Simon N. Kirby, The Agent #3 - G-Man Comics

SIMON N. KIRBY, THE AGENT No. 3, May 2021

Arguably featuring two of the most utterly bizarre super-villains in comic book history, Rik Offenberger’s plot for Issue Three of “Simon N. Kirby, The Agent” certainly must have well-pleased the hundred and eighteen backers who brought the publication to life via Kickstarter in March 2021. True, its readers definitely need a strong willing suspension of disbelief to accommodate Doctor Stephen Rottman’s explosively insane origin story. But the notion of a heavily-moustached skeleton resizing his hapless assistant to that of a pesky insect is precisely the sort of Stan Lee silliness which made the Silver Age of Comics such a sensational success.

Equally as unlikely is tiny Ariel’s ability to pilot a teeny flying saucer straight into Simon Kirby’s bedroom, courtesy of a partially-open window, and then drag a diminutive, dangerous-looking brain analysing machine through the fast asleep Agent’s inner ear canal. On the face of it such a scene is rather ludicrous, however, combined with a little tongue-in-cheek humour as the green-skinned intruder smugly gives his emaciated master a satisfying thumbs up, and it’s hard to think of a better way of subsequently informing this publication’s audience as to just how its titular character eventually became an FBI operative.

Of course, possibly the most memorable moment of this twenty-page periodical is the G-Men’s battle against a brain nightmarishly crammed full of zombies. Completely surrounded by the hungry Undead and already savagely bitten on the arm, things look desperate indeed for Lynx's team member Maya during this colossal bout of fisticuffs as the grisly ghouls’ large numbers threaten to completely overwhelm the Agent’s “Dream Team”; “Gamester King. You take the hundred on the left. I got the right! Scarlet Shield, keep us protected.”

Packing each prodigiously pencilled panel with plenty of ‘bang for your buck’ is Alan Faria, whose eye-catching series of splash pages towards the very end of this book contain an incredible amount of flesh-chomping detail. In addition, the Brazilian artist makes Ariel’s penetration of Kirby’s brain all the more squeamish with a disconcertingly well-drawn criminal interloper literally punching his way into the protagonist’s grey matter with a gleeful smile all over his face.

Writer: Rik Offenberger, Artist: Alan Faria, and Letters: Eric N. Bennett

Moon Knight: Black, White & Blood #4 - Marvel Comics

MOON KNIGHT: BLACK, WHITE & BLOOD No. 4, October 2022

Whereas many readers probably agreed with “Marvel Worldwide” that this thirty-page periodical was the title's “final, hallucinatory issue”, it was more likely due to the befuddling nature of the anthology’s three perplexing plots rather than any of them actually enjoying an entertaining sensory experience. Indeed, it’s difficult to imagine a more disconcerting trio of narratives than those presented within this comic book as Marc Spector’s alter-ego repeatedly kills both himself, Spider-Man, Wolverine and Captain America on a regular basis, whilst a heavily-traumatised woman perturbingly gives birth to a giant, talking ‘Clifford-like’ red cat; “Stand aside. You have no purpose. I am destined to cleanse the world. The world is full of sin and sickness. I am the cure!”

For openers Christopher Cantwell and Alex Lins’ suggestion in “Good Morning” that Moon Knight has to mentally murder his numerous fractured personas alongside several of the world’s mightiest super-heroes every night is unsettling to say the least. Sure, it’s perfectly understandable that the “nocturnal avenger” has some truly horrific nightmares, not least because of his dissociative identity disorder. But the notion that the protagonist psychologically batters to death the likes of Marlene Alraune and Peter Parker with his bare hands suggests the sleeping pattern of an utterly unstable homicidal maniac, not a ‘Hero for Hire’.

Debatably far more intriguing is “The Scent Of Blood” by Nadia Shammas, Dante Bastianoni and Chris Sotomayor, which concerns the notion of another god wanting to utilise the ex-mercenary for their own spiritual mission. Packed full of pulse-pounding pugilism as the “Crescent Crusader” dispatches a coven of ruby-robed cultists with a combination of kicks and hard-hitting punches, this yarn is possibly only slightly spoilt by its implausible inference that Spector would willingly slit his own throat with a broken glass bottle rather than become the vessel of a rival deity.

Finishing off “this hard-hitting series [which] explores Moon Knight’s psyche in haunting black, white and red” is “Born To Be”. Written and drawn by Paul Azaceta this tale of the Egyptian god Bastet physically manifesting herself in New York City as an enormous pet cat is arguably just utterly bizarre, especially when the furry fiend’s throat is immediately sliced fatally open by the Fist of Khonshu. Just why the bringer of good health would forewarn Marc of her arrival through his dreams so he is ready to thwart her grand scheme is never explained, nor is the willingness of the goddess’ numerous priests to simply “forget what you’ve done here” and leave their mistress’ executioner entirely unmolested.

The regular cover art of "MOON KNIGHT: BLACK, WHITE & BLOOD" #4 by Rod Reis

DCeased: War Of The Undead Gods #1 - DC Comics

DCEASED: WAR OF THE UNDEAD GODS  No. 1, October 2022

Lauded by its Burbank-based publishers “as the epic final chapter in the massive DCeased franchise”, Tom Taylor’s narrative for Issue One of “DCeased: War Of The Undead Gods” certainly should have satisfied the majority of its audience with its well-written resolution as to just how the likes of Superman ultimately defeated the corrupted version of the Anti-Life Equation which had so disastrously infected most of the Earth's inhabitants with a zombie-like virus. In fact, in many ways this twenty-two page periodical almost acts as a standalone aftermath for the mini-series’ previous storylines considering that both the planet and Kal-El are dramatically brought back from the abyss of madness by a youthful new incarnation of “the DC Trinity”.

Unsurprisingly however, the survivors don’t have long to enjoy the fruits of their five-year labour, courtesy of Braniac making an unwelcome visit to Earth-2 and attacking the settlement with a spearhead of his humanoid-shaped drones. This unsuccessful assault initially indicates that “The Collector of Worlds” will be this title’s central antagonist, until the book’s wily Australian author reveals the emaciated super-villain to shocking be on an errand of mercy so as to warn humanity that “the dead gods will end everything.”

Equally as engrossing as this comic’s conclusion is arguably its opening, which cleverly follows Kara-Zor-El’s horrific escape from the City of Kandor on Krypton to the equally as deadly New Genesis. Supposedly selected to be a safe haven for Supergirl, the world quickly turns in a zombie-infested hellhole where the young woman’s special abilities are inconsequential when compared to Galactica’s deity-filled denizens; “Get away from me! Get away! Hrraaaagh!”

Tying all these plot threads together are penciller Trevor Hairsine, inker Andy Lanning and Colorist Rain Beredo, who immediately somehow manage to project the sheer planetary pounding Braniac provides Jor-El’s homeworld with all the intense savagery a reader would expect from the Anti-Justice Leaguer. In addition, the trio do a fantastic job in depicting both the scorching heat and brutality of Superman’s battle with his homicidal father in the Sun’s core once the one-armed Man of Steel is lured out from where he has been patiently recuperating for a lustrum.

The regular cover art of "DCEASED: WAR OF THE UNDEAD GODS" #1 by Trevor Hairsine & Rain Beredo

DC Vs. Vampires #9 - DC Comics

DC VS. VAMPIRES No. 9, November 2022

Quite beautifully interweaving three separate storylines together into a genuinely riveting read, James Tynion IV and Matthew Rosenberg’s narrative for “A Stillness and a Storm” must surely have had it audience sitting on the edge of their seats at times. Indeed, the arrival of some of the traitorous Justice League’s most powerful vampiric members, coupled with the startling revelation as to just who the new Black Manta actually is, disconcertingly suggests that more than a few of this comic’s considerably-sized cast are about to be brutally slain; “You take the form of water to attack me? I am the Lord of all Water, child. It is mine to command. Goodbye, Twin.”

Foremost of these potential fatalities has to be Oliver Queen, who opens this book single-handedly tackling both a heavily-fanged Tobias Whale and B'Wana Beast in a dilapidated Smallville farmstead. Long-bearded and freely utilising the deadly concoction of “three parts gasoline and one part holy water”, Green Arrow seems destined to die a horrific death under an overwhelming body of his blood-drinking assailants - especially when he later decides to attack Hawkman’s heavily-guarded Camp Hiawatha head on.

Equally as hopeless is John Henry Irons’ desperate attempt to get an emaciated Super-girl to safety in Australia via the ocean. Prodigiously-pencilled by Otto Schmidt, Steel’s “watery grave” appears absolutely certain once Aquaman appears along with his formidable Royal Guard. True, the Siberian artist sketches the former AmerTek Industries employee leading a stunningly savage assault upon the treacherous “Dweller-in-the-Depths” with his sledgehammer. But it’s obvious just from the horrified look upon the super-hero’s face when he first realises who he is facing, that the sea voyage’s entire expedition are going to be systematically defeated one by one.

Lastly, this comic’s collaborative writing duo depict the Birds of Prey sizing up the terrifying hurdles preventing them from entering the ruins of Gotham City. Faced with the prospect of going “toe-to-toe with Power Girl” it is perhaps unsurprising that Black Canary’s band prefer to talk through their problems as opposed to tackling them with some suicidal shenanigans. Yet despite this lack of dynamic action, the quality of the penmanship still makes these scenes a gripping drama, with the threat of Kara Zor-L suddenly swooping down from her skyline patrol to lethally open up their veins ever present in each tense, well-sketched panel.

The regular cover art of "DC VS. VAMPIRES" #9 by Guillem March

Moon Knight: Black, White & Blood #3 - Marvel Comics

MOON KNIGHT: BLACK, WHITE & BLOOD No. 3, September 2022

Seemingly starting out strong with Erica Schultz and David Lopez’s rather tongue-in-cheek tale of some truly troubled banks robbers unwisely choosing Jake Lockley’s taxi as a getaway vehicle, this “trio of additional tales of moonlight and madness” surely must have hooked many a perusing bibliophile encountering the mini-series for the first time. Sadly however, the same can’t arguably be said for those readers who reached the end of this thirty page periodical, with many probably scratching their heads in utter bemusement at its final storyline’s bewildering non-terrestrial based plot by Ann Nocenti, Stefano Raffaele and Chris Sotomayor; “Space spaghetti is disgusting. Limp noodles… The red sauce is just… drool.”

To begin with though, “Wrong Turn” smacks of an anecdote which could easily have been fleshed out so as to successfully populate an entire issue of Moon Knight’s regular ongoing title. Initially wasting no time in showing its three antagonists to be cold-blooded killers, courtesy of one of them laughing as he guns down a floored female security guard, the tale suddenly twists into dark humour as the cabbie’s so-called customers become increasingly spooked by Lockley's evident dissociative identity disorder and eagerness to drive them until they quite literally “hit the water.”

Much more serious is Jim Zub and Djibril Morissette-Phan’s “No Empty Sky” which provides an intriguing insight into the Fist of Khonshu’s gradual acceptance of the super-natural powers given to him by his deity. Essentially told as part of one long fistfight between the “silver crusader” and a cult of mask-wearing murderers, this yarn not only shows Marc Spector’s alter-ego survive a bone-crushing nosedive down a spiral staircase, as well as a “nasty god’s” spiritual stabbing through the back. But also explores the suggestion that the costumed crime-fighter’s ancient Egyptian god is always marking people out as his prospective replacement, even when they’re unconscious throughout an entire adventure and about to be carved up as a sacrificial offering.

Debatably bringing this book back to Earth with a befuddling bump is the aforementioned “Astronuts”, which is apparently based upon the premise that Moon Knight would agree to “a quick space jaunt” alongside the utterly loony and immorally-minded Boss Gem simply because his other persona “are scared to go.” Perhaps unsurprisingly this trip soon turns into a mission to prevent the bespectacled, billionaire crime lord from boring the crater-covered natural satellite into Swiss Cheese “with his big drill”, and therefore immediately raises the question as to why the villain would ask “Hero-boy” to accompany him into orbit in the first place..?

The regular cover art of "MOON KNIGHT: BLACK, WHITE & BLOOD" #3 by Frank Cho"

Moon Knight [2021] #15 - Marvel Comics

MOON KNIGHT No. 15, November 2022

Neglecting any semblance of action, apart from Marc Spector getting a fleeting fat lip from Doctor Badr’s always angry alter-ego, Issue Fifteen of “Moon Knight” may well have struck many of its readers as a disappointing two to three page plot padded out to populate an entire publication. Indeed, by the time Jed MacKay starts depicting the titular character individually visiting every one of this comic’s secondary cast to inform them of his dissociative identity disorder, it’s arguably become pretty clear that this particular periodical isn’t going to shine much more light on the cowled crime-fighter’s ongoing war against the nefarious vampire organisation known as the Structure.

True, some of the Canadian writer’s insights into just how markedly different the former-Avenger's three main personas are from one another provide a modicum of interest from time to time, such as Jake Lockley’s relationship with Naomi, the one-eyed “bartender of a New York slum pub”, and the fake moustache-wearing rogue’s evident beef against Big Claude Peeters. But it’s debatably difficult to get too excited when all these spotlights just feature the lead protagonist having another in a long line of dialogue-heavy conversations, especially when the likes of Steven Grant are just talking about hair conditioning and sixteen-year-old scotches.

Sadly to make matters worse, once the opportunity for a bit of fisticuffs does arise MacKay quickly moves the ‘camera’ away to show Spector discussing his mental illness with someone else. This frustrating technique is particularly prominent after Peeters successfully tracks Lockley down an alleyway in Chinatown, and threatens to beat the bogus Taxi Driver to death with his bare fists. Promising some panels of pulse-pounding pugilism, this scene is suddenly cut shockingly short just as the incognito vigilante regains his footing and ominously peels off his fake facial growth; “Hi. I’m Marc.”

Desperately trying to inject this comic with some semblance of dynamism is Alessandro Cappuccio, who at least pencils a semi-spectacular flashback sequence concerning the Nemean and Grand Mal during Grant’s briefing about Tutor’s two top assassins. Disappointingly though, there isn’t much the Italian illustrator can do with many of the other dialogue-driven set-pieces, apart from try to mix them up a little by sketching Spector wearing a variety of his Moon Knight costumes.

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

Alien [2022] #1 - Marvel Comics

ALIEN No. 1, November 2022

Starting with a truly terrifying insight into the opening hours of a Xenomorph outbreak on the supposedly idyllic planet Tobler-9, Phillip Kennedy Johnson’s script for this re-launched “express elevator to Hell” definitely will hold its readers’ attention for the comic’s first few pages. But once the spotlight moves away from “the old Weyland-Yutani red site” and the palpable terror of its residents as they desperately attempt to board the metropolis’ last turbo-train, Issue One of “Alien” arguably becomes a bit too contrived for its own good; “Congress practically begged me to reinstate the Synth teams, starting with you. One last mission.”

Indeed, despite the plot momentarily moving across to a gratuitously-bloody assault upon a party of super-powerful synths hiding out on Europa-5 by a so-called crack team of human governmental operatives, a good deal of the Eisner Award-nominee’s narrative is actually ‘padded out’ with numerous textless panels of the heavenly world’s breath-taking landscapes, or an incredibly word-heavy argument between Lieutenant General George March, Freyja and the rest of the female android’s “family”.

Admittedly, much of what the military officer has to say is absolutely crucial to establishing both the parameters of Steel Team’s final assignment, as well as the renegade robots’ motivations for once again agreeing to work for the duplicitous United Systems. However, it’s debatably a shame the American author couldn’t have relied upon another dynamic flashback sequence depicting the grisly fall of Weyland-Yutani’s covert bioweapons laboratory and its entirely innocent civilian population, rather than simply have the veteran soldier grimly stare down his former comrades-in-arms and mechanically state that they need to retrieve some biotechnology on a hostile planet in order to save humanity.

Cleverly chucking a bucketful of gore over this twenty-page periodical’s penned proceedings is Julius Ohta, whose ability to prodigiously pencil a person or two being horrifically eviscerated by a deadly Xenomorph clearly knows no bounds. The Brazilian illustrator also does a good job of imbuing the various synthetics with some notable individualism, such as Freyja’s evident air of authority over Nora, Seth and Astrid, as well as Eli’s obvious displeasure at having to leave “some of them alive for interrogation.”

Writer: Phillip Kennedy Johnson, Artist: Julius Ohta, and Colorist: Yen Nitro

Unbreakable Red Sonja #1 - Dynamite Entertainment

UNBREAKABLE RED SONJA No.1, October 2022

Whilst author Jim Zub made it clear in August 2022 that he intended to push Red Sonja to her “breaking point with intense physical and emotional tolls” during this “new epic” series, it probably never occurred to many of the sword and sorcery adventurer’s fans that this would include the Hyborian Age warrior suffering a seriously heavy hangover throughout its opening instalment. Indeed, it’s arguably difficult to recollect Roy Thomas’ co-creation ever being so violently sick or as utterly unconscious due to her drinking alcohol, as the Eisner Award-nominee depicts her within this twenty-two-page periodical; “Shut your dog hole! I can count my own drinks, you mutts!”

Furthermore, up until the moment when “our scarlet-haired hero” completely passes out down a dingy alleyway, such substantial swigging doesn’t seem to even help progress this publication’s puzzling plot either, with the Hyrkanian warrior repeatedly needing to suddenly sober up whenever her wits are needed. This inebriated inconsistency initially suggests that perhaps the "She-Devil with a Sword" was actually toying with her initial drinking companion before the ill-thinking paramour unwisely attempted to steal her purse. Yet shortly after the “sword-master” has angrily stomped away from a market-place prophet, she is once again assailed by the ravages of her seven-flagon strong binge.

Perhaps therefore this comic’s most persuasive hook surprisingly lies at its very start when Red Sonja doesn’t even appear. Instead, the reader is introduced to a group of prospective treasure hunters forging through some long-forgotten halls and encountering a deadly wall of ever moving sand which literally cuts the hand from one of them who momentarily touches it. This exploration sequence is utterly riveting, and with the suggestion that a painful death lurks within every shadow, it debatably comes as a major disappointment when the group are lethally whittled down to just its sorceress within a score of panels.

Illustrator Giovanni Valletta must also be congratulated for making this dungeon delving devilry a riveting experience, due to the freelancer’s prodigious ability to pencil the arrogant confidence of the thieves being eroded away by the dangers facing them. In addition, once "one of Dynamite's flagship stars" does take up her blade at this publication’s very end, there can be little doubt just how great her prowess with a sharp steel edge is, as the artist dynamically draws her clashing with a giant, zombie-like creature of vapour and flesh.

The regular cover art of "UNBREAKABLE RED SONJA" No. 1 by Lucio Parrillo

Moon Knight: Black, White & Blood #2 - Marvel Comics

MOON KNIGHT: BLACK, WHITE & BLOOD No. 2, August 2022

Despite being proudly proclaimed by “Marvel Worldwide” as “another hard-hitting series of tales told in a limited palette of black, white and red, by today's top creators”, this comic’s somewhat inconsistent string of stories probably didn’t land quite as well with its audience as the New York City-based publisher had hoped. In fact, the varied quality of the penmanship and artwork on show within this thirty-page anthology may well have put some readers off the limited mini-series entirely, especially if they started the comic with its opening tale “The Empty Tomb”.

Written by Benjamin Percy, this rather depressing suggestion that Marc Spector wants to stop being the Fist of Khonshu due to “all the noise inside me” seems a little contrived considering the costumed vigilante is supposedly seeing famed super-hero psychiatrist Andrea Sterman during the period in which its set. However, it is not the unlikely notion that an emotionally traumatised “Crescent Crusader” would seek out Doctor Strange in his Sanctum Sanctorum for a potentially lethal solution to his dilemma which is this adventure’s most disagreeable feature, but rather Vanesa R. Del Rey’s pencils which just aren’t done justice without being in full colour.

Much more digestible is David Pepose, Leonardo Romero and Chris Sotomayor’s “A Hard Day’s Knight”, whose super-villain filled narrative could possibly have been expanded upon to fill an entire issue of “Moon Knight: Black, White And Blood” if editor Tom Brevoort had been so inclined. Indeed, this intriguing insight into the titular character’s numerous personalities arguing over their host body’s physical injuries is disappointingly only let down by the brevity in which the creative team cover his fist-fights against Vermin, Crossfire and the supposedly unstoppable Juggernaut; “Tell your master, Cyttorak, that if he truly wants this realm he’ll need to do a lot better than you.” 

Rounding off this second issue is the deadly serious “Blood Red Glider” by Patch Zircher, which depicts the murder of Spector’s mercenary friend and driver Bodi in Africa five years ago. Determined to avenge his comrade-in-arms in the present now Henrik Kless has decided to kill again, this tale shows the “Cowled Avenger” at his most savage, ruthlessly gutting his homicidal opponent with a sharpened semi-circular blade during an unrestrained duel on the banks of the Udambi River.

The regular cover art of "MOON KNIGHT: BLACK, WHITE & BLOOD" #2 by Ryan Stegman

Moon Knight [2021] #14 - Marvel Comics

MOON KNIGHT No. 14, October 2022

Featuring an intriguing meeting of Moon Knight's fractured, multiple minds, as well as an exhilarating battle against “the assassins Nemean and Grand Mal”, Jed MacKay’s storyline for “Soldier, Richman, Scoundrel” must have looked on paper as being a clear winner with the ongoing series’ fans. In fact, one of this twenty-page periodical’s hooks was the sense of anticipation generated by Marc Spector’s alter-ego potentially facing off against the Tutor’s two top vampire agents in a struggle to the death; “You can fight. You always could. But without us, you’re trying to punch out shadows… And that’s why they’re kicking the hell out of you.”

Frustratingly however, despite Issue Fourteen of “Moon Knight” definitely delivering when it comes to a high-octane, night-time beat ‘em up between the “Cowled Avenger” and his super-powered, blood-drinking foes, the Canadian author’s insistence in narrating this book through the dialogue-driven perspective of its titular character’s splintered personalities arguably makes these fisticuffs lose some significant impact. Admittedly, this approach will most likely catch many a reader off-guard when it becomes clear at the end of the comic that Steven Grant and Jake Lockley are actually arguing with their physical host’s dominant persona throughout the combat. But the writing technique also means they need to circumnavigate a lot of word-heavy text boxes in order to reach this conclusion.

Furthermore, the actual heated discussion taking place within the cowled crime-fighter’s psyche doesn’t debatably provide anything particularly new as far as Spector’s dissociative identity disorder goes. Once again the masked vigilante’s other personalities are shown just wanting to work together with one another as opposed to taking a back seat in Marc’s life. This mental (im)balance is clearly a defining quality of the “Crescent Crusader”, yet in these circumstances such a familiar regurgitation of his psychiatric illness's issues via copious word balloons significantly slows down the publication’s pace.

Sadly, even the pencils of regular artist Alessandro Cappuccio seem to suffer as a result of this book’s penmanship, with Nemean’s look and costume design essentially making the Greek villain appear almost identical to that of Sabretooth. Indeed, many a perusing bibliophile casually picking this comic up off the spinner rack could easily be forgiven for believing that that is precisely who first assaults Moon Knight whilst the hero is holding vigil over the Midnight Mission’s neighbourhood.

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

Task Force Z #11 - DC Comics

TASK FORCE Z No. 11, October 2022

Crammed with numerous frenzied fights, two seriously strong powerhouses in the shape of Gotham Girl and her late brother, Henry Clover, as well as some truly disturbing body horror, Matthew Rosenberg’s script for Issue Eleven of “Task Force Z” certainly delivers the goods as far as good old fashioned comic book action is concerned. However, it’s doubtful that many within this publication’s audience actually understood who was fighting whom and for what reason, without them having first read “DC Comics” solicitation synopsis; “I didn’t come here to fight a bunch of rent-a-cops. But I don’t mind the warm-up.”

Thankfully though, this quibble is a relatively minor one once Red Hood takes his “fight to Powers International” and foolishly faces all of his former team-mates in a battle royale of the most savage order. Indeed, Jason Todd’s furious assault upon the likes of a zombified Man-Bat, Arkham Knight and Deadshot is so well-paced it arguably doesn’t matter what the lead protagonist’s motivation is – especially when it superbly sets up the former-Robin’s one-sided confrontation with the insanely formidable metahuman he previously murdered in cold blood when he thought they were actually Bane.

In addition, the American author does a first-rate job in providing Mister Bloom with a genuine moment of terrifying mutilation when an absolutely aghast Geraldine Powers discovers “the psychotic scarecrow” is keeping Doctor Acheron’s severed head in a glass jar because the decapitated scientist still “won’t stop screaming.” So grotesque a scene really helps to show that the gangly super-villain is capable of ignoring any moral compass, and subsequently adds to Two-Face’s intense fear when Task Force Z’s boss is later cornered by an armour-suited Bloom beneath the city’s centre.

Adding even more macabre magic to this twenty-two page periodical is Eddy Barrows’ sense-shattering layouts. Along with Eber Ferreira’s inks and Adriano Lucas’ colours, the Brazilian artist quite beautifully captures all the raw emotion on show by this comic’s considerably-sized cast, with Gotham Girl’s evident appreciative delight at having her dead relation returned to her, along with Powers’ sheer shock at Acheron’s ignoble fate, being just two of this book’s numerous visual highlights.

The regular cover art of "TASK FORCE Z" #11 by Eddy Barrows, Eber Ferreira & Adriano Lucas

DC Vs. Vampires: All Out War #3 - DC Comics

DC VS. VAMPIRES: ALL OUT WAR No. 3, November 2022

Tightly focused upon “the apocalyptic” Suicide Squad’s all or nothing attempt to rescue Koriand'r from the diabolical clutches of Baron Cinder, this twenty-four page periodical’s plot must surely have had its audience riveted throughout every scene. Indeed, the notion that any one of this comic’s protagonists could suddenly meet with a grisly death at a moment’s notice repeatedly leaps out of every panel, especially when the perilous mission riskily relies upon the good will of a blood-sucking Batwoman; “I think she’s legit. But if you have doubts just incinerate her.”

Equally as terrifying is Alex Paknadel and Matthew Rosenberg’s ability to imbue the vampire’s medieval-looking fortress with a genuine creepy vibe, which arguably appears able to sends shivers down any reader’s spine the moment Deathstroke, Azrael and Kate Kane approach its guarded gates through a heavy sea of blood-splattered mist. This ‘Hammer House of Horror’ ambience really adds to the storytelling, as it repeatedly hints at the possibility of a gory demise occurring just around every corner. In fact, the perpetual suspense is so well-penned that it debatably almost comes as a relief when one of the party is finally slain through dark witchcraft.

Artists Pasquale Qualano and Nicola Righi must also take a well-deserved bow for their contribution to this publication’s success, as their sombre-coloured layouts, occasionally made all the more unnerving with a garish splash of red pigmentation, are truly mesmerising. Moreover, the duo are responsible for possibly this book’s biggest highlight when they depict a formidably brutal Bane squashing a load of hapless thralls beneath the castle’s main door and then go on a ferocious rampage alongside “one of Gotham’s daughters” up the fortification’s inner stairwell.

Just as disconcerting is Emma Vieceli’s unfairly labelled “backup” story “Dark Birth”. Prodigiously pencilled by Haining, this deeply disturbing tale of Dick Grayson being treacherously ensnared by his own half-sister, Melinda Zucco, into Bludhaven’s vampire civil war is desperately sad, due to the former Robin bravely facing an entire cartel of the Undead single-handedly and knowing full well that Barbara Gordon, the Teen Titans nor even Batman will be able to save him from a truly tragic fate.

The regular cover art of "DC VS. VAMPIRES: ALL OUT WAR" #3 by Alan Quah

Ms. Marvel & Venom #1 - Marvel Comics

MS. MARVEL & VENOM No. 1, November 2022

Featuring an initially tense collaboration between its titular characters and then a pulse-pounding team-up with arguably some of Marvel Worldwide’s hottest current properties, Jody Houser’s storyline for this thirty-page “concluding movement of the super hero symphony of the summer” certainly seems to strike all the high-notes a reader might expect from so enthusiastically hyped a comic book event. Sure, the decidedly feel-good atmosphere of this publication’s ending doesn’t allow its script to delve too deep into the disconcertingly dark background of its main antagonist, the mutant-hating Man with the Peacock Tattoo. But there’s still plenty of gruesome mutilation, body horror and desperate, last minute acts of bravado to intimate just how truly despicable XENO’s world aims actually are.

Furthermore, the American author does a great job in demonstrating just how far Kamala Khan has grown since becoming “the newest holder of the Ms. Marvel identity”, by repeatedly comparing the teenager’s laudable actions with those of the much more inexperienced, and frankly petulant, Dylan Brock. These differences show an intriguing maturity in “Giant Girl” and definitely adds some credibility to her later ‘leading’ the likes of Wolverine and Moon Knight into battle against a small army of massively-mutated grotesques; “You realise they were targeted because of how hard it is to kill them, right?”

By far this comic’s greatest hook though, lies in its sense-shattering set-pieces. Houser does a first-rate job in giving both her central leads plenty to do within the investigation-heavy narrative, as well as showcasing their amazing special powers. In addition, the tension between the two contrasting personalities provides some memorable moments of dialogue, especially when Brock acts like “a real jerk” and unsuccessfully attempts to take the credit for them locating the underground lair of X-Force’s lethal adversaries.

Also nobly contributing to this book’s triumph has to be Dave Wachter’s eye-catching layouts. The illustrator does a particularly good job in pencilling the sheer chaos surrounding Khan early on in this story, when she is firmly focused upon saving a large number of residents from their fast-collapsing block of flats. However, it is arguably the artist’s incredibly repugnant flesh monsters, and their evident physical pain at being so tragically transformed, which will linger longest in the memory of this issue’s audience.

The regular cover art to "MS. MARVEL & VENOM" #1 by Sara Pichelli & Federico Blee

Omega #4 - Cutaway Comics

OMEGA No. 4, October 2021

Whilst it arguably wouldn’t be entirely incorrect to view Mark Griffiths’ narrative for Issue Four of “Omega” as a stand-a-lone story bolted onto the writer’s previously published three-parter, this particular twenty-four page periodical’s plot certainly differs somewhat in nature as to its predecessors. In fact, apart from prominently featuring Princess Malika and the dark-hearted renegade Time Lord “imprisoned in a black hole”, there’s debatably little within this tale which strongly connects it to the rest of Cutaway Comics' mini-series; “I’ve reached a conclusion… But I don’t think you’ll like it.”

Rather pleasingly though, such distance from the destruction of Minyos enables the ‘Radio Four playwright’ to pen an intriguing tale about "the Engineer" attempting to rule a civilisation of his own making as a benevolent and wise ruler. Naturally, considering the cruel temperament of the “great intergalactic engineer” things don’t work out terribly well for his planet’s population, particularly for the public who unwisely decide to stay to face his lethal wrath. But that doesn’t stop Omega’s apparently earnest endeavour, or Malika’s desperate effort to evacuate some of the megalomaniac’s mortified people to the safety of our universe, from being any less riveting a read.

Indeed, one of the biggest draws of this book is debatably that its audience knows “the anti-matter creature” cannot be trusted with the hapless lives of others, so is bound to come into direct conflict with the aquatic-looking amphibians who ‘rule’ his world, especially when some suddenly decide to profane his sacred image in an act of atheism. However, what the audience is potentially not anticipating is Griffiths imbuing the fish-men’s military with the surprising ability to so badly damage their “creator” with “some kind of anti-neutrino beam” that they temporarily deprive him of his great power and force Omega into hibernation.

Equally as enjoyable as this comic’s script are John Ridgway’s pencils, which quite beautifully manage to capture all the alien weirdness going on with great creative aplomb. The artist’s incredible splash page depicting Malika laser-blasting a giant Lion Mantis straight through the insect's head is a genuine feast for the eyes, as is the Englishman’s enigmatic design for Omega’s ill-fated extra-terrestrial beings.

Writer: Mark Griffiths, Artist: John Ridgway, and Colourist: Andrew Orton

Moon Knight [2021] #13 - Marvel Comics

MOON KNIGHT No. 13, September 2022

Considering the sheer amount of conversational pieces covered within this twenty-page periodical as Jed MacKay’s script sedentarily saunters from one darkly-lit discussion to another, it may well have been difficult for its audience to initially imagine just how Marc Spector’s “war with the vampires of the Structure” was ever going to lure any new bibliophiles into perusing the ongoing series. But whilst Issue Thirteen of “Moon Knight” is undeniably assailed with word-heavy dialogue balloons from almost every angle, their contents and the comic’s incredibly creepy atmosphere makes the entire publication an impressively riveting read; “He’ll come at you faster than the speed of sound, go right through you and won’t care what it’ll do to him.”

For starters the book’s central plot concerning Tutor unsuccessfully trying to recruit the Taskmaster to kill the “Cowled Avenger” is mesmerizingly well-penned, courtesy of Anthony Masters talking about his potential target with both an incredible amount of respect and surprising trepidation. Such evident apprehension in a stone-cold killer who’d happily attempt to murder the likes of Spider-Man, Daredevil and Captain America, speaks absolute volumes for the reputation of the Fist of Khonshu. But also suggests the potential deadliness of the Structure’s own professional assassins, Nemean and Grand Mal, when they’re later assigned the mission.

Just as well delivered is the enthralling earnestness of Moon Knight to wipe his streets clean of criminally-inclined blood-drinkers. This silver-edged slaughter starts out simply enough with the “Crescent Crusader” staking out some prisoners just before sunrise so as to see whether one of them will tell him where their secret lair is. Somewhat shockingly, all of the fanged captives would apparently rather be fried alive than treacherously betray the Tutor. However, their sacrifice still sets a formidably-tense tone for the steel-like determination of Spector’s adversaries – something which is violently depicted later on when Marc skirmishes with some of the vampire leader’s more elite soldiers.

Working incredibly well alongside MacKay’s writing are Federico Sabbatini and colour artist Rachelle Rosenberg. Together, the creative duo provide some truly stellar-looking panels, most notably those showing the sun’s rays lancing across Moon Knight’s somewhat dishevelled costume, and then much later when the “Lunar Legionnaire” is mercilessly beheading a squad of supposedly immortal, automatic rifle-carrying hit-men.

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

Creepshow #1 - Image Comics

CREEPSHOW No. 1, September 2022

Considering just how high the anticipation was for this “five-issue comic book anthology based on Greg Nicotero’s hit Shudder television series” following Skybound's announcement in July 2022, Chris Burnham’s script for “Take One” was arguably always going to fall under incredible scrutiny from its readers’ nostalgia-tinted hand lenses. Happily though, the Halloween-based fright-fest is more than up to its task of depicting a disconcertingly disturbing thriller, and even manages to add an extra bump in the night at its conclusion by portraying the one victim with a conscience as the true villain of the piece; “Did he make it right? No! That little monster got his disgust desserts!” 

In fact, the Connecticut-born writer somehow manages to cram his ten-pager with all the tropes fans of spine-chilling show might expect - including the Creep’s rather humorous cackling narration, a strong sense of foreboding before the tale’s errant adolescents stupidly decide to steal some sweeties, and a stomach-churning conclusion full of extreme bodily mutilation. Furthermore, all these 'dark doings' are prodigiously pencilled by Burnham himself, with the American artist conjuring up a truly unpleasant antagonist in the guise of the long-dead Mister Xander, who vengefully wanders the local streets as a decomposing, heavily-moustached zombie.

Slightly less successful, partly due to its silly and debatably non-lethal ending, is Paul Dini and Stephen Langford’s “Shingo”, which follows young Fee’s last-minute birthday party. Initially appearing to establish the unimpressed girl’s dysfunctional parents as the yarn’s central sacrificial offerings, this demonic warning not to employ a carnivorous monster as your kid’s shoddily arranged entertainer certainly accumulates an impressive kill-count due to the titular character furiously munching its way through a seemingly endless carousal of hapless children.

However, by the time Sherrie, the ex-pole dancing princess, has been mercilessly wolfed down with a single gulp, the rather repetitive nature of this fearsome fable’s plot means that the orange-furred, purple skinned clown has probably outstayed its welcome with the comic’s audience. As a result, this particular "debut edition" anecdote will probably be best remembered for some marvellous gratuitously gruesome panels by artist John McCrea showing Shingo swallowing his numerous victims whole as opposed to its actual standalone storyline.

 Writer & Artist: Chris Burnham, Writers: Paul Dini & Stephen Langford, and Artist: John McCrea

Deliver Us From Evil #1 - Blood Moon Comics

DELIVER US FROM EVIL No. 1, November 2022

Repeatedly interspersed with disconcerting glimpses into the historical depravity of mankind whenever steered by the whispered word of the Devil, Peter Breau’s plot for Issue One of “Deliver Us From Evil” is probably best perused with the lights on and a stiff drink to hand. Indeed, it’s difficult to imagine a reader experiencing a more disturbing twenty-two-page periodical as they’re brutally thrown into the chaos-filled world of the mysterious Mister Lazar and the seemingly diabolical doings of D.R.E.D.D.

Foremost of these perturbances is probably the way in which this comic’s author pens its lead protagonist effortlessly wandering through life without so much as a single care, no matter what horrifying situation it causes him to witness. Some within this book’s audience may well think that being arrested by the Police for multiple warrants and a subsequent thirteen-year prison sentence is grim going, especially when the writer does such a splendid job in describing the savage nature of the penitentiary’s hierarchy; “The Yard. A perverse adult version of Elementary School. It’s primal… Wolves and Sheep. But butchers don’t concern themselves with the opinions of wolves or sheep.”

However, such a violent environment pales into insignificance once Lazar has been transported to Montauk via a black operation’s helicopter and given a sight-seeing tour of the enigmatic facility’s numerous underground levels. This sequence is truly haunting and is simply packed full of glimpses into exotic extra-terrestrial worlds, prehistoric subsistence, nefarious governmental cover-ups, anthropomorphized felines and age-old science fiction tropes – all of which are both unnervingly familiar and freakishly flabbergasting.

Just as discombobulating as this publication’s pleasing plot are Mattia Doghini’s engrossing layouts, which add an incredible amount of atmosphere to the storytelling, courtesy of the artist’s heavily shadowed sketching style and the decision to boldly print the comic in just black and white. The illustrator’s double splash-page of Montauk’s interior is well worth the cost of this comic alone as it should take any perusing bibliophile an eternity to fully assimilate all the different dimensions it depicts. Whilst the sudden appearance of an amiable, talking sasquatch and ghoulish nun later in the narrative are prodigiously pencilled, with both characters being imbued with plenty of personality despite their extremely limited ‘screen-time’.

Writer: Peter Breau and Art: Mattia Doghini