G-Men United #2 - G-Man Comics

G-MEN UNITED No.2, December 2021

Promising “four great tales from the G-Men in a single comic”, Eric N. Bennett’s script for “Thunder Struck” certainly gets this anthology title off to a rip-roaring start with both a notable nod to the Nazi-bashing antics depicted during the Golden Age, and its frenetically paced storytelling once events move forward to the hectic life of a modern-day speedster. However, whilst the Blue Bolt’s subsequent scintillating arrest of the villainous Thundervolt certainly provides artist Luis Rivera with plenty of opportunity to pencil a dynamically drawn chase across the waters of a local harbour, it’s the writer’s cliff-hanger of a conclusion in which Conrad Calvin’s alter-ego is shockingly accused of treachery against the Caped Agent Program that will surely have its readers clamouring for more within “the pages of the… First Guard.”

Equally as fascinating though is Rik Offenberger’s “The Double Life Of Ali Rashed” which on the face of it concerns the no-nonsense foiling of “an armed robbery at Empire City Pharmacy in Atlanta”. But in reality, explores the difficulty some protagonists face when they want to remain incognito from their friends and family. The yarn generates an arguably surprising element of empathy for Terror Noir in the reader as he is clearly thinking first and foremost about his co-workers’ safety throughout the crime, and yet ultimately loses their respect due to them erroneously believing him to be a coward who selfishly hid himself away during the entire raid; “Our lives were at risk and you were hiding! I Quit!”

Perhaps by far this publication’s bloodiest adventure concerns Sergeant Flag’s desperate mission to rescue “a cop captured by the Factory”. This five-pager very quickly gets down to the task at hand with Bobby Ragland sketching a sense-shattering tussle between the colourfully costumed super-hero and the appropriately named striped lycanthrope Tigerstrike. Indeed, the sheer viciousness of the weretiger genuinely leaps off the printed panel, and momentarily will make any perusing bibliophile believe that for once Rob McFarlane may well have bitten off more than he can chew with this mission.

“Rounding out the issue is Jim Burrows’ Who is Outrage?” which rather succinctly covers the origin story of the demon-fighting powerhouse from her grandfather’s days as a Tuskegee Airman “used for testing super-soldier protocols” through to the angry young woman finally accepting her place within the world as a registered crime-fighter. The author does a good job in penning the adolescent's frustration at the authorities for incarcerating her “papa” in an extraordinary maximum-security prison following his fall from grace, and her eventual realisation that she could do great good with her special abilities in the wake of Hurricane Katrina.

The regular cover art of "G-MEN UNITED" #2 by Bobby Ragland

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

RICK AND MORTY VERSES DUNGEONS & DRAGONS II: PAINSCAPE No. 3, November 2019

Plush with plenty of the slapstick humour which helped make Adult Swim’s animated television programme so critically acclaimed, Jim Zub’s storyline for Issue Three of “Rick And Morty Verses Dungeons & Dragons II: Painscape” certainly bounds along at an enjoyable pace, as the Smith Family desperately battle the demonic forces ‘wonkily named’ by the fantasy role-playing rule-set’s creators to try and convince parents that it was not “Satan’s game.” Yet whilst such a narrative creates a few laugh-out-loud moments, such as Jerry’s son using a sneak attack to annihilate Sorcerick with a standing lamp, it also arguably contains some rather lack-lustre moments which help explain the mini-series fall in sales to just 11,936 copies.

Foremost of these frustrating flaws is the way Rick Sanchez is seemingly wasted just wandering around his old, incomplete campaign setting, trying to determine whether there truly is “no way home” from the “little burg of graph paper regret” he created in his younger days. This initially slow, sedentary sequence does momentarily appear to contain a real gem of a plot idea when it forces the scientist to negotiate the Caves of Klang – a “masterpiece dungeon” the central protagonist forgot he wrote.

However, rather than depict the Level One Wizard using his wits for once as he encounters obstacles he was far from expecting, the storyline quickly degenerates into a series of simple conflicts between him and a quartet of his failed, previously rolled characters; “Man, you are the worst f*****g Rick I’ve seen since Doofus Rick from J19 Zeta 7…” Indeed, by the time Sanchez finally encounters the Level Six Elven Fighter, Warriorick and his cursed intelligent longsword, the utterly insane battle inside a busy, modern-day shopping mall involving Jerry, Summer and Beth has become much more entertaining.

Possibly this publication’s best asset therefore, alongside the excellent layouts of artist Troy Little, are all the nods to the extensive lore established by Gary Gygax’s co-creation which are scattered throughout its twenty-two pages. Much of this background is seemingly taken from the Second Edition sourcebook, Monstrous Compendium: Outer Planes Appendix, with the comic’s illustrator not only going so far as to pencil a recognisable likeness of the book’s cover, but also ensuring that its contents describing the Outer Planes are all clearly hole-punched.

Written by: Jim Zub, Illustrated by: Troy Little, and Colored by: Leonardo Ito

King Conan #2 - Marvel Comics

KING CONAN No. 2, March 2022

Somewhat surprisingly splitting this twenty-page periodical’s plot between the swashbuckling exploits of the titular character upon a zombie-infested island and King Conan’s strange decision to suddenly exile his son from Aquilonia “until you can bring me a tale from every land on the map”, Jason Aaron’s narrative for “A Barbarian Father’s Lament” must have caused many within its audience to scratch their heads in bewilderment. True, the Cimmerian’s team-up with Thoth-Amon provides this comic with some truly scintillating swordplay, especially when the Stygian Wizard is seemingly about to be treacherously sacrificed to the relentless horde of Undead simply to buy his vengeful, grey-bearded nemesis a chance of survival.

But arguably bibliophiles can only take so much depiction of putrescent cadavers being carved into pieces of still wriggling, decaying meat, before the relentless slaughter becomes a bit stayed and regrettably tedious. Indeed, the flashbacks concerning a bored monarch and his worries as to Conn’s ability to retain the throne after the aging adventurer is dead, debatably soon becomes a far more fascinating storyline than the one depicting the heavily muscled hero swinging his great blade through yet another revenant; “With all respect, your highness. Are you going to tell me why we rode all the way out here while our army is marching back to Tarantia?”

Happily however, the Alabama-born author does finally inject some much-needed tension into the elderly Conan’s seemingly deadly predicament towards the end of the comic, when having been pained by his decision to abandon Thoth-Amon, he pens the barbarian returning to save the black magic-user from a gruesome demise at the last moment. This demonstration of the Cimmerian’s famous code of honour certainly captures the essence of the character originally devised by his creator Robert E. Howard, and agreeably also leads to a moment of true treachery when the Stygian ungratefully stabs his rescuer in the thigh and leaves the wounded warrior to the tender mercies of the ghouls who were only moments before about to eat him.

Easily this book’s biggest asset though is the artwork of Mahmud Asrar, which provides the sword and sorcery hero with plenty of memorable moments repeatedly scything his way through a steady stream of rotting opponents. Likewise, the Turkish illustrator does a first-rate job pencilling the sheer frustration emanating off Aquilonia’s King once he realises that he’s done such a good job in ruling the empire that he has few enemies to battle and can’t simply prowl “the countryside looking for a fight.”

The regular cover art of "KING CONAN" #2 by Mahmud Asrar & Matthew Wilson

Task Force Z #8 - DC Comics

TASK FORCE Z No. 8, July 2022

Described in its pre-publication synopsis as comprising of an “All-new team! [with the] Same old problems!” Issue Eight of “Task Force Z” arguably gives the extended Bat-Family significantly more ‘screen time’ than Harvey Dent’s titular squad of undead felons and evil-doers. Indeed, such is the ever-pervading presence of the Dark Knight throughout Matthew Rosenberg’s scintillating script that its cataclysmic events read as if they're occurring within a Batman book rather than one focusing upon “a line-up of some of Gotham City’s worst criminals who’ve ever lived.” 

Admittedly, Bruce Wayne’s alter-ego doesn’t actually appear within this twenty-two-page periodical until its halfway stage, when he arrives to tackle a rampaging Solomon Grundy during a faked heist. But the Caped Crusader’s famous Batmobile is a persistent feature of the storyline straight from the start, and as a result everything which both Two Face and Red Hood do is in direct response to the cowled crimefighter’s night-time patrol; “Ha. You’re not going to fight him. He’d destroy you. You just have to look like you’re going to fight him.”

In addition, Jason Todd’s exhilarating battle against the likes of Nightwing, Red Robin and Batwoman is as a direct result of Batman ordering his proteges to take the crowbar-carrying vigilante into “custody”. This awesome smackdown really does demonstrate just how mercilessly violent ‘The Outlaw’ has become since he was “resurrected by Talia al Ghul using the Lazarus Pit, and then trained by both the League of Assassins and the All-Caste”, as he brutally batters his three opponents within an inch of their lives, especially Timothy Drake – who staggers away from the confrontation with both a broken nose and genuine sense of betrayal as to the behaviour of his mask-wearing predecessor.

Curiously however, perhaps this publication’s greatest asset lies in editor Dave Wielgosz’s decision to utilise the talents of Jesus Merino, Jack Herbert and Vicente Cifuentes as its artists. Obviously, there is some noticeable difference in pencilling styles between the three different illustrators. Yet that doesn’t stop Red Hood’s pulse-pounding punch-up with the Bat-Family, or the Dark Knight’s dynamically drawn fracas against a certain pale-fleshed reanimated corpse from almost literally leaping off the printed page with vibrant energy.

Script: Matthew Rosenberg, and Artists: Jesus Merino, Jack Herbert & Vicente Cifuentes

Star Trek: The Mirror War #7 - IDW Publishing

STAR TREK: THE MIRROR WAR No. 7, July 2022

Positively packed with scintillating spaceship action, just the sort of edge-of-seat political intrigues one would expect from the deadly Mirror Universe, and the increasingly zealous aggression of the maniacal Jean-Luc Picard, Scott and David Tipton’s narrative for Issue Seven of “Star Trek: The Mirror War” masterfully manipulates all the very best elements of Gene Roddenberry’s franchise into a veritable rollercoaster of a comic book ride. Sure, it’s somewhat hard to cheer on a cold-blooded killer who is perfectly capable of flushing his former friend out into the airless void once ‘the Outrageous Okona’ has evidently outlived his usefulness. Yet considering the duplicitous nature of the I.S.S. Enterprise-D’s senior officers, it’s arguably difficult for anyone upon the Galaxy-class starship’s bridge to legitimately cast aspersions against another.

Furthermore, when the sense-shattering shenanigans of a story are this good, it probably doesn’t matter who wins or loses, especially as its evident that despite the selfish motivation of the bald, goatee-bearded captain, he is fighting for the very survival of the Terran Empire against the overwhelming odds of an extra-terrestrial aggressor; “I want every vessel in my armada ready to deal death to the Klingon-Cardassian Alliance in hours, not days. I’m altering the plan. Crippling this Cardassian rabble is no longer enough.”

Perhaps this publication’s biggest asset, however, is in the attention to detail of its considerably sized cast as opposed to the blockbuster space battles. Picard’s descent into a berserker-fury unsurprisingly captures most of the ‘spotlight’. But there’s still plenty of double-dealing to enjoy with the likes of Riker, Troi, La Forge and Crusher unwisely deciding that now is precisely the right time to eliminate Jean-Luc and claim the captain’s chair for themselves. These vying perfidious personalities really are extremely well-penned and contain some nice touches, such as Geordi’s greed making him hesitant at ruining such a successful command, and Miles O’Brien’s evident irritation at not being addressed by Data as “Captain” whilst he’s in charge of the I.S.S. Defiant.

Equally as engrossing as the script though must be Gavin Smith’s layouts and Charlie Kirchoff’s colours. The artistic team do a first-rate job in depicting the sheer grandeur of two antagonistic armadas beating the hell out of each other with “full volleys of photon torpedoes and focused phaser spreads.” Plus, there’s a plethora of proficiently pencilled human touches dotted throughout the interior-set panels, like Beverley scowling at Picard as she tends to her badly injured son, and ‘Captain Brahms’ horror when her attempt to commandeer the Enterprise fails miserably.

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

Chances Are #1 - Matt Garvey Comics

CHANCES ARE No. 1, August 2022

Grabbing its audience by the scruff of the neck and hurling them into a deadly world where a person’s luck is the sole difference between life and death, Matt Garvey’s incredibly fast-paced narrative for Issue One of “Chances Are” will surely have many a bibliophile nervously perusing this comic with one hand over their eyes. Sure, the lethal events concocted by the super-rich to sate their penchant for million-dollar gambling bets are straightforward enough, such as a mad dash across an incredibly busy freeway blindfold until one of the contestants is turned into human jam. But the terrifying sense of speed generated by such exploits literally leaps off the page, and effortlessly carries the breathless reader all the way through to the end of the twenty-two-page periodical without any problems at all.

Furthermore, this comic doesn’t skimp in doing its best to provide its central antagonist, Bruce, with as detailed a background as it can in between the hero’s desperate attempts to evade a grisly demise. The smart-mouthed, understandably arrogant gamester has clearly become used to riding his good fortune whenever he can. However, that doesn’t mean for a moment that everything goes the young man’s way, as his imprisonment by a James Bond villain’s felonious syndicate attests. Indeed, this book’s writer is quick to point out that the guy feels “poor Dave” is the lucky one when he’s unknowingly mowed down by a freight van within seconds of ‘The Sprint’ starting and doesn’t therefore have to spend a couple of days anxiously awaiting the next terminal trial.

Just as well penned are this publication’s secondary cast, with Edward Royale proving to be a truly chilling piece of work, who’ll stoop at nothing to claw back his lost one hundred and seventy million dollars after betting against Bruce in a Poker World Championship tournament. The fact the crook is perfectly willing to cold-bloodedly murder young Grace simply to ensure her father cooperates with his fiendish plans speaks volumes for the crime lord’s sheer malevolency, and this savagery is further exaggerated by the ultra-violent conduct of his formidably sized lieutenant Hector; “Just keep making your wisecracks. When this is all over you’re mine.”

Adding a bucket load of gore and incredible amount of speed-lines to this comic’s sense-shattering shenanigans are the exhilarating layouts of David Cousens, who does a phenomenal job capturing the remorseless nature of traffic tearing down a stretch of road. In addition, the artist is terrific in projecting the raw emotions on display, such as the sheer terror being experienced by the unfortunates having to run out in front of heavy goods vehicles, or the sheer disbelief on the faces of the television broadcasters when Bruce attempts to win a three-million-dollar grand prize on the turn of a two of Clubs.

Written by: Matt Garvey, Art by: David Cousens, and Flats by: Rob Cloma

G-Man Comics 3in1 #2 - G-Man Comics

G-MAN COMICS 3IN1 No. 2, December 2021

Penned by “each of G-Man Comics’ founders” and “all drawn by G-Man’s first artist, Gilbert Monsanto”, this Twenty-four page anthology presumably pleased the vast majority of its audience with its entertaining mixture of origin stories, second instalments and even an enticing adaption of the first chapters to Jim Burrows’ novel, “The Demon Priest”. Indeed, one of this book’s most endearing features is how Editor-in-Chief Rik Offenberger manages to pull together all the different storylines into a single, cohesive overarching narrative set within his fictional universe, and simultaneously teases its readers with some of the publisher’s potential future offerings through the likes of team Lynx breaking the fourth wall; “Oh, yah. If you enjoyed this story, we will be back next time for a full-length adventure.”

Starting the ball rolling is “Cat Fight” which provides the white-costumed, feline-looking Maya Santiago and Mateo Martinez with some much needed background as to why the couple became street-level crime-fighters. Concluding with their “first solo mission for Agent Kirby”, this tale is straightforwardly told solid stuff, apart from the intriguing notion of their violent methods not meeting with Sergeant Flag’s approval despite the gun-toting super-hero being the one who saved Santiago’s life prior to her training in Luta Livre.

Slightly more involved, courtesy of the ongoing adventure already enjoying a previous instalment, is Eric N. Bennett’s “The Price Of Liberty”, which arguably manages to capture a little of the unstoppable killing machine vibe seen in James Cameron’s 1984 science fiction action film “The Terminator” when the cybernetic Half-Man enters the city’s Police Headquarters and eradicates everyone with small arms fire. In addition, this well-paced piece depicts the partially-robotic criminal as a fast-thinking mastermind, when he ensures American Eagle III is helpless to stop Brain Bruiser’s prison break by arranging for Alex Russell’s alter-ego to urgently be needed to prop the semi-destroyed law enforcement building up.

Rounding things off is “The Demon Priest” which rather beguilingly seems to depict the satanic Shamsiel as a being trapped between the guise of a peaceful priest and a savage blood-letter, who one moment lets himself be willingly abducted by criminals and then tears their throats out with his bare hands in the next. This fearsome contrast is made all the more enigmatic due to its author leaving Reverend Gregory’s past as a complete mystery. In fact, this adaption’s sole disappointment is that it ends with the reader being required to read Burrows’ novel to find out what happens next, rather than being given the comic book treatment in full.

Writers: Rik Offenberger, Eric N. Bennett & Jim Burrows, and Artist: Gilbert Monsanto

Dungeons & Dragons: Legends Of Baldur's Gate #2 - IDW Publishing

DUNGEONS & DRAGONS: LEGENDS OF BALDUR'S GATE No. 2, November 2014

Combining a marvellous mixture of flashbacks, swashbuckling swordplay and political intrigue, Jim Zub’s narrative for Issue Two of “Dungeons & Dragons: Legends Of Baldur’s Gate” probably landed rather well with the mini-series’ 7,642-strong audience in November 2014. For whilst the comic’s plot certainly contains some quite lengthy conversations between the likes of Delina and her would-be rescuers Krydle and Shandie, as well as those involving Duke Ravenguard and the duplicitous Fetcher, these dialogue-driven interludes are arguably just as mesmerising as Minsc’s bloody battle with a coven of mask-wearing magic users.

In fact, one of this twenty-page periodical’s greatest assets is the way its Canadian author manages to quickly establish just how complicated the coordination and running of the large city actually is; whether it be the major port’s devilish criminal underground packed full of favours and faceless cut-throats, or its supposedly more honourable noble quarters, where its City Watch dare not disturb its wealthy occupants even after two of their armoured number have been slain. Such attention to detail truly does help sell the menacing environment surrounding our heroes and also promotes the sprawling conurbation as a very real, living metropolis, full of merchants, warriors, priests and thieves.

Likewise, Zub perfectly projects the ever-present threat of a violent death into his storyline even when Delina’s newfound friends are both heavily-armed and evidently formidable fighters. Before the reader can really even register that the party are being waylaid by sorcery-aided assassins, its “beloved Ranger” is stabbed in the side by a sinister-looking curved blade and Krydle is fighting for his life against the razor-sharp talons of an unknown attacker. This shocking assault upon the senses immediately ramps up the tension within the comic, and demonstrates just how much danger the quartet are already in, even though they’ve yet to attempt to move between Baldur Gate’s upper and lower levels. 

Impressively imbuing all of this book’s numerous chess pieces with plenty of individual character is Max Dunbar, whose pencils are particularly impressive when it comes to facial expressions – even when the figure is that of “a miniature giant space hamster of great courage and wise wisdom” called Boo. Furthermore, this publication contains an enthralling insight into the artist’s preliminary sketches of its protagonists, as well as some of the highly-detailed landscapes required for his layouts - courtesy of a behind the scenes article by editor, John Barber.

Written by: Jim Zub, Art by: Max Dunbar, and Colors by: John-Paul Bove & Joana Lafuente

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

RICK AND MORTY VERSES DUNGEONS & DRAGONS II: PAINSCAPE No. 2, September 2019

Splitting this comic’s storyline into two distinctive plot threads, Jim Zub’s decision to focus upon Rick Sanchez’s early encounters with “the world’s greatest role-playing game” must surely have delighted its 13,813 readers in October 2019. In fact, the mega-genius’ evident frustration with a rule-set that simply can’t provide him with all the “statistics and probabilities” he requires so as to “measure and o-o-optimise” his character is perfectly palpable, and it’s little wonder that the increasingly enraged scientist quickly fills his Folio of Flawed Failures when each creation is repeatedly based upon chaotic dice rolls; “Fate has dealt its hand, my friend. You don’t qualify for bard-dom, but it’s still a powerful array. You could --"

Equally as entertaining is Albert Ein-douche’s subsequent foray through the labyrinthine Tomb of Horrors, which demonstrate what an absolute badass Sanchez can be when he already has foreknowledge of the obstacles impeding him. These snappily-paced action sequences concerning a four-armed gargoyle, poisonous snakes, secret doors and levitation rooms are seemingly correct “down to the last f*****g detail”, and only disappoint in the brevity of ‘spotlight’ awarded to “the deadliest dungeon in Dungeons and Dragons history” when compared to the arguably less entertaining exploits of Rick’s grandson.

Indeed, Morty and Summer’s lengthy confrontation with a Level Thirteen Half-Orc Barbarian named Barbarick probably contains some of this twenty-two page periodical’s weaker moments, especially when so much of its drama is simply based upon the two adolescents hiding behind furniture until their assailant runs out of puff and falls asleep. True, the Canadian writer does manage to incorporate plenty of rule-set references into the narrative, such as Acrobatics, Athletics and Stealth checks. But compared to their grandpa’s desperate attempt to flee the Painscape by creating an all-new portal gun at a medieval blacksmiths, the children's unsuccessful attempt to phone the police from a bedroom is debatably a little underwhelming.

Far more riveting is Troy Little’s layouts, which are vibrantly coloured by Leonardo Ito. The incredible vexation felt by a young, hippy Sanchez at his inability to consistently roll well is plainly pencilled upon his face by the illustrator, as is Rick’s anger at being teleported back to the fictional Borden instead of Earth, after having proved himself “the master of these dungeons.”

Written by: Jim Zub, Illustrated by: Troy Little, and Colored by: Leonardo Ito

King Conan #1 - Marvel Comics

KING CONAN No. 1, February 2022

Bravely boasted by “Marvel Worldwide” as being “an all-new adventure that takes the story of the Cimmerian further than has ever been revealed in any media to date”, Jason Aaron’s script for this super-sized, thirty-page periodical certainly contains most of the elements which caused Robert E. Howard’s creation to become so popular during the Thirties in “Weird Tales” magazine. Indeed, the prospect of the barbarian having one last battle, ‘mano a mano’, with his arch-nemesis Thoth-Amon on an island packed full of zombies, killer apes and deadly white tigers must have had many within the comic’s audience salivating in anticipation of “On Maggot-Infested Waves”.

But whilst the Alabama-born author definitely provides bibliophiles everywhere with a sense-shattering clash of swords between Aquilonia’s recent king and the snake-worshipping Stygian wizard, the sheer implausibility as to just how these two particular playing pieces of the gods arrive simultaneously upon an island which “was barely the size of a boil on the ocean’s hindquarters” arguably takes any reader’s willing suspension of disbelief a little too far.; “Tell me… You’re really here. And not some madness brought on by this miserable isle."

In fact, Issue One of “King Conan” is absolutely packed full of all manner of such contrivances which persistently suggest the entire narrative is perhaps one of the grey-bearded adventurer’s fevered dreams, rather than a true account of his exploits following his willing departure from the throne. Naturally, a small land mass encircled by sharks is just the sort of fantastic location a shipwreck survivor might find themselves at following a ‘storm which came out of nowhere’, and other less fortunate travellers may well have brought both weapons and rum onto the shores in their death throes. Yet that doesn’t explain the Red Apes from the Lava Hills of Khitai, nor the Polar Tigers from the white woods of Hyperborea somehow co-existing with one another on the barren, foodless island.

Ultimately therefore, this book’s success lies squarely upon the shoulders of Mahmud Asrar, whose superbly atmospheric pencils really bring the titular character and his seemingly deadly predicament to glorious life. The Turkish artist’s ability to stage a series of short-lived fight scenes between this yarn’s sole two protagonists is absolutely mesmerising, whether the combatants are exchanging blows amidst a cadaver-covered landscape, or beneath the waves whilst being worried by a pack of hungry sharks.

The regular cover art of "KING CONAN" #1 by Mahmud Asrar & Matthew Wilson

DC Vs. Vampires #7 - DC Comics

DC VS. VAMPIRES No. 7, September 2022

Quite considerably ramping up the scale of the vampires’ invasion of Earth to a truly global level, this beginning to the mini-series’ “nightmarish second arc” certainly seems to do a cracking job in depicting just how horrifically all-powerful the blood drinkers’ empire has become since the treacherous murder of the Dark Knight. Indeed, the opening double splash-page to Issue Seven of “DC Vs. Vampires” provides a picture of the terrifying fate awaiting any remaining pockets of humanity which speaks more than a thousand eloquently chosen words. 

Enjoyably however, this sense of grandeur doesn’t deter James Tynion IV and Matthew Rosenberg from still focusing upon the individual inhabitants of their deadly alternative world, and making their audience suddenly care for the likes of Adam Strange, Negative Man and Peacemaker. These ‘B-Listers’ have clearly taken up the fight in the name of mankind, and almost immediately capture the sympathetic support of the reader as they desperately attempt to escort an emaciated Kara to a safe haven whilst all the time fending off the ghoulish incarnations of some of the DC Universe’s heaviest hitters; “Yes. I have always thought you were the most boring member of the Justice League.” 

Furthermore, the shocking and systematic demise of Mister Bones’ band of brave do-gooders to an utterly arrogant Wonder Woman is not only as debatably chilling as comic book violence can possibly get, but also helps quickly establish the deadly, ruthless nature of those heroes infected by vampirism. Establishing such a despicable malevolence really is crucial to this publication’s final third, when it becomes evident that even the highly experienced Green Arrow has been significantly shaken to his core by the sights he has seen and is resultantly angrily at odds with some of his fellow super-heroes when they suggest “travelling halfway around the world, cross the ocean” to Australia to clear the ash clouds dominating the sky.

Adding an incredible amount of realistic fatigue to this comic’s considerably sized cast are Otto Schmidt’s pencils, which really do help promote the utter exhaustion felt by the few mortal survivors of the new Vampire King’s reign. Likewise, the Siberian illustrator does a stellar job in portraying this book’s more action-orientated moments and brings a genuine pathos to the plight of Robert Todd when the skull-headed protagonist sadly slips into lifelessness alongside Jayna after the Wonder Twin seemingly rescued him from an overconfident Firestorm.

The regular cover art of "DC VS. VAMPIRES" #7 by Guillem March

Task Force Z #7 - DC Comics

TASK FORCE Z No. 7, July 2022

Initially appearing to depict a fairly uncomplicated narrative involving Jason Todd violently recruiting KGBeast’s former team-mates to thwart Geraldine Powers’ sale of “unapproved chemical weapons to known international terrorists”, Matthew Rosenberg’s script for Issue Seven of “Task Force Z” probably wrong-footed a fair few of its readers two-thirds of the way through the comic. For whilst the Red Hood’s plan to brutally abduct the likes of Victor Zsasz, Madame Crow and Copperhead is entirely successful, the sudden duplicity of Mister Freeze arguably transforms the former Robin’s mission into a total waste of resources.

Indeed, by the twenty-two-page periodical’s conclusion, many within its audience probably felt that Dick Grayson’s controversial successor ended up further from victory than when the book started, requiring an inordinate amount of Lazarus Resin with which to resurrect both his “new recruits” and some of his own ailing squad members. Thankfully however, this doesn’t mean for an instant that the publication-long plot is a wasted effort, as it still contains plenty of scintillating ‘villain-on-villain’ confrontations, such as Bane verses Solomon Grundy and Anatoli Knyazev against Copperhead.

Furthermore, this publication’s coverage of Todd tackling one of Gotham City’s most notorious serial killers single-handedly in a deserted vehicle scrap yard is debatably one of the mini-series’ most intense matchups to date. Unarmoured and visibly slower than the self-mutilated Zsasz, Jason’s battle to the death really demonstrates how far Batman’s ‘failed’ protégé has fallen from his mentor’s famous moral standpoint, as well as the murderous lengths he’ll stoop to when dealing with extremely dangerous sociopaths; “You’re gonna kill me over Deadshot? Man-Bat? That Sundowner girl? I was working for Waller, man. You can’t blame me --”

Artists Jack Herbert and Daniel HDR also need a considerable ‘pat on the back’ for making this comic’s storytelling so enjoyable, courtesy of characters such as Fries displaying some enjoyably exaggerated facial expressions and body language depending upon whether the criminals have been fruitful in their felonious endeavours or not. The aforementioned duel between Victor and the Red Hood is also so dynamically drawn that you can almost 'taste the testosterone' emanating from the two highly aggressive combatants as they ferociously try to eliminate one another amongst the rusty, unwanted automobiles.

The regular cover art of "TASK FORCE Z" #7 by Eddy Barrows, Eber Ferreira & Adriano Lucas

G-Man Comics Christmas Special #1 - G-Man Comics

G-MAN COMICS CHRISTMAS SPECIAL No. 1, December 2021

Published “just in time for the holidays” in December 2021, Rik Offenberger’s trio of stories for this “G-Man Comics Christmas Special” certainly bristle with Yuletide cheer and festive spirit. But whilst many of this anthology’s readers may well just enjoy its narratives for their pulse-pounding punches, bone-crunching kicks and action-packed antics, the book also includes a handful of notable insights into some of the other winter-based celebrations too – such as how the American military spend their time serving their country abroad, Chanukah, Las Posadas and the weeklong Kwanzaa.

First up on the Agent’s “Hot List” is the reasonably straightforward Sergeant Flag seven-pager “Saint Nick”, which focuses upon the colourfully costumed super-hero thwarting a robbery at the Twin Pines Mall’s jewellers. Ordinarily not one to shy away from filling a location with plenty of bullets, this tale surprisingly has artist Dean Juliette swap out Rob McFarlane’s fiery gunplay for some good old-fashioned fisticuffs, following a plea from the shopping precinct’s Santa to protect the packed place’s hapless children; “What’s wrong with you! There are kids all around, for Cripes’ sake!”

Far more emotionally perturbing is arguably Offenberger’s “Silent Night”, which depicts teacher Maya Santiago stumbling upon one of her pupils and the girl's mother when the cowled crime-fighter is busy beating up a group of malcontents who decide to trash a homeless encampment in the north-western quadrant of Washington D.C. Despite being so poor its clear that Anna’s lone parent is still doing her very best to keep her infant child happy, and such heart-warming devotion is rightly rewarded when the pair are sketched by Arnaldo dos Santos Ferreira Junior being taken in by team Lynx’s alter-egos for the festivities.

Lastly, the former “retailer at Paper Hero Comics” pens the somewhat short-lived “Christmas Dinner” featuring the intriguing Atomik Bombshell. The radioactive “almost a villain” has the terrifying power of causing a nuclear meltdown if upset, and this results in some careful handling by the Agent when she inadvertently loses control inside the heavily populated Brookland-CUA Metro Station. As origin stories go, this particular plot generates all sorts of questions as to the future of Meredith Fremont’s time on the G-Men, particularly as its suggested her formidable ability understandably makes some of her comrades-in-arms a little nervous when in her presence.

Written by: Rik Offenberger, and Art by: Dean Juliette & Arnaldo dos Santos Ferreira Junior

Gremmens #1 - What If Stories

GREMMENS No. 1, July 2019

Ably answering the question as to what would happen “if Murray Futterman faced the Gremlins back in World War Two?”, Matthew Stapleton’s self-funded Issue One of “Gremmens” certainly shows that the author was “a child of the Eighties” who has a strong love for Steven Spielberg’s 1984 American comedy horror movie. In fact, it’s a pity something akin to this publication’s storyline wasn’t incorporated into Chris Columbus’s original film script, as it provides Dick Miller's silver screen counterpart with a solid explanation as to just why the veteran soldier is so paranoid of foreign objects and vehicles; “They’re like lizards, big ones. Almost cute…”

Foremost of this twenty-page periodical’s strengths is arguably the writer’s wise decision not to turn the future snowplough salesman into an unstoppable killing machine, but rather depict him hunkered down in the freezing cold of Belgium’s Bastogne alongside the rest of his hapless comrades-in-arms. This claustrophobic ‘I don’t want to die’ atmosphere really helps project the terror of the men facing the German war machine during the dead of night and helps make the sudden appearance of the ferocious Mogwai even more terrifying - especially when they are shown tearing the throats out of the very enemy Futterman is apprehensively anticipating.

Likewise, the Gremlins aren’t shown as being wholly unconquerable either, just a vicious creature who in superior numbers is able to overwhelm an already exhausted, scared and shocked human target. Such ‘realism’ allows for the American Airborne to at least have something of a fighting chance against the formidably fanged monsters, and resultantly adds extra tension to the scenes which show them fending off their assailants with rifle butts as it’s perfectly possible for them to still survive the encounter.

Artist Mark Hooley also deserves recognition for his marvellous layouts, as his illustrations really capture the stark horror of the Allies’ situation when they realise they’re facing both Volksgrenadiers and murderous Mogwai simultaneously during a snowy Christmas Eve in which they can barely see a hundred yards ahead of their entrenched positions. In addition, the illustrator’s use of colour is brilliant, allowing the crimson jets of blood and ghoulish green of the Gremlin’s scaled skin to really jump out of the otherwise predominantly black and white panels.

Writer: Matthew Stapleton and Illustrator: Mark Hooley

Doctor Who: Origins #2 - Titan Comics

DOCTOR WHO: ORIGINS #2, August 2022

Arguably consisting of little more than a slow-paced tour of the planet Kreb, this twenty-page periodical’s pedestrian plot probably won’t land particularly well with those Whovians who like their leading protagonist to be a little more action-orientated. In fact, it’s difficult to imagine a less dynamic incarnation of the Gallifreyan than the one Jody Houser pens nonchalantly wandering around this comic’s friendly, extra-terrestrial settlement supping wine and eating cooked meat; “This is beautiful work. Was this planet the first location for your colony?”

Of course, that isn’t to say that Issue Two of “Doctor Who: Origins” is entirely weighed down by a seemingly never-ending carousel of heavily populated text balloons and insights into an alien farming culture - courtesy of the Fugitive Doctor’s latest travelling companion, Taslo. The Division’s newest, super-eager recruit is a constant reminder as to how aggressive the mysterious “clandestine Time Lord agency” apparently is during this period of Rassilon's people, especially when she suddenly murders the unarmed Leader Noat with a cold-blooded knife blow from behind once the girl’s content no-one else can witness her lethal attack.

This horrible homicide comes completely out of the blue just when the reader probably thinks absolutely nothing of consequence is ever going to occur within this publication and establishes the already dislikeable youth as a truly callous killer, who will thoughtlessly obey her superiors’ orders without any compunction whatsoever. Indeed, arguably one of this book’s biggest hurdles for some bibliophiles may well be just how successful the Eisner Award-Nominee is in making the young woman so incredibly loathsome, as the self-centred, holier-than-thou adolescent is truly off-putting whenever artist Roberta Ingranata even so much as pencils Taslo in the background grumpily mooching about.

Similarly as disconcerting though, is the American author’s handling of the titular character, who seems perfectly happy to simply wander through the quite sizeable Kreb community without any plan whatsoever, despite the Division’s warning that this will be “a dangerous assignment”. Such surprising nonchalance even seems to disconcertingly extend to her companion’s shocking slaying of the weaponless Noat, after which the Doctor lamentably lies for Taslo by dishonestly claiming the hapless alien accidentally fell to her death off a cliff top.

The regular cover art of "DOCTOR WHO: ORIGINS" #2 by Abigail Harding

Simon N. Kirby, The Agent #1 - G-Man Comics

SIMON N. KIRBY, THE AGENT No. 1, October 2020

Clearly “a comic lovingly produced for comics fans by long-time comics fans”, Rik Offenberger’s narrative for Issue One of “Simon N. Kirby, The Agent” definitely smacks of the straightforward storytelling seen in Stan Lee’s early, formative years at “Marvel Comics” when he was co-creating such fictional luminaries as The Fantastic Four, X-Men, Iron Man and spectacular Spider-Man. In fact, such is the scintillating pace of this twenty-page periodical’s plot, that within the space of just a handful of panels the American author has already established the somewhat complex background to the FBI’s leading special agent, and thrown his audience right into the deep end with Sergeant Flag’s hair-raising extraction of a missing covert operative following an unsuccessful weapons deal.

Happily however, such an unrelenting briskness in no way stops “In The Beginning…” from holding its readers’ attention, courtesy of the California-born writer cramming in as much exposition as to the motives of this book’s sizeable cast as he does super-powered punches, hails of deadly bullets, and impressively large explosions. In addition, this publication contains a truly awe-inspiring finale featuring a plethora of colourfully costumed protagonists fighting against an army of killer robots for the future of Fort Knox. This action sequence is particularly enjoyable due to the “climatic battle” actually featuring the original creations of five “Kickstarter” backers whose financial support helped make the comic a physical reality in the first place; “American Eagle. Couldn’t you just rip these things apart?!”

Perhaps this book’s biggest draw though, is the way Offenberger quickly establishes both the highly disagreeable Aryan Alliance as the G-Men’s most dangerous opponents, and the sheer scale of the heavily-armed bigots’ organisation. Arguably a combination of Baron Strucker’s paramilitary terrorist cult Hydra and Ian Fleming’s Auric Goldfinger, these sickening “hand-me-down Hitlers” genuinely seem to be a threat to the welfare of democracy, especially when accompanied by the finest Vanguard automatons “in unmanned ground warfare”, and resultantly provide a truly satisfying ‘punch-bag’ for the super-heroes to batter in the name of liberty.

Likewise, Gilbert Monsanto must also take some considerable credit for helping imbue this comic with its distinctive Silver Age ambience. The “talented Filipino illustrator” really manages to capture a lot of Jack “King” Kirby’s energy with the pencilling of his figures, and this ability to emulate “one of the medium's major innovators” works wonders once the narrative ends up hurling multiple caped crusaders against legions of swastika-wearing white supremacists in some dynamically-drawn, mouth-wateringly good splash pages.

Writer: Rik Offenberger, Artist: Gilbert Monsanto, and Letters: Eric N. Bennett

Rick And Morty Verses Dungeons & Dragons II: Painscape #1 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS II: PAINSCAPE No. 1, August 2019

Offering “a new mini-series issue of Dungeons & Dragons with Rick and Morty”, Jim Zub’s narrative for this twenty-two page periodical certainly demonstrates the “fan favourite dice dependent” author’s love of all things six-sided. Indeed, the Canadian author’s depiction of a world which entirely revolves around everybody’s love for Dave Arneson’s co-creation is incredibly enticing, especially when it contains twenty-four seven televised broadcasts of live games, thirty-seven shop-filled Hobby Malls dealing exclusively with the fantasy role-playing game, and a limited, life-size reproduction of the “Aegis-Fang Warhammer from the Crystal Shard by R.A. Salvatore.”

Sadly however, such an intriguing storyline soon starts to arguably disappoint once Sanchez deduces that the planet has become infected by a “D20 Dependence Outbreak” devised by the barking-mad scientist’s first two characters for the tabletop game. Admittedly, it’s momentarily quite cool to explore Rick’s “unfinished masterpiece” Borden and question the medieval settlement's various walking quest prompts. But such a fascinating campaign setting is regrettably soon replaced by Bardrick and Sorcerick kidnapping the dysfunctional protagonists and using a portal gun to enter our own dimension from the Painscape.

In addition, whilst such Smith-family focused shenanigans also provide this comic with some laugh-out-loud moments, such as when Morty giggles hysterically at his grandfather’s embarrassing choice of names for his playing pieces, nothing is penned explaining just how the entire Earth became contaminated by “a virulent, unstoppable need to play Dungeons & Dragons” in the first place, nor why Rick is able to simply teleport himself to its source without any difficulty whatsoever; “I don’t wanna keep saying the same s**t, but I still have no idea what’s going on.”

Fortunately, what this book’s plot debatably lacks in exposition it does make up for with solid storyboarding by Troy Little. The Prince Edward Island-born cartoonist genuinely seems able to capture all the nuances of the animated sitcom’s considerably-sized cast, and pencils a gobsmackingly good cliff-hanger when Sanchez realises he’s been dispatched to the tomb of the demi-lich Acererak in order to experience Dungeon Magazine’s “third greatest Dungeons & Dragons adventure of all time” first-hand - Gary Gygax’s “Tomb of Horrors”.

Written by: Jim Zub, Illustrated by: Troy Little, and Colored by: Leonardo Ito

Harley Quinn #16 - DC Comics

HARLEY QUINN No. 16, August 2022

Tackling the thorny question as to just how mass-murdering psychopaths are suddenly able to be accepted as (anti) heroes within the “DC Comics” universe by firmly focusing upon “the whole villain origin story” of the Verdict, Stephanie Phillips’ script for Issue Sixteen of “Harley Quinn” must surely have caused the odd bibliophile to question just why they’re now cheering on Joker’s former girlfriend. In fact, the death of hapless police van driver Gary at the hands of the Clown Prince of Crime’s co-dependent via flashback is so heart-breaking that it’s hard to see the cackling, blood-splattered Quinzel as anything other than a notorious, cold-hearted killer.

Intriguingly however, the same cannot arguably be said for Kevin’s homicidal girlfriend, who clearly intended to be the finest member of Gotham City’s Police Department she could be up until she experienced the scale of corruption prevalent within her own team. True, Sam Payne strangles surviving guard Miller to death in his hospital bed without a thought once she realises her Captain is purposely covering for him after he willingly allowed the Maid of Mischief to escape lawful custody.

But such a traumatic event as her innocent partner’s ghastly demise, coupled with the sense of betrayal from the rookie’s superior officer, at least provides some understandable logic as to why the Verdict is now working outside the law so as to slaughter the amoral Justices of the Peace who supposedly work within it. Indeed, the American author’s excellent writing even takes a moment to reflect upon just why this ongoing series’ audience have seemingly taken the former criminal Kevin into their hearts, when he too previously wickedly plagued the metropolis’ population during the Joker War; “You heard me. You’re a hypocrite, Kevin. You used to work for the Joker. Not only do you know how bad he is… But your helped him.”

Perhaps quite surprisingly adding a whole bucket load of blood to these proceedings is Riley Rossmo, who does a tremendous job in imbuing the old Harley Quinn with all the maniacal dynamism a reader might expect from one of Batman’s most popular adversaries. The black, white and red garbed psychologist almost leaps off of the printed page at some points within this publication, especially when she’s hurtling through the streets in a “little red convertible that I stole” or beating the living daylights out of two crooked cops just to “make the escape look believable.”

The regular cover art of "HARLEY QUINN" #16 by Riley Rossmo

Mississippi Zombie #3 [Part Two] - Caliber Comics

MISSISSIPPI ZOMBIE #3, January 2022

Filled with “To Be Continued”, Part One’s and open endings, the second half to this ghoul-infested graphic novel certainly contains a surprising number of cliff-hangers which seemingly lead straight into a fourth ‘future’ collection of cadaver-filled shenanigans. Indeed, Peter Breau and Paul Carberry’s “Samhain’s Gate” is a good example of this storytelling-technique, with the American Civil War based terror tale coming to an abrupt, precarious conclusion with its central protagonist being crucified upside down in the middle of a deadly, occult ceremony; “Slowly I open my eyes, hoping for a vision of Saint Peter at the gate.” 

Happily however, such an unexpected culmination doesn’t stop this particular twelve-page plot from still being one of the highlights of “Mississippi Zombie”. Artist Benito Tovar Junior does a fine job imbuing Sheriff Levi Ellingwood’s group with plenty of energetic spirit once the Undead attack the search party and savagely munch their way through the deputies with plenty of intestine-tearing aplomb. Whilst its two writers somehow manage to cram in an intriguing political element behind the thickly bearded lawman’s mission, when it’s revealed they’re looking for Senator Brown’s only son Jacob after the Confederate soldier mysteriously disappeared from the Third Battalion.

Equally as intriguing though is the initial instalment of “Zombie Heist” by Marcus H. Roberts. Starting in a similar vein to an episode of “Mission Impossible” or perhaps a criminal incarnation of “The A-Team”, this ‘bank robbery gone wrong’ takes a no-nonsense approach to its narration to quickly bring its considerably sized cast into contact with Mississippi’s brain-hungry denizens. In fact, no sooner has driver Bobby Chavez “made his way to the pier of the old shipyard” to “wait for his comrades to return with the loot”, than the felon is set upon by two ravenous flesh-eaters and temporarily dragged off the jetty into the water.

Rounding off this anthology book’s contents is the rather emotional yarn “The Dead Don’t Die”, which sees an old sailor desperately trying to save his infected wife from a group of self-centred survivors who see his small-sized nautical vessel as their personal salvation. Poignantly penned by Paul Carberry and proficiently sketched by Emi Utrera, this gripping fiction is also noteworthy for its coverage as to how the state’s modern-day zombification occurred, courtesy of Pharmakon Pharmaceutical’s generous donation of numerous flu vaccines.

Writers: Peter Breau, Paul Carberry & Marcus H. Roberts, and Artists: Benito Tovar Junior, Dan Gorman & Emi Utrera

BRZRKR #9 - BOOM! Studios

BRZRKR No. 9, June 2022

Advertised as the first instalment of this mini-series’ “stunning conclusion”, Keanu Reeves and Matt Kindt’s narrative for Issue Nine of “BRZRKR” probably left many within its audience scratching their heads in bemusement during the twenty-four page plot’s opening half. Indeed, just where in subatomic space the spectral body of Unute finds himself floating about is anybody’s guess, especially when the immortal warrior subsequently confronts the electrically-charged visage of his progenitor and fails to find any answers to his questions whatsoever; “You have to tell me something. After all this time it’s -- Father! Answer me! Don’t Go!”

Sadly, the co-writers’ exposition doesn’t get any better once the titular character finally returns to Earth, and without any obvious motivation goes on a mass killing spree throughout Caldwell’s state-of-the-art military complex. Admittedly, this surprisingly lengthy action-sequence proves a real feast for the eyes of any perusing bibliophile who happens to have a penchant for extreme bodily mutilation and endless gory entrails being spattered all over the place. However, for those readers with less leathery stomachs, the endless panels of heavily-armoured soldiers being torn apart like tissue paper for no evident reason quickly becomes a little much.

Disappointingly, even at this comic’s end, when it finally appears that the Bezerker’s handler Jim has managed to manoeuver the mass-murdering maniac inside a large incinerator, the logic of the penmanship seemingly goes awry with Doctor Diana Ahuja somehow escaping her recuperation inside a liquid-filled bio-tube just in time to burn out Unute’s eyes with her own energy-crackling eye-beams. Of course, the mental (and emotional) connection between these characters has long been established, but it is arguably hard to accept that the surprisingly athletic psychologist is suddenly able to manipulate all sorts of physical matter as if she was some sort of Jean Grey clone.

Ultimately though, the vast majority of this book’s storytelling rests upon the layouts of Ron Garney and in this area the publication excels. In fact, the vast majority of the tale’s frantic pace is generated through the two-time costume illustrator’s incredible ability to repeatedly interchange between panels depicting Jim’s mounting apprehension at the deadly, supernatural form racing towards his position, and the barbaric violence of Unute as he literally tears through the bodies of the best servicemen the American authorities can throw in his direction.

Written by: Keanu Reeves & Matt Kindt, Illustrated by: Ron Garney, and Colored by: Bill Crabtree

G-Man Comics 3in1 #1 - G-Man Comics

G-MAN COMICS 3IN1 No. 1, May 2021

Positively pulsating with the patriotic red, white and blue of the American flag, there’s a distinct Silver Age of Comics vibe to the scintillating shenanigans taking place within Issue One of “G-Man Comics 3in1”, whether it be from Sergeant Flag’s full-on rampage to rescue a Judge’s kidnapped daughter, Champion of Liberty²’s suspicions as to the spur behind Demon Priest’s voluntary incarceration, or American Eagle III’s bout of fisticuffs with the Frankenstein Monster-like Brain Bruiser. In fact, arguably any one of these seven-page long plots wouldn’t have looked out of place inside the covers of DC Comics’ “Showcase” or Marvel Comics’ “Amazing Fantasy” back in the day.

Starting this anthology off at an incredibly brisk pace is Rik Offenberger’s excellent “Fight For Justice”, which very efficiently sets the scene following the abduction of Maya Santiago’s abduction by a murderous drug syndicate and Rob McFarlane’s alter-ego being tasked with her rescue. Chock-full of crunching kicks, eye-watering punches and Gilbert Monsanto pencilling an incredibly exhilarating gun-toting motorbike ride, this adrenalin-filled adventure’s sole disappointment only comes when the story itself ends all too soon.

Somewhat more thoughtful, and certainly a tale which causes the reader to increasingly second guess the motivation of its main antagonist, is Jim Burrows’ “Liberty In Prison” - a rather thought-provoking affair that initially appears to be a simple tale of Jack O’Neill covertly monitoring the machinations of Father Samuel Gregory whilst the demonic-looking villain is behind bars. The Managing Editor does a good job in making both the undercover Champion of Liberty² and his audience persistently suspicious as to the Demon Priest’s religious sermons, and even manages to throw in the odd fisticuffs with a steel-skinned fellow inmate whenever the pacing gets a bit too pedestrian.

Debatably this comic’s most intriguing narrative though, courtesy of it ending on a “to be continued” cliff-hanger, is Eric N. Bennett’s “The Price Of Liberty”. Essentially a slugfest between the American Eagle and one of Half-Man’s more grotesque goons, this seemingly straightforward slugfest has an intriguing twist in its tail when it transpires that the unconscious bank robber was apparently a pawn in a much larger crime. Infuriated by his minion's unfounded belief that no Philadelphia-based super-hero could stop him, Vaughn Barron clearly intends to make Brain Bruiser’s captor suffer for having interfered with his revolutionary plans of conquest.

Writers: Rik Offenberger, Jim Burrows & Eric N. Bennett, and Artist: Gilbert Monsanto