G-Men United #1 - G-Man Comics

G-MEN UNITED No. 1, May 2021

Somehow cramming American politics, prejudices, violently opposing perspectives and legislative procedures all within the confines of a single twenty-page comic book, Rik Offenberger’s Issue One of “G-Men United” definitely does a fantastic job in depicting just how diverse and immersive his fictional universe of super-powered crime-fighters is. Indeed, it is arguably hard to imagine what else this publication could contain, considering it takes its audience to major disasters, the heavily-armed headquarters of a horde of notorious master villains, a mesmerising fantasy land inhibited by green-skinned fairies, a world which transforms its visitors into cartoon caricatures, and a potential planetary invasion from some Hellish domain packed full of viciously-fanged demons.

True, all four of this magazine’s stories are somewhat short-lived and resultantly rush the reader straight through their exhilarating combat sequences without much in the way of context or exposition. But such is the raw energy of the storytelling that most bibliophiles should easily be able to accept the brevity of each adventure’s ‘set-up’, and happily dive head first into the action alongside the likes of Pocahontas, Terror Noir and Sergeant Flag; “Me and Rex were handling security for the Kawaii delegation to the U.N. And Rex, the big oaf stepped on a squad car.”

Perhaps this comic’s greatest asset though lies in just how many questions it raises as to how its vast cast and locations came to exist in the first place. For example, Earl Wajenberg’s “The Fifth Time” does a fairly good job in briefly explaining how The Energist came to gain his staggering ability to “manipulate basic forms of energy”. However, the tale of him rescuing Irene from a building full of similarly strong criminals arguably merely acts as an appetiser for the audience, with many doubtless wanting to know much more about what actually happened to “Uncle Dan” when he mysteriously disappeared for a few months and returned looking ten years older..?

Happily, this book’s layouts, predominantly pencilled by Johsua 1:9 Holley, is also rather engaging, being somewhat reminiscent of the illustrations found inside the old Eighties “Games Workshop” role-playing game “Golden Heroes”. In fact, the artist’s panels on “Into The Halflands” genuinely help imbue Flag’s character with considerable humour, especially as the red, white and blue garbed government operative is clearly unhappy with the mission he’s been assigned, and ultimately ends up having his fears confirmed when he’s being chased by a large, somewhat cuddly-looking, Tyrannosaurus Rex.

Writers: Rik Offenberger, Earl Wajenberg, & Jim Burrows, and Artist: Joshua 1:9 Holley

ZVRC: Zombies Vs. Robots Classic #4 - Image Comics

ZVRC: ZOMBIES VS. ROBOTS CLASSIC No. 4, June 2022

Providing its readers with a story taken “from the only Zombies Verses Robots Annual”, as well as the ten-part “Tales Of ZvR”, this super-sized reprint certainly contains plenty of content for those fans new to Chris Ryall and Ashley Woods’ vision of a post-apocalyptic world where large, heavily-armed automatons wage an eternal war against large hordes of the walking undead. Indeed, despite its relative brevity “Winter” tells such a disconcerting tale about a team of subsisting scientists cold-heartedly sacrificing their less-intellectual brethren to a mass of flesh-hungry cadavers in a supposed effort to save Humanity from the plague, that it is probably worth this publication’s cover price alone.

Furthermore, the narrative is told in such a clever way that it initially appears that the semi-malfunctioning machines who locate the underground laboratory are going to be the villains of piece rather than its inhabitants; especially when the ‘idiotic’ androids completely blow up the bunker’s reinforced steel entranceway rather than permit the coverall-wearing survivors the time needed to open it manually. Such a subversion of expectations genuinely adds to the horror of the situation as its slowly revealed to the gun-toting machines that the researchers are murderously feeding people ‘without doctorates’ to their ghoulish experiments, and any sympathy generated for the frustrated professors in having to negotiate with their paranoid programmed rescuers quickly evaporates.

Disappointingly however, unlike this limited series’ previous three instalments which contained an enjoyable combination of both fresh material and stories that haven’t seen the light of day in a decade, this periodical perturbingly feels simply like the “Eisner Award-nominated duo” just haphazardly grabbed some of their newer stuff and sixteen of the Australian artist’s splash-page illustrations in a desperate effort to pad out a fourth book. So seemingly desperate a sales ploy will be genuinely frustrating to those bibliophiles who already own the pair’s “ZvR” title from 2015, particularly as the selected tale about a boy aimlessly wandering around his featureless local landscape with his pet droid is probably the least interesting of the storylines seen within that series; “No c’mon, boy, time to go be brave adventurers! I bet we won’t run into any trouble at all…”

The regular cover art to "ZVRC: ZOMBIES VS. ROBOTS CLASSIC" #4 by Ashley Wood

X-Men Legends #5 - Marvel Comics

X-MEN LEGENDS No. 5, September 2021

Tightly crammed between Issue Seventy-Five and Seventy-Six of “X-Factor”, this “all-new adventure” by Peter David surely must have pleased its 32,561 ‘true believers’ in July 2021. Admittedly, the storyline is primarily set inside the United States Capitol during a dialogue-driven congressional hearing. But rather than prove a lack-lustre, sedentary reading experience, the senators' hostile interrogation of Valerie Cooper's colourful team continues to hold the audience’s attention throughout the twenty-page periodical, as well as provide plenty of intriguing background as to why the government-sponsored mutant team were called in to deal with a super-powered terrorist attack upon the Latverian Embassy, and not the heroic Avengers or Fantastic Four.

Similarly as intriguing, is the motivation behind Samhain’s assault upon his people’s diplomatic building and the dilemma his initial murderous actions cause for any bibliophile who feels sympathy for his mission. On the face of it, the radical’s desire for the United Nations to “oust Victor Von Doom from power and change our country into a democracy” is a compelling one. However, such support arguably soon falters when the ruthless killer shockingly disintegrates the hapless administrator who welcomes him into his Embassy without any warning whatsoever; “Disposing of one will serve as a lesson to the others. One fatality up front ensures far fewer down the li --” 

This savagery also establishes the violent tone of X-Factor’s subsequent attempt to liberate the hostages, with Madrox the Multiple Man and Strong Guy’s head-on assault packing every panel with pulse-pounding pandemonium. Indeed, Guido Carosella’s painful confrontation with Samhain is probably the highlight of the comic, as Chris Claremont’s formidably sized co-creation struggles to endure the extremist’s deadly mystic flame, and eventually must withdraw back outside to regroup with his bewildered team-mates.

Helping this publication’s sense-shattering shenanigans along with plenty of “FWAZAAAAAAK” and “WAM WAM WAM” are Todd Nauck’s simply sumptuous pencils and Rachelle Rosenberg's colours. The Texas-born artist does an astonishingly good job of imbuing all the characters sat talking during the senate’s hearing with plenty of emotion, with Quicksilver’s haughty disdain for the politicians coming across particularly well. Yet it is debatably the illustrator’s depiction of all the swirling spectral details of both Samhain and Imbolc’s mutant abilities which really help sell the revolutionaries as legitimate threats to Havoc’s comrades-In-Arms.

The regular cover art of "X-MEN: LEGENDS" #5 by Todd Nauck & Rachelle Rosenberg

Task Force Z #4 - DC Comics

TASK FORCE Z No. 4, March 2022

Relying far more upon the politics and sinister subterfuge taking place behind the scenes at the Chop Shop to ‘hook’ its audience, rather than a carousel of bone-cracking confrontations with flesh-hungry cadavers, Matthew Rosenberg’s narrative for Issue Four of “Task Force Z” still must have pleased the majority of its readers. For whilst this twenty-two page periodical’s biggest talking points are arguably the Red Hood’s mean-spirited interrogation of Harvey Dent, and subsequent battle of wills against his former mentor, the Batman, the dialogue driven discussions still prove as enthralling as if Jason Todd were actually trading electrically-charged blows with his opponents.

Moreover, the American author also does an excellent job in progressing the sub-plot of Mister Bloom’s bizarre behaviour towards his fellow Undead team-mates, and raises the intriguing notion that Amanda Waller has been secretly developing a second team alongside Two-Face’s squad. Indeed, the antics of Daryl Gutierrez’s seed-powered meta-human is probably the most disturbing element of this book’s storyline, especially when the super-villain shockingly murders Doctor Anton towards the climax of the comic, and blatantly demonstrates just how untrustworthy he is; “No he wasn’t, you sneaky @!#&. What did he mean about you coming back? Do you know what this place is? Have you been here before?”

Of course, all these character-driven machinations doesn’t mean for a moment that there isn’t still room for some pulse-pounding pugilism and unrestrained physical violence, with Todd’s aforementioned conversation with the Dark Knight actually taking place in a dark, mugger-filled alleyway during a failed robbery. In addition, Jason’s barely functioning team are eventually dispatched upon one last mission “to isolate some of the unique chemicals that are released in production of the Lazarus Resin”, which quickly deteriorates into a free for all between the likes of Arkham Knight and some grotesque-looking walking corpses.

Equally enjoyable as the writing are Eddy Barrows and Kieran McKeown slightly contrasting-in-style contributions as joint pencilers. Eduardo does a particularly good job in depicting both the restrained aggression lurking just beneath the Red Hood’s costumed physique when facing Dent in the supposedly reformed rogue’s luxurious home, as well as the disconcerting gangliness of Mister Bloom whenever Scott Snyder’s Slender Man derivative sinisterly enters the stage to commit another of his diabolical treacheries.

The regular cover art of "TASK FORCE Z" #4 by Eddy Barrows, Eber Ferreira & Adriano Lucas

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

STAR TREK: THE MIRROR WAR: SISKO No. 1, June 2022

Expanding “upon the world of The Mirror War” with a reasonably interesting investigation into an illegal Cardassian weapons deal on the intergalactic Black Market, there’s certainly nothing wrong with Danny Lore’s writing for this twenty-page spotlight upon Benjamin Lafayette Sisko. But whilst Intendant Kira Nerys’ “favourite toy” certainly gets involved in a short-lived fistfight with a band of miscreants and subsequent space-battle against Kaarak Tyr’s small fleet of ships, there’s disappointingly never really a moment where the titular character appears to be in jeopardy. Not even when he raises his voice to his Bajoran mistress as no other slave has ever done before; “You appreciate how fond I am of you, Benjamin Sisko. So you must not have meant to speak to me like that.”

In fact, despite much of this comic’s narrative focusing upon just how fragile life is for a Terran Privateer living within the borders of the Klingon-Cardassian Alliance, the worst fate that ever seems likely to befall Sisko is that he’s snatched away from the side of Terok Nor’s former Chief of Security and simply sent back to its mines. Such a fate is clearly a ghastly one and is something which is shown to play upon the “abrasive” human’s mind within this comic. However, considering that this book starts off by emphasising just how fearless Benjamin has become, as well as how easily he can outwit his mistress’s political opponents, even a temporary non-canon breaking spell back drilling for minerals at a rock face seems extremely unlikely.

What Lore’s plot for “Star Trek: The Mirror War – Sisko” does provide though is a straightforward romp through the alternative dimension’s criminal underworld, and an intriguing insight into just how cold-hearted a manipulator this incarnation of the captain can be in order to ensure the success of his mission. As with so many of this parallel world’s cast, it is debatably all too easy for a bibliophile to forget that its inhabitants are not the steadfast heroes depicted within the prime universe, and resultantly this publication can repeatedly catch them out by having its ‘central protagonist’ behave in an unexpected manner - such as him making it clear to Tesaks Reyes that he has knowingly ruined the half-human’s life by convincing the black marketeer to betray his Cardassian father.

Just as proficient as this comic’s penmanship is its pencilling by Hendry Prasetya, which does a stellar job in bringing its script to life. All the television programme’s actors are easily recognisable in their various roles, with the artist’s illustrations of Avery Brooks and Nana Visitor arguably ‘stealing the show’. In addition, the freelancer manages to imbue Sisko with the steely edge such a ruthless scoundrel would need to survive the duplicitous life Nerys’ current lover maintains, and even projects a palpable air of sexual chemistry between the two whenever they’re in the same scene together.

Writer: Danny Lore, Artist: Hendry Prasetya and Colorist: DC Alonso

Task Force Z #3 - DC Comics

TASK FORCE Z No. 3, February 2022

Decidedly more sedentary than this mini-series’ previous two action-packed instalments, Matthew Rosenberg’s screenplay for “The Same Coin” still probably beguiled most of its audience due to its fascinating focus upon Jason Todd’s motivation for staying with Project Halperin. In fact, all the character-driven Machiavellian machinations taking place within the Chop Shop are genuinely enthralling once it becomes clear to the reader just how much Director Crispin and the super creepy Shelley twins are emotionally toying with Task Force Z’s well-meaning team leader; “You did good Hanna. He is reinvested in the project. Now give me back my security pass.”

Such duplicity and dishonesty really does permeate throughout this twenty-two-page periodical, starting with Red Hood’s traumatising resurrection via an injection of Lazarus resin at the very beginning of the book. The lightning fast ease with which the former Robin is dishonestly told he wasn’t saved from Deadshot's fatal gunshot wound by the fluorescent green “!#%$” solution strongly suggests it probably isn’t the first time the mysterious organisation’s physicians have surreptitiously used the drug on the anti-hero, and in all likelihood won’t be the last either.

Similarly as disconcerting but just as intriguing, is the way Todd seemingly completely falls for the raven-haired Hobart over a slice of pizza during an unauthorised “field trip” outside the government run facility. This incredibly word-heavy scene could easily have detrimentally slowed the comic’s pacing right down. However, the romantic bond between the pair is both well-penned and pencilled, and instead sets the reader up for a gut-wrenching shock just moments later when it becomes clear that Sundowner’s two-faced alter-ego was only paying Jason some interest because she was under instructions to do so.

Ultimately though, Issue Three of “Task Force Z” probably lives or dies upon the success of its frantic finale, which sees the ‘protagonists’ battling a horde of zombie reinforced Kobra cultists atop the GNN Tower in Old Gotham. This marvellously violent assault is extremely well sketched by Eddy Barrows, and contains some truly notable highlights, such as Red Hood’s cold-hearted murder of Bane in revenge for the super-villain having previously killed Alfred Pennyworth, and Todd’s blisteringly fast fight against the League of Assassins affiliate, Cheshire.

The regular cover art of "TASK FORCE Z" #3 by Eddy Barrows, Eber Ferreira & Adriano Lucas

Judah "The Hammer" Maccabee #1 - G-Man Comics

JUDAH "THE HAMMER" MACCABEE No. 1, September 2021

It’s quite clear from Rik Offenberger’s foreword that this sixteen-page periodical is unquestionably a labour of both love and spiritual faith for “G-Man Comics” Editor-in-Chief. Indeed, such is the co-author’s earnestness to ensure that Issue One of “Judah The Hammer Maccabee” is “the most historically accurate version of the Chanukah story that we could tell using superheroes”, that he sought out a former professor of monotheistic religions to help keep this book’s three thousand year-old narrative as “honest” as possible.

Agreeably though, such devote solemnity doesn’t 'fall into the trap' of suffocating this one-shot’s storytelling, and instead is arguably one of its strengths as the script goes into some considerable detail setting the scene of Antiochus IV’s appointment of Menelaus to brutally “Hellenize the Jews”, as well as the subsequent rise of the titular character as the revolt’s leader following his father’s death. This context really helps ‘sell’ the sheer savagery of the Seleucid King’s ancient world, as well as emphasises the sense of displacement and identity loss felt by Mattathias’ more pious people following Nebuchadnezzar’s conquest of Jerusalem in 597 BC; “Many Jews learned Greek, took on Greek customs, and even took on Greek names.”

Of course, the meat of this publication understandably focuses upon The Hammer’s successful military campaigns against Antiochus’ generals using guerrilla warfare, and Maccabee’s subsequent rededication of Jerusalem’s great temple. However, those readers anticipating that such coverage would invariably lead to an action-packed battle sequence depicting Judah’s “force of ten thousand freedom fighters” battering the Greek Army across numerous pulse-pounding panels whilst the colourfully costumed protagonist mercilessly clobbers his opponents with his mighty mallet, will probably be disappointed due to the American writer merely touching upon the notable victory in favour of the infinitely less violent eight-day Menorah’s miracle.

This comic’s somewhat ‘textbook’ feel also debatably causes “Houdini: The Man from Beyond” artist Gilbert Monsanto to shoulder the lion’s share of its theatrics with his proficient pencilling. The “talented Filipino illustrator” provides some eye-catching layouts depicting the fall of “one of the oldest cities in the world” and superbly captures the stark terror in the eyes of the Greek soldiers as they witness the fervent ferocity of a population they foolishly thought they had already subjugated.

Writers: Rik Offenberger & Ismail C. Fenter, and Artist: Gilbert Monsanto

Task Force Z #2 - DC Comics

TASK FORCE Z No. 2, January 2022

With the notable exception of a short-lived shower room scene set at the Chop Shop involving Jason Todd and the disagreeable Doctor Shelley, Matthew Rosenberg’s fast-paced narrative for Issue Two of “Task Force Z” probably kept most of its readers on the edge of their seats. Indeed, it’s arguably difficult to imagine a bumpier rollercoaster of a ride than the one penned for this twenty-two-page periodical, as Batman’s former Boy Wonder lurches from one Undead disaster to another in the hope of thwarting the “organised ranks of Lazarus resin dealers in the world.”

Rather pleasingly however, all these high-octane antics genuinely seem to progress this mini-series’ overall storyline rather than help ‘pad out’ the plot, with even Arkham Knight’s desperate attempt to eat her partially frozen team leader’s brain leading into an uncomfortable conversation between the two later, after Astrid has consumed enough “medicine” to almost fully regenerate her usual zombified corpse. Such moments of character development are admittedly rather brief within “Let It Snow, Let It Snow, Let It Snow.” But they really help the reader begin to understand just why certain members of the cadaver-filled super-group are working for the mysterious Director Crispin, and even start to show Todd slowly warming to the more ‘human’ side of his comrades-in-arms.

In addition, the pulse-pounding action on display is incredibly well-written as it quickly becomes clear by the end of this publication that absolutely no-one is safe from a ‘fate worse than death’ in a world where a noxious injection can ‘easily’ return them to some sort of animated life. This perturbing possibility persistently hangs over the heads of this comic’s considerable cast like the sword of Damocles, so when Task Force Z inadvertently encounter a theatre packed full of the Kobra Cult’s latest members, the possibility of the “team of unstable monsters” lethally losing at least one of their number to the worshippers of the snake god Kali-Yuga is excitingly rather plausible; “Bane fell in a hole, not sure if he’s coming back. Miss Hobart might need an exorcist. But nobody tried to eat me, so that’s a win.”

Also helping to populate this book’s panels with plenty of scarred flesh and buckets of blood is Eddy Barrows, whose pencils do a terrific job of depicting many of Rosenberg’s more macabre moments. The slow, almost painful approach of a legless Arkham Knight slowly dragging her emaciated corpse towards a helpless Jason is incredibly well-sketched, as is Bane literally towering over a group of fanatical cultists and ripping their mortal bodies asunder whilst they ineffectively tear away at his formidable-sized frame with knives and bullets.

The regular cover art of "TASK FORCE Z" #2 by Eddy Barrows, Eber Ferreira & Adriano Lucas

Moon Knight: Black, White & Blood #1 - Marvel Comics

MOON KNIGHT: BLACK, WHITE & BLOOD No. 1, July 2022

Pulling together a veritable “bevy of comicdom’s finest creators” in a series of stories all “depicted in stark black, white and blood-red”, this thirty-page anthology’s first issue must certainly have entertained any fans of the Fist of Khonshu when it was published in May 2022. Indeed, the book not only provides plenty of pulse-pounding action featuring Marc Spector’s alter-ego, but also contains some amusing, tongue-in-cheek quips involving the likes of Spider-Man and Deadpool; “What?! I can feel the smug look on your face through that mask.”

However, it is arguably this publication’s opening tale by Jonathan Hickman and Chris Bachalo which introduces “the all-different Moon Knight of the future” that will probably pique the most interest in any perusing bibliophiles, courtesy of “Anubis Rex” portraying a semi-lonely priestess searching a dispiritingly desolate universe for Ra’s sacred scarabs. Accompanied by a young girl who can literally smell the ancient trinkets which she so desperately seeks, this female incarnation of the Crescent Crusader is a depressingly dour heroine, who begrudgingly soldiers on through her never-ending mission, gorily punching her way out of the digestive tracts of some giant alien bugs when they’re foolish enough to swallow her whole.

Equally as enjoyably disconcerting is “The End” by Marc Guggenheim and Jorge Fornes, which surprisingly tells its narrative in complete reverse by having Moon Knight gallantly gunned down by an unseen sniper at the start, and then only agreeing to protect hapless Dayna Williams from Maggia chieftain Don Fortunato at its conclusion. This ‘abnormal’ storytelling technique by the American author works incredibly well for what ordinarily would have been a fairly run-of-the-mill witness protection assignment, and resultantly will doubtless cause many a reader to repeatedly revisit Spector’s savage spree to the safety of the local courthouse through the winter snow.

Perhaps therefore it is only Murewa Ayodele and Dotun Akande’s “So White. Yet, So Dark” which depicts a fairly typical night-time escapade for the Lunar Legionnaire. Penned very much in the manner of a classic early Seventies “Marvel Team-Up” featuring a wisecracking Spider-Man, this fast-paced adventure seemingly has it all, from giant transforming robots through to deadly spectral poltergeists, and even gives Spector the opportunity to once again don his fantastic, formidable-looking ghost-ripper armour so he can “dent some ugly mugs.”

Storytellers: Jonathan Hickman & Chris Bachalo, Murewa Ayodele & Dotun Akande, and Marc Guggenheim & Jorge Fornes

Vodou Cowboy #1 - Matt Garvey Comics

VODOU COWBOY No. 1, May 2022

Described by co-creator Matt Garvey as “a ghoulish western comic inspired by our love of Eighties horror movies... with a cowboy twist”, it’s arguably crystal clear just why 360 backers pledged £3,714 to help bring Issue One of “Vodou Cowboy” to life via Kickstarter in May 2022. For whilst the twenty-four page periodical’s central plot is a pretty straightforward tale about a demonic possession requiring an exorcism, the narrative’s intriguingly imaginative secondary storylines really help to ‘reel’ the reader into a disconcertingly dangerous world of mean-spirited gunfighters, bed-ridden call girls and bible-thumping preachers.

Indeed, perhaps this comic’s greatest strength is in the way the “once thriving community” of Sweet Root is so palpably depicted as a stark, derelict municipal shaken to its very foundation by “an incident here two days ago”. This sudden descent into desolation smacks the reader straight in the mouth just as soon as the book opens with its titular character slowly moseying their way up to the dilapidated, threadbare small town on horseback, and doesn’t stop even once Grady Young has identified the true monster lurking within the settlement’s meagre population so as to put the creature to flight; “If I must reverend… I will shoot through you. For your own sake… Move!”

However, Garvey is also extremely good at imbuing this tale’s quite considerable cast with plenty of raw emotion. The evident fear in both the heavily-moustached Barkeeper and young Ned when they are first introduced to the audience really helps build up an enjoyable sense of nervous expectation as to what grotesque nightmare might actually be lurking behind Maddie’s bedroom door before it’s opened. Whilst, the rector’s evident angry displeasure at the sheriff bringing a witch doctor into the ‘haunting’ gives him some added depth once he realises his holy tome doesn’t seemingly contain all the answers he thought, and that the “Bokor” is his parishioner’s only source of salvation.

Helping to also ‘sell’ all this comic’s scary situations is Arjuna Susini, whose somewhat rough, scratchy sketching style quite marvellously adds to the atmosphere of horrid wretchedness and ungodly despondency which permeates throughout the publication. In fact, one of the highlights of this book are the illustrator’s layouts for when Young physically places his hand deep inside a poor prostitute’s mouth and literally pulls out the fearsome, multi-eyed fiend inhabiting her writhing body.

Written by: Matt Garvey, Art by: Arjuna Susini, and Colours by: Dee Cunniffe

Harley Quinn #15 - DC Comics

HARLEY QUINN No. 15, July 2022

Pulling a plethora of plot-threads together so as to ensure this comic’s cataclysmic conclusion features a sensational fist-fight between the murderous Verdict, Batwoman, Jaylin Shaw and the “Clown Princess of Crime”, there’s arguably plenty for fans of the Joker’s ex-girlfriend to enjoy inside Issue Fifteen of “Harley Quinn”. Indeed, once the reader has navigated writer Stephanie Phillips’ somewhat bemusing sojourn to a “Biggo” burger restaurant, this book’s pace really undergoes a blistering change of speed, whether its action-packed exploits are depicting Kate Kane’s alter-ego mixing it up with Detective Isaac Hudson’s inexperience new partner deep within Gotham City Police Department’s evidence store, or hapless Kevin discovering his battered girlfriend Sam bleeding out in his bathroom; “It better not be that raccoon again… Hey… You took my best pair of socks last time you --” 

Foremost of these well-penned frantic flashes however, has to be the aforementioned ‘dust-up’ at the greenhouse Quinzel once shared with Poison Ivy, and the brain-bruising beating the head-doctor dishes out to the masked woman who framed her. Just who would have won should the scintillating skirmish have remained simply between the two combatants is arguably anybody’s guess, as the heavily-armed killer is apparently able to hold her own against Harley despite initially being knocked senseless. But once a rubber-caped Batwoman joins the fray to prevent her fellow costumed crime-fighter from the torrent of bullets zinging about the place, the result quickly becomes a foregone conclusion with the Verdict understandably shifting her goal from killing her pasty-faced attacker to merely escaping from the clutches of the law.

Similarly as successful, and undeniably stealing the show, is the tongue-in-cheek relationship between Kane and Quinn. The cowled Justice Leaguer firmly believes that the smart-mouthed psychologist is completely innocent of being the psychopathic mass-murderer who has removed the eyeballs from some some of Gotham's most corrupt judges. Yet Batwoman still finds her patience to be repeatedly tested by the anti-hero’s antics, such as when the red-haired vigilante is prodigiously pencilled by Canadian illustrator Riley Rossmo desperately determined to examine the abundant police evidence supposedly incriminating her ‘friend’ beyond all doubt, and is instead waylaid by an unhealthy night-time snack comprising of “a burger, curly fires, onion rings, and this fried quesadilla thing that looked good.”

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

The Cage #1 - Matt Garvey Comics

THE CAGE No. 1, July 2021

Fully focused upon Walter Stone’s early incarceration inside “the super-prison affectionately known as The Cage”, Matt Garvey’s script for this twenty-four-page periodical grips the reader straight from the start and simply doesn’t let go until its cliff-hanger of a conclusion. Indeed, it is hard to imagine a more compelling journey down a mysteriously large hole in the middle of an unnamed desert, than the one which the second-generation villain takes alongside the somewhat idiotic criminal Robert Kennedy; “Yeah, I know… I got this thing about carnival rides and rollercoasters… They freak me out.” 

Enchantingly though, this palpable sense of awe and wonder generated by the enigmatic correctional facility doesn’t stop once the convicts’ bus arrives at its astoundingly unimposing gates. But actually increases as the anxious inmates are met by some disconcertingly masked guards, and undertake a pulse-pounding journey straight down into the very bowels of the Earth at breakneck speed. This intriguing introduction to Warden Greene’s world really helps set up just how impenetrable the supermax clink is designed to be, and may well remind those longer-toothed bibliophiles of Harry Thompson’s arrival at his space age penitentiary in Gerry Finley-Day’s “2000 A.D.” epic from the early Eighties - “"Harry Twenty on the High Rock".

Perhaps however this comic’s best moment comes at the end of the “powerless” prisoner’s tour of the reformatory by the simian Sidney Cass. The seemingly innocuous scientist turned Orangutan during a failed experiment to become “the greatest criminal” ever initially presents a remarkably civilised front to the life behind bars, and definitely works as an effective plot device to lull the audience into a false sense of security before Garvey’s penmanship completely catches them by total surprise.

Equally as enthralling as this book’s writing are the layouts of Dean Kotz, which do an excellent job of depicting the unnerving secrecy surrounding the Cage, its faceless sentries and the answer as to just why “no one [is] wearing any shoes in here.?” Stone’s character is particularly well-pencilled, with the felon appearing unexpectedly friendly and sympathetic for someone “considered too dangerous to be sent to a regular maximum-security prison” – at least until the American artist draws this publication’s final panel.

Written by: Matt Garvey, Art by: Dean Kotz, and Colours by: J Francis Totti

Geek-Girl #9 - Markosia Enterprises

GEEK-GIRL No. 9, December 2021

Containing two simultaneously told story threads involving the comic’s titular character and its ‘new upcoming star’ Cabra Cini, Sam Johnson’s narrative for Issue Nine of “Geek-Girl” must surely have pleased its 158 backers following its successful Kickstarter in May 2021. Sure, the twenty-page periodical’s more action orientated moments initially sit entirely with the Voodoo Junkie Hitwoman as opposed to Ruby Kaye’s super-powered alter-ego. Yet once the “hot popular Maine College” attendee confronts Mean Girl in a shopping mall, the glass-wearing crime-fighter soon establishes a dynamic narrative all of her own; “Don’t worry. This doesn’t last long and now you know this trick you’ll be better prepared next time --”

Foremost of this book’s plots however, has to be Cini’s enthralling exploits in The Infinite dimension, which grab the reader straight from the start and subsequently take them on a surreal adventure with huge, sword-wielding trolls, blade-carrying harpies and dart-firing stone heads. Indeed, it’s arguably hard to imagine a more bizarre environment than the one the “co-creator of The Almighties” conjures up for this publication, and once “the Voodoo lady” starts slicing through her fantastic-looking foes using a combination of close-combat skills and bullets, it soon becomes abundantly clear why Cabra has already been given a mini-series of her own.

Equally as intriguing is Geek-Girl’s latest ‘arch-frienemy’, whose bemusing mixture of devastating Kung-Fu kicks and hallucination-inducing phone selfies certainly seems to catch a somewhat overconfident Kaye completely off-guard. Just how Mean Girl’s special unicorn-based ability works is anyone’s guess, but having severely injured Whupper with a shoe-spike straight out of an old “James Bond” movie, it appears certain that the colourfully-costumed shoplifter with a penchant for pink is going to be involved in a highly-anticipated rematch at some point soon.

In addition to Johnson’s penmanship, Carlos Granda and colorist Chunlin Zhao genuinely imbue all this comic’s cast with plenty of vitality and ‘believability’, even during some of their more sedentary moments such as when Summer James decides she wants some powers of her own. The pencilling of Cabra’s fantastic swordfight with two blubbery, big-bellied minions of The Rook is particularly well-done though, and alongside Mean Girl's gruesome kick to an unsuspecting Whupper's chest, is probably the highlight of this book.

The regular cover art to "GEEK-GIRL" #9 by Carlos Granda & Chunlin Zhao

Doctor Who: Origins #1 - Titan Comics

DOCTOR WHO: ORIGINS #1, July 2022

Fans of the fugitive Doctor will doubtless rather enjoy the opening to this “Brand-new, never-before-seen adventure”, as the Time Lord’s flight through some heavily webbed space station corridors definitely provides this twenty-two-page publication with a dynamic, adrenalin-pumping action sequence. But whilst the short-tempered operative’s hasty dash away from a fast-approaching giant arachnid is entertaining enough, the rest of Jody Houser’s narrative concerning a mysterious, galaxy-wide threat by an unnamed cult, is arguably a little on the lack-lustre side.

Indeed, just as soon as a Weeping Angel surprisingly shows up to save the day, and subsequently establish herself as an unconvincing, temporary travelling companion of the Division's colourfully costumed “legend”, the American author’s script transforms into a rather disappointing dialogue-heavy conversational piece concerning a rather bland assistant of the High Council, and the even less likeable gun-toting rookie Taslo; “This seems like an awful lot of trouble for a meeting that could have been held on Gallifrey. So, what can’t be discussed there?”

Happily however, what Issue One of “Doctor Who: Origins” debatably lacks in sense-shattering shenanigans, the “debut” potentially makes up for with its ‘spot on’ portrayal of tour guide Ruth Clayton’s rather ruthless alter-ego. Quick-witted, bitingly sarcastic and ever keen to disregard her orders to ‘shoot on sight’ for a much more benevolent, communicative approach, Houser’s ability to imbue “the Fugitive” with all the fire of actress Jo Martin’s popular incarnation is a resounding success and makes it incredibly easy to hear the British thespian’s distinctive tone whenever the comic book character is talking, or even breathlessly running down a corridor.

Similarly as successful is Roberta Ingranata’s stunning visualisation of the Time Lord, which beautifully captures all the renegade time traveller’s televised mannerisms and movements. The Italian illustrator’s ability to transfer the sheer vitality of Martin’s captivating performance in “Fugitive of the Judoon" onto the printed page is remarkable to see, and continually captures the attention when perhaps the periodical’s actual plot does not. In fact, this title’s cover price is probably worth it just to see how extraordinarily well the creative team capture the essence of the semi-unwilling and always suspicious ‘enforcer of Gallifrey.’

Writer: Jody Houser, Artist: Roberta Ingranata, and Colorist: Warnia K. Sahadewa

Doctor Who: Free Comic Book Day 2022 - Titan Comics

DOCTOR WHO: FREE COMIC BOOK DAY 2022, May 2022

Promising “an epic adventure with the travelling Time Lord” which will then serve “as a lead-in to the explosive new story arc that reveals the very early years of the Doctor”, Jody Houser’s script for this Free Comic Book Day 2022 publication probably underwhelmed many followers of the British science-fiction television programme with its rather simplistic and unoriginal narrative. Indeed, the notion of a malevolent race of super-cute, furry extra-terrestrials fooling some school children into helping them do their evil bidding was first seen as far back as February 1980, when writer Pat Mills introduced Beep the Meep to the unsuspecting audience of “Doctor Who Weekly”.

Admittedly, this particular “exclusive lead-in to an epic new Doctor Who story arc” does do an excellent job of depicting the Fugitive incarnation of the Gallifreyan as portrayed by actress Jo Martin. But it’s still debatably hard to find much interest in a twelve-page plot when all the publication’s secondary cast do is argue about what their favourite colour is, and subsequently threaten an adult for daring to enter their private clubhouse after she’s revealed their cuddly teddy-bears are merciless, planet-destroying aliens; “We’re not just gonna let you kidnap our toys.”

To make matters worse though, the titular character doesn’t do anything in this tale, apart from identify the troll-like Monstario the Devourer to his “patsies” with some sort of space age gizmo. Instead, the blue-skinned gremlin seemingly sows the seeds of his own demise by informing everyone within earshot about his plan to catastrophically strip the planet of its aluminium resources and subsequently ensure its entire population burn to death in the resultant planetary explosion. Such hubris debatably would stretch even the most die-hard bibliophile’s willing suspension of disbelief, and unsurprisingly leads to the red-eyed furballs all being physically beaten-up by the kids with wooden sticks.

Fortunately however, what this comic’s penmanship lacks in pace or dynamism, it potentially provides with some of Roberta Ingranata’s excellent pencils. The Italian illustrator does a first-rate job in capturing both the onscreen look and mannerisms of Martin’s broadcast appearances, as well as those of the First Doctor and his granddaughter when the pair apparently arrive in Totter's Lane, Shoreditch, just before the exploits of “An Unearthly Child”. In addition, this periodical contains a fascinating insight into its art process by Ingranata and colorist Warnia K. Sahadewa, which alone makes the effort of ‘purchasing’ this comic worth it.

Writer: Jody Houser, Artist: Roberta Ingranata, and Colorist: Warnia K. Sahadewa

Alien #12 - Marvel Comics

ALIEN No. 12, July 2022

Quite literally loaded with plenty of death-defying devilries and criminally inclined government operatives getting their just desserts, Phillip Kennedy Johnson’s narrative for this concluding issue of “Alien” certainly seems to deliver a satisfying finale to Jane Callan’s fear-laden flight from a planet-wide invasion of ferocious xenomorphs. Indeed, this comic’s sole disappointment only comes at its end, when the reader is left wanting more after they’re teased that perhaps Weyland-Yutani has something else in store for the terminally ill Spinner before her life inevitably comes to a sad end; “Whoever… This asset is… That certainly makes her worth a second look.”

Foremost of this comic’s hooks must be the sudden arrival of Doctor Palmer and his straight-talking, no-nonsense Sergeant Major. The veteran soldier’s undisguised contempt for Gamma Station’s robotic leader, Gregory, is palpable and enjoyably matches the same disdain the merciless “synth” previously showed his fellow colonists before he revealed his intention to have them all impregnated by the extra-terrestrials. As a matter of fact, despite the moustached military man clearly being a loyal supporter of the United America’s ‘deliberate orchestration of the infestation’, his gruesome demise once some adult warrior drones break into the supposedly secure settler’s facility is debatably disheartening, considering the verbal abuse he repeatedly gives the dislikeable “Pinocchio”.

Similarly as successful though, is the Eisner Award-nominee’s writing for Jane and her friends’ final fight against a group of facehuggers. Unarmed and already a man down, the group genuinely do not look to have a hope in hell of defeating the fast-paced swarm of parasitic lifeforms racing towards them. However, Johnson makes clever use of Callan’s increasing infirmity to suddenly give the woman a surprising edge over her numerous assailants, so that once the acidic blood starts spurting and eating through the locked room’s metal floor, the shaking survivors’ shocking departure out of danger is made plausibly possible.

Adding some serious “Clanng”, “Whunk” and “Skreeeeeee” to this publication’s dynamically drawn panels is outgoing artist Salvador Larroca, whose ability to project the sheer terror of their grisly predicament upon the faces of Simon, Leo and Sophie really helps the audience share in their dread. Likewise the Spanish illustrator does a first-rate job in depicting the claustrophobic panic of the marines when they realise they’re being attacked by the xenomorphs from above, and are about to be gruesomely cut down into bloody chunks where they stand.

The regular cover art to "ALIEN" #12 by Marc Aspinall

Harley Quinn #14 - DC Comics

HARLEY QUINN No. 14, June 2022

Primarily focused upon the titular character’s unjust incarceration “in Blackgate Penitentiary for multiple homicides thanks to a growing body of evidence”, Stephanie Phillips’ narrative for Issue Fourteen of “Harley Quinn” undeniably contains some well-executed set-pieces packed full of pulse-pounding pugilism. But whilst these punch-ups rather neatly bookend the twenty-two-page periodical, the word-balloon filled middle of this comic is arguably far less satisfying, courtesy of the American author dwelling for much too long upon the domestic bliss of Kevin whilst he's overcooking some pancakes for his new girlfriend; “I’m not sure watching you run around the kitchen in that tiny apron could ever be ruined, babe.”

Admittedly, the rotund sidekick’s beloved Sam certainly provides the plot with some interesting angles as her physically bruising nocturnal activities are hinted at being far more homicidal in nature than those of a normal sleepwalker. But after ploughing through an incredibly word-heavy conversational piece involving Quinzel in prison pleading her innocence over the telephone, this publication’s readers debatably don’t then need to experience twenty-seven more panels crammed full of even more displeasing dialogue.

Thankfully however, the addition of Batwoman to this book’s secondary cast repeatedly imbues its somewhat sedentary storyline with some much-needed animation and fast-paced fist-fights. Straight from the start, when Katherine Kane’s alter-ego discovers the mutilated body of a corrupt judge at Gotham City Courthouse, it’s clear that exciting things are going to happen whenever the Justice League reservist is given the ‘spotlight’, and the super-heroine’s well-timed intervention just as Harley is about to be stabbed by a group of shiv-carrying convicts is debatably the highlight of the comic.

Possibly therefore carrying the lion’s share of the storytelling for “The Verdict” rests upon the shoulders of Riley Rossmo, whose dynamic pencils really help imbue Kate with all the athletic vitality one would expect from a costumed crimefighter who swoops across night-time skylines using a grapple gun. In addition, the Canadian artist does a fantastic job of making the red-haired vigilante’s fighting style look particularly savage, as she satisfyingly smacks one female inmate squarely on the nose, and eye-wateringly high-kicks another right in the midriff.

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

DC Vs. Vampires #6 - DC Comics

DC VS. VAMPIRES No. 6, May 2022

Considering the sheer number of super-heroes (and villains) that are depicted dying in a variety of horrible ways throughout this comic, few readers who bought Issue Six of “DC Vs. Vampires” could surely say it didn’t live up to its Burbank-based publisher’s hype of being the mini-series’ “blood-drenched halfway point!” In fact, considering just which top-tier crime-fighters are either dispatched or revealed to be pointy-fanged creatures of the night, it’s arguably somewhat surprising that James Tynion IV and Matthew Rosenberg’s storyline didn’t contain even more bodily mutilation; “We’ve got a problem. Savant and that spider guy are dead. The team seems to have a lot of vampires on it and they’re trying to eat us.”

Foremost of these shocking demises though must be that of the Dark Knight himself, who having earlier gained “the upper hand on the vampires who have infiltrated the Justice League” with just his wits and fighting savvy, is treacherously murdered by the new Vampire King in a genuinely “jaw-dropping moment”. This gut-wrenching betrayal by one of the Bat Family from behind is incredibly well penned, and debatably would have caught the vast majority of this book’s bibliophiles completely off-guard before it takes place.

What follows however, is equally as disconcerting as the likes of Cassandra Cain, Red Hood, Red Robin and Damian Wayne all allow their emotions to get the better of them and unthinkingly throw themselves into a one-sided fight that they surely can never win. In fact, possibly one of this publication’s most impressive moments is how Green Arrow stoically steps up as the group’s new leader, and applies Bruce Wayne’s famous cunning to the situation to ensure that Alfred Pennyworth can at least save a couple of the fledgling vigilantes from a nightmarish fate via a secret submarine.

Equally as enthralling as Otto Schmidt’s dynamically drawn death of Batman, are Simone Di Meo’s pencils covering the ignominious end of the Suicide Squad. Having discovered that the Joker is not the head of the vampiric horde attempting to enslave the world, Amanda Waller is ‘forced’ to detonate several of the team’s head-bombs - with Captain Boomerang’s hapless fate at the hands of Harley Quinn also providing this twenty-two-page periodical with a moment of distinctly dark humour.

The regular cover art of "DC VS. VAMPIRES" #6 by Otto Schmidt

Moon Knight [2021] #11 - Marvel Comics

MOON KNIGHT No. 11, July 2022

Whilst Issue Eleven of “Moon Knight” certainly starts out with a satisfying mixture of barbaric beatdowns and villainous comeuppances, the vast majority of Jed MacKay’s narrative may well have surprised many of this comic’s readers with it somewhat sedentary storyline. Happily however, despite the fact that all of the titular character’s interplay with his new arch-nemesis takes place over a personal phone, there is still plenty of nail-biting tension ‘on show’ between the two masked mavericks to keep this publication’s audience well and truly riveted.

Indeed, the moment Zodiac shows up outside the Midnight Mansion with a heavily-armed cartel and starts threatening to kill all of the haunted residence’s hapless neighbours in a number of horrible ways should Reese be unwilling to surrender herself to his tender mercies, it becomes clear that anything could happen within this tensely-penned twenty-page periodical – and somewhat shockingly does; “This is the path. But we’re not welcome. The way will be dangerous. So whatever you do, don’t stop running.”

Foremost of these surprises has to be Marc Spector’s decision to consult his former god, Khonshu, and beg the imprisoned Egyptian deity for assistance in his “race against time to save a life.” Bereft of his Mooncopter, his flying drone and even his Angle Wing, the superhero’s emotional upset at the deadly predicament of his vampiric secretary some seventy miles away leaps off of the printed page, to the point where even a perusing bibliophile can almost taste the desperation in the air as he drops to his knees in heavy-hearted supplication.

Nobly helping the Canadian writer pack his word-heavy script with as many eye-catchingly dynamic set-pieces as possible is Alessandro Cappuccio, whose slickly-pencilled series of panels depicting Moon Knight and his friends stealthily battering their way past Billy Russo’s henchmen in New Jersey, definitely sets a savage tone for the rest of the book. In fact, arguably one of the highlights to “The Killing Time” is the well-sketched physical tension between a distraught Reese and clearer-headed Soldier, who almost go toe-to-toe with one another inside Spector’s magical headquarters when the ex-Hydra operative attempts to stop her from going outside to face Zodiac alone.

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

Shang-Chi [2021] #12 - Marvel Comics

SHANG-CHI No. 12, July 2022

Somewhat shockingly bringing this ongoing series to an abrupt end, especially considering that “Marvel Worldwide” had previously announced in its solicitations a subsequent instalment concerning the titular character acting as “the world’s greatest spy”, Gene Luen Yang’s narrative for “Blood And Monsters” certainly still appears to resolve the vast majority of the comic’s long-term plot threads. Indeed, the American author seemingly does such a comprehensive job in pigeon-holing all of this book’s significantly large cast, that the central storyline actually finishes with a few pages to spare, and resultantly requires illustrator Marcus To to pad the publication out with a plethora of slow-paced panels; “For the first time in a long while, I am alone.”

But whilst Issue Twelve of “Shang-Chi” rather uninspiringly has the likes of the headstrong Esme supposedly returning “to the House of The Dead Dagger in France” because “she just missed home”, and the always angry Shi-Hua ‘simply disappearing from her room one morning’, the Michael L. Printz Award-winner’s script also seems to suddenly, and surprisingly sharply, veer towards the canon of the Marvel Cinematic Universe (MCU), rather than maintain its roots within the printed lore. This arguably disappointing move is best exemplified with the sudden ‘adoption’ of the Ten Rings no longer belonging to the Mandarin, but instead being “armband-like rings which work in tandem as a weapon with a variety of powers.”

In addition, Yang’s conclusion depicts the terrifying transformation which the Master of Kung Fu has so long dreaded undergoing whilst using the magical bracelets, as little more than a momentary urge to amputate his grandfather’s hand, and is quickly placed back under control with a few well-meaning words from Sister Hammer and Zheng Zhilan. Such an easy resolution to a supposedly world-changing temptation is debatably wholly underwhelming, and does little to justify why in the past the likes of Takeshi have had their allegiance to the Supreme Commander repeatedly tested for fear of what their leader might become in the future.

Happily however, what this comic probably lacks in satisfying endings, it makes up for with some seriously well-sketched, sense-shattering shenanigans. The book’s Alberta-born artist does an especially good job in pencilling the mass battle scenes occurring in both Chinatown and the Jade Palace, packing each picture with a high number of dynamically-drawn combatants and mystical creatures.

The regular cover art of "SHANG-CHI" #12 by Leinil Frances Yu & Romulo Fajardo Jr.

Captain Carter #3 - Marvel Comics

CAPTAIN CARTER No. 3, July 2022

Supposedly needing to use the guest appearance of Iron Man as a solicitation selling-point, Jamie McKelvie’s storyline for Issue Three of “Captain Carter” also regrettably seems to rely upon a few too many contrivances in order to schedule its series of sense-shattering set-pieces. In fact, for those bookworms who dislike supposed top-tier secret operatives dropping their S.T.R.I.K.E. insignia-carrying handguns at the scene of a botched assassination, and billionaire industrialists just happening to travel over four thousand miles across the planet’s surface on the off chance of bumping into someone their grandfather worked with decades earlier, the American author’s twenty-page plot is arguably going to prove rather problematic to wade through.

Foremost of these manufactured moments must be the sudden ability of Peggy’s neighbour, Harley Davis, to easily hack into the British Government’s highest top secret computer system with a simple bootable zip drive and the wireless technology of a Bluetooth phone. The Brixton-based friend appears incredibly knowledgeable about accessing encrypted data records, weapon deployment archives and voicemails, to the point where she conveniently discovers within minutes that the British Prime Minister himself has verbally ordered the treacherous hit on the "woman out of time" and her comrade-in-arms, Lizzie Braddock.

Admittedly, all these happy happenstances certainly provide the Pennsylvanian-born writer’s narrative with some nail-biting pace as the titular character tackles a foreboding band of battle-hardened government agents and the infamous London traffic, in a desperate bid to detain some mysterious blonde-haired woman. But it is debatably hard to maintain a person’s willing suspension of disbelief when so many coincidences occur one after the other, even to the point where Chief Hunter luckily decides to suddenly eat his food outside as “it’s a lovely day” to provide a once-in-a-lifetime opportunity for his personal workstation to be hacked.

Heroically pencilling all these implausibilities is Marika Cresta, who does a sterling job in providing plenty of jaw-breaking “Thwck” and “Krunk” to the super-powered cast’s battering blows. The Ringo Awards-nominee does an especially fine job of illustrating Captain Carter’s intense punch-up in Briefing Room 3, where the tightly confined fighting space is impressively depicted through a series of thin, page-wide panels showing Peggy being slowly outnumbered; “I’ll pop my head in to make my excuses, then leave. Have to get that zip drive out of Hunter’s computer before he gets back from lunch.”

The regular cover art of "CAPTAIN CARTER" #3 by Jamie McKelvie