’s plot, the “Eisner-winning” writer makes a remarkable habit of penning some the Soviet agent’s ongoing adversaries conducting a successful break for freedom so they can live to fight another day; “Your honour spared my life once before, and I do the same for you now.”

Foremost of these intriguing ‘open-ends’ is arguably the defeat of the Living Blade, after the mysterious swordsman is stopped short of slicing up a clearly battle-weary Yelena Belova. Perhaps somewhat disappointingly, the pair’s apparently epic confrontation isn’t actually covered by this publication due to the action following the titular Avenger first and foremost. However, considering that it is made somewhat clear that the injured “exemplar trainee in the Red Room Academy” wouldn’t have survived her duel for much longer if not for Natalia’s swashbuckling intervention, it doesn’t bode well for Romanoff’s future when she later grants the cold-blooded killer clemency.

Likewise, there’s the suggestion that the selfish Twins, Liv and Lars, plus Aldrich Lux Voss, will surely crop back up like a bad penny once the New York City-based publisher decides to produce another comic based upon the Black Widow’s exploits. The sudden departure of the odious platinum-blonde doppelgangers just as Spider-Girl needs their physical help to fend off a flurry of the Host’s pistol-toting henchmen is particularly perturbing, as their unappreciative abandonment comes just as Lucy Nguyen has literally brought one of them back from the brink of death with her “volatile electric” abilities.

Of course, alongside this book’s enthralling authorship are its eye-catching layouts by Elena Casagrande, Rafael T. Pimentel, Elisabetta D’Amico and Jordie Bellaire. The mix of pencilers, inkers and colour artist do an excellent job in conveying the rising tension of the superspy’s swansong by providing some genuinely pulse-poundings panels, such as those depicting the Winter Soldier single-handedly stopping a heavily-guarded Host from escaping aboard a helicopter, and Natasha’s awesomely-acrobatic final clash of swords against the Living Blade.

The regular cover art of "BLACK WIDOW" #15 by Adam Hughes

Captain Carter #2 - Marvel Comics

CAPTAIN CARTER No. 2, June 2022

Despite initially presenting this twenty-page periodical’s audience with an all-too brief battle between Project Rebirth’s successful candidate and some heavily-armed Hydra goons “at an Eastpark shopping centre in London”, Jamie McKelvie’s narrative for Issue Two of “Captain Carter” is arguably much more of a dialogue-driven, political commentary on British modern-day policymaking than a tale about “the sudden resurgence” of Baron Strucker’s terrorist organisation. Indeed, even this comic’s central plot thread concerning Georges Batroc supposedly smuggling weaponry into Lincolnshire is quickly turned into a heated argument over the asylum claims of immigrants illegally entering the Empire, the Windrush scandal, and the virtues of believing what you read in the newspapers as opposed to what the government states.

Of course, the Pennsylvanian-born writer’s notion of a nation’s ruling administration being controlling, manipulative and an abuser of its authority over the people is nothing new within the world of fiction. But on this occasion the accusations stem from Peggy’s decidedly antagonistic neighbour Harley, who has seemingly undergone a complete personality change since this mini-series’ first instalment in which she was somewhat absentminded, and been transformed into an aggressively confident agitator who egotistically knows precisely the correct history books the super-heroine should read so Captain Carter can “do this job right.”

Disappointingly, this somewhat lengthy scene subsequently leads into a massive confrontation between the titular character and Britain’s current Prime Minister, Mister Williams. This book’s audience have already been made highly suspicious of the leader’s motivations earlier on in the publication’s storyline, so it certainly comes as no surprise that the costumed crime-fighter has a strong distrust of her nation’s elected head. However, the fact her angry accusations are based purely upon a few tomes she’s supposedly seen by three activists appears rather unconvincing and far-fetched, especially when Peggy is supposedly meant to be a great spy, who would surely corroborate any such theories first..?

Perhaps therefore this book’s saving grace is the artwork of Marika Cresta, who does a prodigious job pencilling the increasing political tension upon the faces of those figures involved in this comic’s aforementioned conversations. In addition, the Ringo Awards nominee is excellent at illustrating the sheer chaotic mayhem which occurs when S.T.R.I.K.E. ambushes Batroc’s operation, with bullets, shields and punches flying everywhere.

The regular cover art of "CAPTAIN CARTER" #2 by Jamie McKelvie

Iron Man [2020] #18 - Marvel Comics

IRON MAN No. 18, May 2022

Essentially just chronicling Tony Stark’s realisation that “he’s become worse than Korvac” following him cold-bloodedly slaughtering a number of his super-powered colleagues whilst attending a pizza party, Christopher Cantwell’s script for “Hello, Darkness, My Old Friend” probably struck the majority of its readers as an overly-long, lack lustre affair. Indeed, for those bibliophiles familiar with the more ‘brisk’ penmanship of Bronze Age Iron Man luminaries Denny O'Neil or David Michelinie, this twenty-page periodical’s plot sadly smacks of being full of unnecessary padding, and would arguably have been depicted in the past with a single splash page pencilled by the legendary Bob Layton, rather than dragged out across an entire publication.

Of course, that isn’t to say that the American author’s persistent references to the story of Doctor Jekyll and Mister Hyde aren’t entirely without merit, as the comparison of the Golden Avenger being the physician, and egotistical industrialist the monster proves an incredibly thought-provoking analogy. But such an intriguing parallel could debatably be easily conveyed within the space of a handful of well-designed panels, as opposed to the numerous word-filled text-boxes which are repeatedly employed throughout middle of this comic book; “Rinse and repeat. I’m stuck, Patsy --”

Happily however, what this “penultimate issue of the Books Of Korvac” also provides is a reversal of the Iron God’s aforementioned murderous massacre, courtesy of the billionaire resurrecting his ‘friends’ with little more than a gesture of his cosmically-charged hands. The fact that each ‘victim’ retains the memory of what Stark did to them though is certainly an interesting twist, and will doubtless sow the seeds of doubt and uncertainty in the wider world of costumed crime-fighters once word of the killings gets out.

Undoubtedly assisting Cantwell in his endeavour to complete this comic is Lan Medina, who does a sterling job pencilling a number of page-sized single panels, such as the emergence of the original Mark One armour from an Afghanistan cave during a lengthy flashback sequence. This series of action-shots is especially noteworthy as the Filipino artist clearly takes “heavy inspiration from the character's counterpart from the Marvel Cinematic Universe”, so rather erroneously pencils Shell-head’s alter-ego with a goatee as opposed to the thin moustache he has sported throughout this ongoing title’s current run.

The regular cover art of "IRON MAN" #18 by Alex Ross

Iron Man [2020] #17 - Marvel Comics

IRON MAN No. 17, April 2022

Very much placing Tony Stark himself as this ongoing series’ main antagonist, Christopher Cantwell’s storyline for Issue Seventeen of “Iron Man” certainly provides a chilling demonstration of absolute power corrupting its wielder absolutely. For whilst the cosmically-enhanced billionaire seemingly thinks his dubious decision to ‘exponentially raise the intelligence of every New York City citizen’ is a good one, the Chicago-born writer’s narrative provides plenty of evidence as to just why making approximately nine million people super-smart is simply a recipe for chaos, crime and even cold-blooded murder; “The Frog never realises he’s dead until it’s too late.”

Disconcertingly however, especially for those readers who are fans of the Golden Avenger, “Farewell, My Space Friends” also shows the disastrously detrimental effect being the Iron God has had upon the mental stability of its current owner. The egotistical industrialist has arguably always struggled to accept justified criticism of his poorer pronouncements, but in this twenty-page periodical, the “proficient scientist” simply transforms all his detractors, naysayers and even friends, into persistently nodding “Yes Men” so he can “pull off my vision without all the headache and second-guessing.”

Such a massive abuse of his galactic-sized responsibility doesn’t even register upon the egotist’s moral compass, and subsequently sets this comic up for a truly terrifying confrontation between Stark and the rag-tag band of heroes who actually helped him achieve victory over Michael Korvac in the first place. Indeed, debatably for many readers Tony’s almost nonchalant destruction of the likes of the Silver Surfer, original Human Torch, Gargoyle, War Machine and Frogman one by one in a decidedly evil fashion depicts just how utterly insane Stan Lee’s co-creation could potentially always have become if given the ‘right’ circumstances.

Clearly helping imbue this homicidal so-called deity with a ton of hubris and self-satisfying swagger are Ibraim Roberson and Angel Unzueta, whose prodigious panels do a first-rate job of illustrating both the carnage caused by Iron Man’s highly questionable choices, as well as his matter-of-fact massacre at Patsy" Walker’s luxurious sky-line apartment courtyard. The vile sneer shown upon Stark’s face when he’s actually disintegrating his former comrades-in-arms is particularly disturbing, and instantly shows just how badly one of the world’s mightiest champions for justice has fallen.

The regular cover art of "IRON MAN" #17 by Alex Ross

Batman: The Adventures Continue Season Two #6 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON TWO No. 6, January 2022

Jam-packed with as many twists and turns as you’ll find on-board a funfair’s rollercoaster ride, this second instalment to Alan Burnett and Paul Dini’s “Mayor Mayhem” storyline probably landed rather well with fans of the “Batman: The Animated Series”. For whilst the central plot of the twenty-page periodical predominantly focuses upon former Mayor Mayfield’s inexplicably successful ‘charm campaign’ for re-election, the “visionary team” behind the nineties cartoon television programme also throw in an intriguing mix of familiar rogues and freshly-created villains to help liven the party up.

Indeed, arguably one of this comic’s biggest successes is its narrative’s ability to initially ‘hook the reader’ with the mystery behind just how the enigmatic Emerson is able to surprisingly hypnotise all those around him in order to fulfil his shady political ambitions, and the subsequent revelation that the corrupt councilman is actually doing it by utilising the special powers of certain nefarious Arkham Asylum inmates; “Something funny is going on. Like how my enthusiasm for Mayfield fades whenever he’s not nearby. Judging by the way Miss Hanbury reacted, I’m pretty sure it has something to do with this off-limits Strategy Room.”  

Furthermore, the book’s collaborative writing duo also pen some truly exhilarating fight scenes for the Dark Knight to become embroiled in, most notably his tussle with a seemingly all-power Errol Flynn lookalike referred to solely as “the actor”. This rooftop bout of fisticuffs is remarkably well-played, with Bruce Wayne’s alter-ego momentarily appearing completely outclassed as his well-dressed opponent attempts to brain the Caped Crusader with his own Bat-signal. Perhaps unsurprisingly, the super-tough assailant is eventually outmanoeuvred and forced to flee when a nearby water hydrant is overturned. However, by then the goon has already rather cleverly been shown to unwittingly leave the audience with a tantalising hint as to his true identity.

Helping to add plenty of “Thuuf”, “Whack” and “Bammm” to this publication are the layouts of artist Rick Burchett and colorist Monica Kubina. The pair do a tremendous job in illustrating such dynamic action sequences as Clayface’s sense-shattering ambush whilst the Dark Knight is driving the Batmobile. But debatably some of the line work used to sketch many of this comic’s more sedentary, dialogue-driven sections, most notably when a bare-chested Wayne is exercising in his gym, appear rather disappointingly minimalistic in nature.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON TWO" #6 by Jorge Fornes

Harley Quinn #11 - DC Comics

HARLEY QUINN No. 11, March 2022

Largely focusing upon this ongoing series’ titular character, Stephanie Phillips’ narrative for Issue Ten of “Harley Quinn” surely must have entertained the vast majority of its audience with its well-penned combination of action, adventure and desperate decision-making. Indeed, “Bad Math” goes to great lengths so as to show just how far the colourfully-costumed anti-heroine has come in helping the mentally anguished former-pawns of her mass- murdering "Puddin" get over their psychological trauma, and how highly she now places the wellbeing of Gotham City’s innocent inhabitants; “How long will it take… to crawl along the underside of the train and defuse the bomb before it reaches the station, killing hundreds..?”

Furthermore, the twenty-two page periodical’s plot also contains some scintillatingly tense set-pieces, due to the “very dramatic villain named Keepsake” attacking Harleen Quinzel with a formidably-sized army of gun-toting robo-cops. These pumpkin-headed automatons provide the “expert gymnast” with the perfect opportunity to demonstrate her considerable acrobatic skills, as well as show just how devastating the Gotham City Siren can be with both her infamous baseball bat and Arnold Schwarzenegger action movie quotes.

Perhaps however, this comic’s most impressive moment comes when Quinn is forced to finally decide between saving her “best friend, and sidekick, Kevin” or the hapless travellers frequenting Gotham Central Station some 250 miles away. The Joker’s former girlfriend barely hesitates in potentially dooming her rotund pal to a grisly death, but the raw emotion in her voice as she says “I’m so sorry, Kevin…” literally leaps off the page, and signifies that she will be doing her level base to stop the rampaging steam locomotive she’s been handcuffed to before its slices her chubby chum to pieces beneath its wheels.

Adding plenty of dynamically-drawn panels to this tale is Riley Rossmo, whose ability to pencil Harley leaping from one assailant to another with all the grace of a flying trapeze artist is breath-taking. In addition, the Canadian artist’s marvellous design of Keepsake’s giant robot trooper is very well visualised, and helps provide some believability to the notion of just how this book’s central protagonist is captured by the heavily-armed machine, when a plethora of its smaller robotic brethren failed in their mission to do so.

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

DC Vs. Vampires #3 - DC Comics

DC VS. VAMPIRES No. 3, February 2022

Considering just how many different super-heroes, despicable villains and pulse-pounding plots James Tynion IV and Matthew Rosenberg manage to cram into Issue Three of “DC Vs. Vampires”, it’s arguably a credit to the collaborative pair’s penmanship that this periodical is only twenty-two pages in length. Yet whilst such a ‘tight squeeze’ might have caused other lesser-skilled authors to take a few short-cuts with their storytelling, the narrative to “Trust No One” seemingly does no such thing, and simply moves from scene to scene in an enthrallingly comprehensive manner; “We were meant to stay away from you Bat-people. But I can just lie and say this was self-defence.”

Indeed, the comic’s pacing is spot on, with even some of the more dialogue heavy sequences, such as “Batman’s investigation into the disappearance of Andrew Bennett” beneath the Hall of Justice sewers, and Black Canary’s visit to Oliver Queen’s Truck Stop hideout to discuss whether Damian could be one of the “undead plague”, doing little to slow down the speed of the vampires’ lightning fast attacks upon the hapless inhabitants of Gotham City’s streets. Naturally though, it is this book’s central thread of Green Lantern slowly increasing his hold over the Justice League which probably holds the most interest, even when Hal Jordan himself isn’t even actually present.

The fanged infiltrator’s fake anguish at the demise of the Flash is cringeworthy enough to make any bibliophile’s skin crawl at his murderous hypocrisy, especially when John Broome's co-creation instantly takes charge of the group’s investigation into Barry Allen’s cold-blooded killing and clearly directs the likes of Aquaman and Superman away from anything which would possibly link him to the crime. But the inter-galactic policeman's presence is still enthrallingly palpable during the Dark Knight and Jayna's subsequent grim discovery of Zan's light-shredded mortal remains.

Likewise, there’s a lot to enjoy with the tense patrols taking place throughout the dark, suddenly all-too deadly thoroughfares of Bruce Wayne’s home metropolis. Otto Schmidt does a first-rate job of pencilling just how dangerous even a low-life vampire can be when one surprises Bat-girl and Nightwing during one of their routine patrols. However, it is most likely Oswald Cobblepot’s shockingly brutal death beneath the pointy-teeth of an infected Zatanna which is going to haunt this comic’s readers for some time to come, due to the blood-sucking magic user’s callous desire to simply “eat some junk food” for a change.

The regular cover art of "DC VS. VAMPIRES" #3 by Otto Schmidt

Star Trek: The Mirror War #5 - IDW Publishing

STAR TREK: THE MIRROR WAR No. 5, April 2022

Perhaps somewhat disconcertingly starting its story some two years after Captain Picard ingeniously ordered the I.S.S. Enterprise-D to subjugate the planet Faundora and commandeer the “planet’s formidable shipbuilding operations”, Scott and David Tipton’s narrative for Issue Five of “Star Trek: The Mirror War” still manages to grab its audience’s full attention straight from the start. In fact, in some ways it is a pity that more of this twenty-page periodical’s spotlight isn’t spent shining upon Lieutenant Commander Data’s captaincy of the I.S.S. Cronus as it bravely engages a fleet of Klingon Battlecruisers singlehandedly so as to liberate the “long-suffering colonists of Baggo Meer”.

Happily however, this comic’s action-packed narrative doesn’t stop once the android brutally mows down a plethora of warriors and captures Gorofk, son of Maaq, courtesy of William Riker subsequently being ordered to pilfer an unsuspecting Cardassian Antares-class carrier crammed full of dilithium. This pulse-pounding piece of galactic piracy really helps show just what a cunning, and utterly merciless cold-blooded killer the one-eyed commander has become in this “dark, twisted reflection” of the science fiction franchise’s universe, especially once he destroys the escort vessel Girim in order to beam aboard his prey unmolested; “I do not look forward to returning to Captain Picard with seventeen tons of rotting Dragonfruit.”

Of course, that isn’t to say that this book is simply crammed full of mindless violence either, as the collaborative writing team do an excellent job of depicting Jean-Luc’s increasing tensions with the Terran Empire’s Admiral Nechayev too. Indeed, the utter fury the bald-headed Captain resonates throughout his desperate negotiations to acquire more resources for his fledgling armada literally burn off each and every panel, to the point where his explosive rantings are equally as enthrallingly dynamic as this comic’s prolonged phaser-fight sequences.

Gavin Smith’s awesome artwork also needs to receive plenty of praise, with the freelance illustrator’s pencilling during the Cronus’ sense-shattering mission alone arguably being well-worthy of this publication’s cover price. The scene of Data crash-landing smack in the middle of the heavily-defended Klingon base aboard a refitted planetary orbital bombardment capsule is incredibly well-drawn, and aptly resonates with all the ear-splitting explosions and resultant gun-play a bibliophile might expect from such a catastrophic attack upon one of Emperor Worf’s prominent mining worlds.

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

Moon Knight [2021] #9 - Marvel Comics

MOON KNIGHT No. 9, May 2022

Tapping back into the rich past of Doctor Strange’s early adventures during the Sixties, Jed MacKay’s chillingly claustrophobic script for Issue Nine of “Moon Knight” must surely have pleased the majority of this comic’s audience with its combination of an enthralling, self-contained adventure, and its subsequent creation of a supernatural replacement for the heavily bombed Midnight Mission. Indeed, having depicted Marc Spector being ‘vomited out’ of a haunted apartment block “like I was poisoned food”, the Canadian author genuinely pens an ingenious resolution to his narrative by having the somewhat out-matched, non-magical costumed crime-fighter make a deal with the House of Shadows so as to give them both a purpose in life.

Of course, to begin with it is far from clear that the Fist of Khonshu has encountered the Master of the Mystic Arts’ old foe from “a pocket realm near limbo”, and thus the book arguably captures the reader’s complete attention simply with its mysterious depiction of Moon Knight’s four-day long journey through “an unnatural labyrinth” which whilst providing air, water and shelter, doesn’t actually provide its eternally trapped visitors with any food. This precarious predicament really is incredibly intriguing, especially when the weakened West Coast Avenger spies the shadowy forms of the sinister Sixth Floor’s other victims and unsuccessfully rushes to make physical contact with them.

Interestingly, Mackay also manages to imbue a rather oppressive and tense storyline with some flashes of debatably much-needed humour. One such moment comes when Mister Knight complains to his psychologist, Doctor Andrea Sterman, that Reese can’t “stop going on about talking to a real super hero” like the Black Panther, since T'Challa telephoned her. However, perhaps this book’s best instance is when the titular character attempts to convince Wong that he owes the masked vigilante a favour for previously joining “your Las Vegas devil-killing death squad”, and soon rather embarrassingly realises it is in fact the Spector who is in debt to the Tibetan monk.

Equally as enjoyable are artist Alessandro Cappuccio's efforts to add some extra horror to this comic’s sequences set within the maze of corridors and hallways. The Italian illustrator achieves this through the repeated pencilling of animated skeletons, supposedly hiding behind every wall, picture frame and floorboard, to the point where some of this publication’s layouts disconcertingly resemble the Memento Mori of Medieval paintings.

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

Star Trek #7 - Marvel Comics

STAR TREK No. 7, October 1980

Chock-full of canny conundrums involving time travel and a fast-approaching cloud of deadly Vega radiation, this “first of two Star Trek comics written by Tom DeFalco” certainly seems to rather enthrallingly encapsulate the essence of Gene Roddenberry’s original science-fiction television series. For whilst the seventeen-page periodical’s plot rather abruptly ends with the U.S.S. Enterprise’s science officer simply activating a super-sophisticated machine capable of “channelling eons worth of reserved energy into one furious blast”, the lead up to the Vulcan’s world-saving action is littered with a plethora of mysterious occurrences; not least of which is the sculpting of three larger-than-life statues of Kirk, McCoy and Spock some “twenty-four thousand years” before they visited Andrea IX.

Indeed, “Tomorrow Or Yesterday” has just the sort of script which arguably would have well-served Desilu Productions Sixties’ show as an actual broadcastable episode, due to its excellent mixture of impending planetary doom, sense-shattering space-based action, and intriguing paradox that an extra-terrestrial species may well become so advanced that their race can actually transcend time itself; “Centuries ago they experienced the Vega-cloud… and our arrival… And so they prepared accordingly! For they knew that in this exact minute, at this precise second, I would pull this lever…”

Of course, that isn’t to say that the Inkpot Award-winner’s narrative for Issue Seven of “Star Trek” is entirely faultless, as Admiral Kirk’s blatant disregard for Mister Scott’s expert advice not to use the starship’s apparently unreliable transporters at the start of the story somewhat smacks of a contrivance solely designed to efficiently maroon the Starfleet officer on the planet’s surface whilst the Constitution-class vessel races off to disperse the imminent wave of “mutant energies”. But at least the manufactured moment gives the Chief Engineer an opportunity to “take the bridge” once again, and ensure his head-strong ‘captain’ must make a seemingly sincere apology not to “ever doubt your instincts again.”

Sadly however, Mike Nasser’s layouts for this comic are debatably a little less forgivable, and it is perhaps somewhat harshly clear just why this would be the only edition drawn by the “American-Israeli artist.” There’s undeniably no doubting the illustrator’s ability to imbue this book’s more adrenaline-fuelled sequences with plenty of dramatic dynamism, as witnessed by the panels depicting the Enterprise’s unsuccessful attempt to escape the lethal Vega-cloud. Yet the Detroit-born drawer’s somewhat scratchy-looking style, and disconcertingly designed bow-shouldered Andreans, may well not be to everyone’s liking.

Script: Tom DeFalco, Pencils: Mike Nasser, and Inks: Klaus Janson

Batman: The Adventures Continue Season Two #5 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON TWO No. 5, December 2021

Arguably tapping into the “noir-inspired narrative” of Frank Miller’s “Batman: Year One”, Alan Burnett and Paul Dini’s storyline for this twenty-page periodical surely must have enthralled the vast majority of the comic’s 26,200 readers in October 2021. Indeed, the Dark Knight’s riveting retread of his early adventure against Mayor Emerson Mayfield and the corrupt politician’s murderous M-Force captures the attention almost straight away due to its portrayal of the costumed crime-fighter as an inexperienced, rather headstrong champion for justice, as opposed to the seemingly unstoppable Caped Crusader debatably depicted in modern day comics; “I wasn’t as cautious as I’d become, and it taught me a valuable lesson.”

Likewise, “Mayor Mayhem” doesn’t simply portray Gotham City’s highest-ranking official as a stereotypical shady statesman either, but as a Machievellian-level manipulator of the general public, who is also able to crookedly infiltrate the metropolis’ police department with his own ‘specially-selected’ mercenaries taken from both Stonegate Prison and Arkham Asylum. Such grand scheming really does make Mayfield an intriguing, well-fleshed out antagonist, especially when coupled with the fiendish felon’s decades long loathing of Bruce Wayne’s alter-ego, and the fact that his success was savagely cut short by Batman’s interference once his dubious deals to pocket stolen money had been uncovered.

In fact, this publication’s cliff-hanger of a conclusion is possibly one of its greatest assets, as it shows the much-younger cowled vigilante ultimately failing in his mission to permanently rid his home conurbation of the dishonest councilman, and facing an “old face” with a big grudge against him who rather enigmatically isn’t “afraid of Batman anymore”.

Regrettably however, what excitement this comic generates with its penmanship, it debatably partially loses with its somewhat inauspicious layouts, which appear rather roughly-hewn in several places, particularly when the titular character is at the heart of the action. There certainly should be no doubt that Rick Burchett does a reasonable job of capturing the look of the Nineties “Batman: The Animated Series” with his pencilling, and the marked difference in costumes between the two incarnations of the Dark Knight is wonderfully visualised. Yet the persistent inconsistencies of the minimalist line art increasingly suggests that numerous panels were perhaps just thrown together so as to meet an ever-impending deadline..?

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON TWO" #5 by Jamal Campbell

Shang-Chi [2021] #10 - Marvel Comics

SHANG-CHI No. 10, May 2022

Ramping up Chieftain Xin’s “personal vendetta… to destroy every person that shares blood with Zheng Zu”, Gene Luen Yang’s script for Issue Ten of “Shang-Chi” certainly seems eager to tie-up a lot of the American cartoonist’s previously-penned plot threads from both this ongoing series’ current run, as well as it opening volume. Indeed, a significant portion of “Blood And Monsters” is dedicated to bringing its audience ‘up to speed’ on both Zheng Shi-Hua’s journey to becoming an unassuming lumberjack on the Mahatta River, in British Columbia, Canada, as well as Takeshi’s mundane incarceration within a maximum-security prisoner for super-villains.

Happily however, such a consolidation is absolutely packed full of pulse-pounding action, courtesy of Qilin Island’s merciless protector all-out attacking everyone on his quite considerably sized ‘hit list’. The utterly homicidal grandfather’s murderous mission to use Sister Hammer’s corpse for some maniacal magic is undoubtedly the highlight of this twenty-page tome. But there is still plenty of sense-shattering shenanigans to be found with the dinosaur-like taotie’s unsuccessful attempt to eat Shang-Chi’s captive half-brother alive; especially once it becomes clear to a well-meaning Supreme Commander Hand that he’ll need to illegally rescue Brother Sabre from his lawful detention to help take the battle to Ta Lo.     

Similarly as engaging as this comic’s flurry of fisticuffs is Yang’s ability to assemble the Master of Kung Fu’s complex extended family into a truly formidable-looking fighting force. All of the experienced combatants have some very recognisably unique personality traits and motivations, which resultantly help to ‘sell’ both the blood bond between them all to achieve a united goal, as well as the intriguing potential for any one of them to also betray the others for some ‘greater good’. This potential duplicity even seemingly includes the leader of the Five Weapons Society himself, who is warned by Master Ling to guard his heart “lest you inadvertently fulfil your father’s ambitions!”

Artist Marcus To should also receive some recognition for his pencilling proficiently facilitating this book’s storytelling. Xin’s attempt to kill his grand-daughter is particularly well-drawn, and doubtless many a bibliophile couldn’t withhold an instinctive wince when the former “Excalibur” illustrator has Shi-Hua's her right hand painfully severed at the wrist by one of the chieftain’s crescent-shaped arrows.

The regular cover art of "SHANG-CHI" #10 by Leinil Frances Yu & Sunny Gho

Batman: The Adventures Continue Season Two #4 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON TWO No. 4, November 2021

Considering just how successful the character of Renee Maria Montoya has become since the police officer made her television debut in 1992, it’s difficult to imagine many fans of “Batman: The Animated Series” were particularly pleased with the detective’s portrayal in Alan Burnett and Paul Dini’s script for “The Muscle”. For whilst this twenty-page periodical still undeniably depicts Harvey Bullock’s partner as a strong-minded, self-reliant badass, the detective’s public and private contempt for all that the Dark Knight has done for Gotham City arguably soon transforms Bruce Timm’s co-creation into a pale, highly dislikeable shadow of her former self.

Happily however, this overconfident, unpleasantly arrogant Montoya doesn’t completely eclipse a delightfully well-penned narrative which sees a concussion-plagued Caped Crusader try to protect Renee from a truly formidable-looking armoured assassin. This seemingly deadly mercenary-for-hire genuinely captures the imagination straight from this comic’s opening when he commits an efficient, cold-blooded murder at the Gotham docks, and doesn’t let up until he’s about to literally bash Batman’s brains out with a set of powerlifting weights; “He’s faster than I thought. And stronger. A lot stronger… That’s why I’m ending this fast.”

Likewise, plenty of thought seems to have gone into just how this latest adversary could seriously rival the legendary fighting prowess of the titular character, when, unlike Bane or Mister Freeze, the newcomer has no evident super-powers to call upon. This conundrum is cleverly solved by having the Muscle attack an unsuspecting Bruce Wayne whilst the billionaire playboy is being driven in his limousine by Alfred, and suffering both a debilitating bullet to his shoulder, as well as a hefty bang to the head, as a result. Of course, the cowled Justice Leaguer does don a power brace in order to off-set his gun-shot wound, but he’s still so visibly impaired physically that he gets Pennyworth to drive the Batmobile for him.

Adding plenty of shadowy menace and spine-tingling chills to all these pulse-pounding proceedings is artist Jordan Gibson and colorist Monica Kubina, who together genuinely provide a claustrophobically dark atmosphere to the crime-ridden metropolis within which this twenty-page periodical’s plot is set. The pair’s panels also help sell every bone-crunching blow thrown during some dynamically-drawn punch-ups, most notably when Batman and the Muscle confront one another for the first time.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON TWO" #4 by Bob Guillory

DC Vs. Vampires #2 - DC Comics

DC VS. VAMPIRES No. 2, January 2022

Significantly upping the scales as to just who does and doesn’t know that “the war for the very survival of the human race has begun”, James Tynion IV and Matthew Rosenberg’s script for Issue Two of “DC Vs. Vampires” definitely crams an awful lot of deadly dynamic action, blood-curdling betrayals, and even some tongue-in-cheek humour into its twenty-two pages. In fact, the pacing of this periodical is seemingly so ‘spot on’ that even a somewhat dialogue-heavy sequence featuring the World’s Greatest Detective slowly explaining just how deadly the situation actually is to the rest of the Bat-Family absolutely flies by; “The truth is that after a week of investigating… I have no idea who we might be facing.”

Arguably foremost of this comic’s biggest thrills however, is the way in which the treacherous Hal Jordon goes about his business slowly murdering any meta-humans who might pose a threat to his mysterious master’s grand scheme for planetary conquest. This book’s opening is a great example of this, where the Green Lantern savagely “kills the powerful necromancer Anton Arcane” without a moment’s hesitation, and does a terrific job in setting up the writing duo’s shocking conclusion when the merciless, ring-powered vampire fatally ‘sucker-punches’ his long-time friend, the Flash.

Enjoyably though, “Blood And Sand” isn’t just about depicting a chilling escalation in the destruction of the Justice League either, but also incorporates some distinctly dark moments of comedy too. No readers could be blamed for literally laughing out loud when Oliver Queen nonchalantly reveals Everyman to be a creature of the night much to the aghast astonishment of Star City villains Brick, Cheshire, and Cupid. Whilst young Damian Wayne’s suddenly violent outburst when he believes his father has poisoned his hot cocoa with holy water is masterfully penned.

Complimenting all these well-authored antics are Otto Schmidt’s layouts, which do a truly tremendous job of illustrating all the drama taking place within the “DC Comics” universe, such as when Barry Allen suddenly realises that his fully-trusted comrade-in-arms means to slaughter him. Yet the Siberian-born artist also does a stellar job in pencilling the emotional impact of this sweeping storyline’s events upon the likes of a tearful Wonder Twin Jayna, who is very concerned over her sibling Zan since he went missing several days ago.

The regular cover art of "DC VS. VAMPIRES" #2 by Otto Schmidt

Harley Quinn #10 - DC Comics

HARLEY QUINN No. 10, February 2022

Set some time shortly after the “multi-story DC Comics event taking place from August 2021 - December 2021”, and predominantly focusing upon a tete-a-tete involving the titular character and Poison Ivy, Stephanie Phillip’s plot for Issue Ten of “Harley Quinn” probably made many of this ongoing series’ readers yearn for the comic’s earlier tales, back when the trained psychiatrist was simply humorously hammering low-level lawbreakers with her baseball bat and cheeky banter. For whilst “Thorns” contains a modicum of action, most notably Professor Hugo Strange cold-bloodedly ridding himself of the incredibly annoying Eli Kaufmman atop Gotham City’s disconcertingly-named Lovers’ Bridge, its central thread concerning Pamela Isley's ill-devised attempt to steal the Rose Diamond from the Museum of Art is arguably rather a lack-lustre affair.

To begin with, it takes the American author a somewhat staggering four pages of soliloquy-lead self-reflection and friendly chit-chat, to simply depict Quinzel getting herself ready for her supposedly “romantic date night with Ivy”. This word-heavy scene is then followed by an even longer dialogue-driven sequence in which the colourfully-garbed vigilante demonstrates just how her over-the-top enthusiasm can actually be off-putting to those around her, and perturbingly make her a rather unlikeable person; “So Sam… tell me everything. Where are you from? What’s your favourite food? Did you play any sports growing up? What’s your favourite shark?”

Such penmanship sadly smacks of Phillips desperately attempting to pad out this publication, having realised that its central thread of Ivy robbing the historical institution lamentably doesn’t last very long. Perhaps however this narrative’s biggest flaw lies in the indignant shock felt by Harley when she sees Pamela attempt to kill a couple of security guards for shooting their pistols at the super-villain. The green-skinned terrorist is one of Batman’s greatest adversaries, so it’s unclear just what the Joker’s ex-squeeze thought the criminally-inclined botanist would do when confronting armed opposition..?

Just as perturbing as this book’s writing is debatably Editor Ben Abernathy’s decision to utilise the prodigious pencilling skills of Laura Braga for this particular comic. The GLAAD Media Award-nominee can clearly draw to an incredibly high standard, yet the Italian’s clean-lined style seems badly at odds with the quirky nature of the storytelling, and makes such individuals as Keepsake appear utterly unconvincing in their choice of outlandish costume.

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

ZVRC: Zombies Vs. Robots Classic #1 - Image Comics

ZVRC: ZOMBIES VS. ROBOTS CLASSIC No. 1, March 2022

Excitedly advertised as being “back in print for the first time in over a decade”, this over-sized compilation/anthology comic book certainly provides its audience with an intriguing origin story as to just how the Earth will become a post-apocalyptic battlefield of zombie-killing automatons. Indeed, Chris Ryall’s cleverly penned ‘chicken and the egg’ conundrum is well worth repeated readings, as a trio of massively egotistical scientists stupidly decide to venture through a top secret, self-built portal into mankind’s future, and subsequently set into the motion the very fate which they were supposedly investigating in the first place; “You there! What happened to this building? To our society? When am I, anyway?”

Surprisingly though, it probably isn’t Fritz Winterbottom’s short-lived exploration of a cadaver-infested building, littered with the discarded debris of its former occupants, which is the most enthralling aspect of this previously-published three-parter. But rather the excellently penned banter (or rather continuous criticism) which persistently takes place between the utterly unscrupulous inventors, and the rather blasé way they all approach blindly crossing over into a truly deadly domain wearing nothing more than a cumbersome space-suit.

Furthermore, the American author weaves a pretty engaging “all-new” secondary story with “Circuits Of Death”, which pays a somewhat fleeting visit to Weird War One, where the combatants fly bi-planes co-crewed with capsule-shaped robots. This particular four-page parable initially seems to be a tale of a dying pilot who, having fatally crash-landed, finally understands the destructive futility of the conflict surrounding him and resultantly yearns for his mechanical comrade to become a pacifist. However, Ryall ultimately provides this tale with a rather tongue-in-cheek twisted ending, when it is revealed that the automaton has actually injected his ‘fleshy’ master with a hallucinogenic serum to ease the mortally-wounded man’s suffering.

Adding plenty of visual quirkiness and occasional grisly violence to this comic’s proceedings are the somewhat scratchy-looking layouts of Ashley Wood. The “award-winning” illustrator’s style has arguably altered during the ten years separating this book’s two adventures, yet still does a solid job in depicting either Winterbottom’s billion-dollar iron suit with some all-too vulnerable glass eyeholes, and a revenge-seeking robotic navigator who fully intends to “now go kill every motherf**ker I see!”

The regular cover art to "ZVRC: ZOMBIES VS. ROBOTS CLASSIC" #1 by Ashley Wood

Star Trek #6 - Marvel Comics

STAR TREK No. 6, September 1980

Arguably reading like an actual adaption of a televised episode from the Sixties than simply “the first stand-alone story in the Marvel Comics run”, Mike W. Barr’s script for Issue Six of “Star Trek” seemingly contains just about everything fans of the science fiction franchise would probably want. In fact, it is somewhat hard to imagine just what else the American author could have squeezed into this fast-paced seventeen-page periodical.

For starters this book opens with a truly mysterious murder for the U.S.S. Enterprise’s crew to expeditiously investigate, before the Federation’s latest member decides to instead pledge its allegiance to the Klingon Empire. Ambassador Phral’s bizarre demise whilst locked inside Mister Scott’s transporter beam genuinely proves a perplexing puzzle, especially when he materialises with a dagger in his back, and many a bibliophile must surely have enjoyed Spock’s logical analysis of the facts as the science officer pieces together the only chain of events which could have occurred.

Likewise, this publication contains an intriguing insight into Admiral James Kirk’s early days as a “still wet behind the ears” Ensign aboard the Baton Rouge-class Republic. The former Chief of Starfleet Operations is seriously cankerous during this adventure’s opening quarter, emotionally weighed down by the political catastrophe his younger self caused during his first visit to Yannid IV “fresh out of the Academy”. This surly depiction of the senior officer is somewhat reminiscent of his perceived fixation with destroying a deadly cloud-like entity in the 1969 tale "Obsession", and resultantly it is very easy to imagine actor William Shatner performing the role with his famous thespian gusto; “You have your orders, gentlemen -- Get to it! I’ve a feeling we don’t have much time!”

Perhaps this comic’s biggest highlight however, comes when the original series’ triumvirate act as a highly humorous comedic trio during a covert mission to interrogate the rebellious Doctor Loroc. Superbly illustrated by Visual Engineering Technicians (First Class) Dave Cockrum and Kaus Janson, this tense, action-packed sequence even contains the usual Leonard McCoy bluster, as the ship’s Chief Medical Officer bemoans the Quartermaster’s attempt at disguising them in native garb, and gets to mutter the immortal line “She’s dead. Jim!”

Ship's Log Compiler: Mike W. Barr, and Visual Engineering Technicians: Dave Cockrum & Klaus Janson

Moon Knight [2021] #8 - Marvel Comics

MOON KNIGHT No. 8, April 2022

Fully focused upon the exploits of Doctor Badr’s alter-ego as opposed to those of this comic’s titular character, Jed MacKay’s plot for Issue Eight of “Moon Knight” arguably harks back almost ten years to the time when writer Warren Ellis would semi-regularly pen Detective Flint requesting that the Fist of Khonshu investigate some deadly crime wave. But whilst the former NYPD lieutenant’s “mystery of Stained-Glass Scarlet” certainly sounds like another classic case for the Midnight Mission’s current incumbent to explore, the narrative’s actual execution probably left many a reader scratching their heads as to what was going on, and how (or even if) the serial killer was eventually thwarted.

For starters, Scarlet Fasinera’s journey from being a dead vigilante to an ‘unkillable young god’ isn’t perhaps the easiest of origin stories to navigate, due to it simply being hinted at during a lengthy fight-sequence between the supernatural deity and an understandably bewildered Doctor Moon. Admittedly, it eventually becomes clear that “the crazy woman with a crossbow” has somehow been resurrected due to her martyrdom “by police gunshots” being spread through word of mouth. However, just how or why this would resurrect such a deadly spectre of revenge is never delved into, nor just what the faceless spirit’s motivation is..?

In addition, Doctor Badr’s ability to suddenly summon Khonshu from his ‘unjust prison’ deep within the dungeons of Asgard to temporarily banish Stained-Glass Scarlet comes out of no-where, and sadly smacks of being an all-too convenient device to resolve an otherwise one-sided confrontation within the space of a single twenty-page periodical. This miraculous appearance certainly creates a moment of high drama, yet MacKay unconvincingly attempts to rationalise it by stating that “the defender of those who travel at night” is still able to enter a “between-space” when bade “by my faithful son.”

Happily, what this “Devil’s Reign” tie-in lacks in its logic it more than makes up for with Alessandro Cappuccio’s prodigiously pencilled artwork. The Italian illustrator does an extraordinary job of bringing “the old church in the South Bronx” to life during Fasinera’s prolonged attack upon Badr by turning its shattered stained-glass windows and checker-board tiled floor into some sort of horrific reimaging from “Alice In Wonderland”.

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

Alien #10 - Marvel Comics

ALIEN No. 10, May 2022

Introducing a “new terrifying type of Xenomorph” following the impregnation of multiple rodent-sized Tubers, Phillip Kennedy Johnson’s attempt to stamp his own creative mark upon the science fiction/horror franchise probably pleased the vast majority of this twenty-page periodical’s audience. For whilst the multi-limbed mass of teeth don’t actually make an appearance until the terrifying conclusion of this comic, once they do emerge having literally burrowed their way out of several hapless settlers’ bodies, the swarming creatures arguably appear as formidable a foe as their much larger extra-terrestrial brethren.

Happily, the same prodigious penmanship can also be found in the American author’s presentation of a deserted mining facility which the surviving Spinners initially believe could be their sanctuary from the Alien infestation. Devoid of all signs of life, with numerous partially-derelict buildings gruesomely sprayed with blood splatters, this harrowing location immediately conjures up just the sort of scary sufferings which befell Alpha Station, and makes it abundantly clear that Jane’s group will find no safety amongst its gory ruins; “There’s no way anybody’s alive in there. If you do this, you’ll die for nothing.”

Enthrallingly though, the sudden surprise betrayal by Simon in order to unsuccessfully rescue a woman he’s never even met, forces the famished farmers to not only enter the dilapidated site’s mine, but actually compels them to rush down its mist-filled shafts at breakneck speed. This moment of utter madness obviously helps Johnson ensure that this book’s dwindling cast commit themselves to a course of action completely against their better judgement. However, it also provides an intriguing insight into the fragile mentality of the radio operator who suddenly ‘believes’ a female voice on the end of a wireless is worth dying for – even when he neither knows what she looks like or whether she’s even down in the pit alive.

Adding plenty of stomach-tightening tension to this publication’s proceedings are the layouts of Salvador Larroca, which generate a palpable sense of claustrophobia to the scenes set deep beneath the world’s surface. In addition, the Spanish artist’s attention to detail at the start of this comic, when Jane unsuspectingly encounters the corpses of ‘infected’ Tubulars amongst the area’s jungle-like undergrowth, provides a visual warning to the reader as to the potential shocks to come.

The regular cover art to "ALIEN" #10 by Marc Aspinall

Batman: The Adventures Continue Season Two #3 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON TWO No. 3, October 2021

Distinctly favouring the exploits of Batgirl over those of the Dark Knight, Alan Burnett and Paul Dini’s narrative for “The Hunter Or The Hunted” probably pleased the vast majority of its 27,000 readers in August 2021. Indeed, as pulse-pounding adventures go, this twenty-page periodical’s plot has plenty to enjoy from death-defying motorbike chases and close combat action sequences, through to a chillingly deadly conclusion set inside a Gotham City Police Department cell; “I never liked it myself. But after tonight, I doubt I’ll hear it again.”

In addition, the comic also demonstrates that Barbara Gordon’s “iconic” alter-ego isn’t simply one of Batman’s sidekicks, but, having exhibited some first-rate detective skills in order to locate the mass-murderer who shot her father, is also a formidable crime-fighter in her own right. As a matter of fact, one of the highlights of this book is watching the costumed vigilante both stand her ground against a similarly determined Huntress, as well as single-handedly ‘sock it’ to Jimmy “The Jazzman” Peake and his obnoxious minions.

Likewise, the creative duo’s handling of Helena Bertinelli and the cold-blooded killer’s desperate desire to have revenge upon the man who gleefully played a piano whilst her family were gunned down during a mob hit makes for an engaging character arc. Initially depicted as being willing to physically harm Batgirl so as to complete her personal mission, the anti-heroine eventually teams-up with Gordon once Peake’s goons arrive en masse at a deserted train yard. However, it is arguably during this publication’s final panels, when a heavily-disguised Huntress is shown as being Jimmy’s sole prison guard, that the calculating executioner’s true calling for ‘an eye for an eye’ are fully displayed.

Quite possibly therefore this comic’s sole disappointment comes with some of Rick Burchett’s layouts. Alongside Monica Kubina’s colours, the Eisner Award-winner’s pencilling generally does a good job of mimicking the aesthetic look of the “Batman: The Animated Series” during the early Nineties, and imbuing any fight sequences with plenty of ‘bone-breaking bops’. Yet, every now and again, such as when the Jazzman is receiving his latest tattoo, the line work appears rushed and undisciplined, as if the American artist was rushing through his drawings at breakneck speed.

Writers: Alan Burnett & Paul Dini, Artist: Rick Burchett, and Colorist: Monica Kubina