Creepshow #2 - Image Comics

CREEPSHOW No. 2, October 2022

Arguably relying upon their readers’ imagination to conjure up the nightmarish horror which so suddenly causes young Daphne to stop playing under her back garden’s impressively large old oak, David and Maria Lapham’s ultimately rather violent “tale of a tree whose roots grew so deep they reached Hell” doesn’t really make an awful lot of sense. Sure, it’s clear that the child’s “favourite place” has somehow been transformed into a malignant force for evil, and disconcertingly has the ability to detrimentally influence those people unlucky enough to fall under its mesmeric spell. But just how the tree is able to make the girl cold-bloodedly murder both her parents and the visiting Kumars before disappearing down a hole in its trunk is anybody’s guess. As is the plant’s disconcerting ability to talk and suddenly infest its owner’s house with all manner of chattering insects.

Likewise, David Lapham’s artwork is probably a little too clean to successfully conjure up the increasingly dark atmosphere this ten-page tale needs to generate. The American cartoonist can clearly proficiently pencil a story, yet with the exception of the gnarly titular antagonist, everything else is rather stiff-looking – even when Daphne is busy chopping her neighbours into “tiny bits” with an axe so she can use their “mush” as fertilizer.

Perhaps slightly more successful is Steve Foxe’s “Creator’s Rites”, which dips its toe into the thorny waters of elder abuse by so-called professionals and whether intentionally or not, will doubtless cause some within its audience to draw parallels between the plight of supposedly penniless Sal Medina and the late, great Stan Lee. Indeed, Erica Henderson’s depiction of Infra Red’s geriatric creator even physically resembles the Jack Kirby Hall of Famer with his white hair, glasses and cardigan-covered open-necked shirt; “F*ck the movies! I don’t get one shining cent from those pieces of sh*t!”

Sadly however, Bill’s uninspiring attempt to steal his patient’s generous court settlement whilst wearing a cartoon mask isn’t scary in any shape or form, as nothing supernatural even remotely occurs. Instead, this narrative provides an intriguing insight into the addled mind of an imaginative pensioner, whose comic book creations simply help stir his aging frame into one last moment of tangible activity so as to save the day… Or at least deliver upon the man’s untrustworthy home aide a rather grisly just dessert.

Writers: David Lapham & Maria Lapham, and Steve Foxe, and Artists: David Lapham and Erica Henderson

Crypt Of Shadows #1 [Part Two] - Marvel Comics

CRYPT OF SHADOWS No. 1, December 2022

Padding out the middle of this predominantly pedestrian-paced publication is the implausible “Skin Crawl” by Chris Cooper, which sees Doctor Michael Morbius being plagued by a race of “immaterial parasitic beings that feed on fear” which only he can see and hear – at least until an occult investigator enters the fray that is. Apparently able to induce the vampiric physician into an even more murderous blood rage than normal, the unimaginatively named Troids momentarily look set to cause Roy Thomas’ co-creation to launch himself on a chilling, dynamically driven murder-fest. But disappointingly, are then pencilled by Ibrahim Moustafa as being all-too easily defeated by Louise Hastings’ young grandson and an infuriatingly simple spell of revocation.

Far more engaging, and perhaps a storyline which should have been enlarged so as to populate the entire comic book, Chris Condon’s “Down Came The Rain” shows plenty of promise in its initial presentation of Spider-Man and the Human Torch’s unsuccessful infiltration of Siodmak Pharmaceuticals. Boasting a couple of jump scares and a pulse-pounding foot-chase, as well as an amusing appearance by the badass Elsa Bloodstone, it’s highly like many readers will have wished Fran Galan was tasked with pencilling much more than just seven pages – especially when a fast-recovering Peter Parker hints at an insanely-tense fistfight that happened off screen just before this printed escapade begins.

Rounding off Issue One of “Crypt Of Shadows” is the disconcertingly downbeat “Endless Slaughter In The Infinite Swamp” by writer/artist Adam Warren. Essentially a tale-long, no-holds barred gorefest between Laura Kinney and Man-Thing, this ultimately wearisome battle appears to have been contrived simply so the freelancer can repeatedly sketch Wolverine gratuitously slicing through Ted Sallis’ alter-ego without a care in the world for millions of years; “And that, you see, is how the ultimate predator became a vegetarian for the rest of her biologically immortal life.”

Perhaps therefore this comic’s biggest highlight surprisingly lies in Al Ewing’s well-penned linking narration starring the Master of the Mystic Arts’ dead brother, Victor Strange, and a bevy of grotesque undead creatures. Well-drawn by Ramon Bachs, these splash-pages provide an intriguing introduction to each of the anthology’s yarns, and just like Condon’s contribution, probably make the audience wish editor in chief C.B. Cebulski had given this element much more ‘screen time’ rather than include some of the other more sedentary storylines.

Writers: Chris Cooper, Chris Condon & Adam Warren, and Artists: Ibrahim Moustafa & Fran Galan

Crypt Of Shadows #1 [Part One] - Marvel Comics

CRYPT OF SHADOWS No. 1, December 2022

Despite being described by its New York City-based publishers as “an anthology comic packed with some of the spookiest characters the Marvel Universe has to offer”, the vast majority of readers who forked out the cover price for this forty-page periodical probably felt they had been tricked, not treated. For whilst Issue One of “Crypt Of Shadows” boasts a scintillating selection of creators for its celebration of All Hallows’ Eve, the poor quality of this book's narratives arguably shows it to simply be little more than a disappointing cash grab, rather than a respectful nod to Stan Lee’s old Seventies horror series from which it takes its name from.

Opening this supposed fright-fest is the utterly bizarre “Neither Big Nor Bad” by Danny Lore, which focuses upon Brielle Brooks just happening upon a pair of amateur ghost-hunters who are apparently restraining a spirit in Atlanta, Georgia “for magic experiments.” Proficiently pencilled by Karen S. Darboe, this tale tries to wrong-foot its readers by having the highly disagreeable Ravenette and Vince turn out to be the true monsters, and their demonic victim simply a dead husband who is patiently waiting for his beloved wife to die and join him in the Afterlife.

Far more intriguing, though just as quick to finish with still numerous questions unanswered, is Rebecca Roanhorse’s “Werewolf By Moon Knight”. Absolutely crammed with all sorts of disconcerting contrivances, such as just how the mysterious owner of a Bates Motel lookalike happens to know Jake Gomez is secretly a lycanthrope, or who told Marc Spector’s alter-ego that the sinister location happened to contain “two travellers in need of my protection”, this exhilarating tale still succeeds due to its awesome wolfman verses wolfman action; “Dammit. You were supposed to entertain the boy until I could persuade him to join us. Not challenge him!”

Furthermore, Geoff Shaw’s dynamically drawn panels are absolutely first-rate when it comes to depicting the sudden transformation of both this plot’s villainous butler and its young Mexican protagonist into frighteningly furry creatures. The impact of the pair’s blows against one another genuinely leap off of the printed page with their eye-winching savagery, and even the illustrator’s final picture, showing an infuriated mastermind vengefully watching the Fist of Khonshu detain his “second-in-command” is captivating, despite the shadow-shrouded figure simply standing silhouetted in one of his home’s upper storey windows.

Writers: Al Ewing, Danny Lore & Rebecca Roanhorse, and Artists: Ramon Bachs, Karen S. Darboe & Geoff Shaw

DC Horror Presents: Sgt. Rock Vs. The Army Of The Dead #1 - DC Comics

DC HORROR PRESENTS: SGT. ROCK VS. THE ARMY OF THE DEAD No. 1, November 2022

Mashing together two of the Burbank-based publisher’s most popular titles from the Silver Age of Comics – “Sergeant Rock” and “Weird Tales”, as well as incorporating a hefty chunk of Sam Raimi’s “Evil Dead” horror franchise into the mix, Bruce Campbell’s script for “No Time Like The Present” probably provided its fans with an intriguing introduction into Adolf Hitler’s ‘last-ditch effort to turn the tide of the war and rewrite history itself’. In fact, rather than start this six-issue mini-series with the usual tried and tested technique of depicting the Allied forces suddenly facing an overwhelming army of zombie Nazis, the American actor-turned-author’s storyline instead, slowly focuses upon the actual ‘science’ behind Doctor Theodor Morell’s regeneration process and the large-scale resources the Third Reich still requires to manufacture its serum.

Equally as enthralling is the somewhat ‘slow-time’ introduction of Frank Rock and Easy Company, who initially are shown policing American supply lines during the supposed last year of the worldwide conflict. Swiftly recalled back to Headquarters for a Level Nine Assignment briefing, the audience is cleverly brought up to speed with the German’s diabolical plan alongside the likes of Short Round, Dozer, and McKlosky. This approach rather engagingly causes the comic’s cast to ask similar questions to those occurring within the minds of its readers, generating an almost palpable sense of both parties experiencing the adventure together.

Likewise, Campbell is very good at introducing what was state-of-the-art technology to the Master Sergeant’s team and highlighting the advantage it will give by stressing each fighting man’s amazement at “handie-talkies”, night-sighted binoculars and thermal imaging equipment – all of which are accepted without question in the modern era of warfare. Admittedly, this somewhat sedentary sequence does understandably become a little dialogue heavy. But it also provides the film star with an opportunity to inject some humour into his narrative, courtesy of Dozer and Rock standing too close to one another whilst using their new communication devices; “Boy, that’ll save a lot of hollerin’.”

Undeniably establishing a grisly, grimy atmosphere to this twenty-two-page periodical are Eduardo Risso’s layouts. Rather wisely the Argentine illustrator steers clear of attempting to imitate the late Joe Kubert’s recognisable art-style for Easy Company’s printed escapades, and instead provides the publication with a slightly clean-cut, though agreeably gratuitous, look which still allows him to show all the bodily disfigurements one might expect from Nazis who have already been dead once.

The regular cover art to "DC HORROR PRESENTS: SGT. ROCK VS. THE ARMY OF THE DEAD" #1 by Gary Frank

Alien [2022] #2 - Marvel Comics

ALIEN No. 2, December 2022

Whilst there’s undoubtedly plenty of tense, high-octane fuelled action on show within Issue Two of “Alien”, it’s doubtful many of the science fiction horror franchise's fans will feel that Phillip Kennedy Johnson’s latest pack of protagonists were ever in any real danger. Indeed, even when Seth is violently speared straight through the torso from behind by a Xenomorph Queen’s pointed tail, the android essentially shrugs off the gaping chest wound so as to escape “the top-secret wing of the storied Bioweapons Division” with the rest of his team-mates; “Yeah… No worries. Plenty of time left for Astrid’s Ruins of Civilization tour.”

Frustratingly, much of this lack of threat is due to the Eisner-nominated writer’s build-up in which he pens the “legendary, unkillable Synthetic Special Operations team” as being so incredibly formidable that “nothing organic ever tangled” with them “and walked away.” Coupled with the quintet’s evident super-human abilities to ‘jump tall buildings with a single bound’, converse with one another ‘telepathically’ over a silent network and later, even rip-off the head of the alien infestation's ruling sovereign with their bare hands, and it’s debatably difficult to believe anything this side of a nuclear bombardment will actually threaten Steel Team in any permanent way.

To make matters worse however, with perhaps the notable exception of Seth, who at least appears willing to be “a little grateful” to Mankind for creating him, none of this twenty-page periodical’s leading cast are likeable. In fact, quite the contrary with the antagonistic Eli proving particularly disagreeable due to his blinding hatred of all things human, and the ingrate’s egotistical belief that his superior mechanically enhanced might makes his opinions right over everyone else. Of course, having previously been played for a fool by General March and Weyland-Yutani it’s understandable that the robot has a ‘beef’ with those who betrayed him. But such is the soldier’s hateful demure that some readers will surely be hoping he’s the first of the squad to meet a gory demise.

Perhaps slightly less disappointing than its writing, is this book’s artwork by Julius Ohta. The “fresh young talent from Brazil with a dynamic, energetic and emotive style” is clearly a proficient penciller, especially when sketching the “Gearheads” exploration of Tobler-9’s dilapidated surface during this comic’s early stages. Yet, the artist’s highly exaggerated facial expressions persistently jar with the senses, making Freyja’s crew repeatedly lurch from barely repressed rage to open-mouthed, wide-eyed terror within the space of a frame or two.

The regular cover art to "ALIEN" #2 by Bjorn Barends

Shang-Chi And The Ten Rings #3 - Marvel Comics

SHANG-CHI AND THE TEN RINGS No. 3, November 2022

Quite heavily borrowing from King Arthur’s legendary tale of “The Sword in the Stone”, Gene Luen Yang’s plot for Issue Three of “Shang-Chi And The Ten Rings” certainly seems to depict the titular character at the summit of his close combat powers as he single-handedly infiltrates the headquarters of MI-6 in London, England and retakes the Heavenly Weapons of Ta-Lo which were previously stolen from him. Of course, to succeed against the likes of Tinkabelinos Hardleg and the disgusting Wyrm of Desolation, the Master of Kung-Fu admittedly still needs to ‘tap into’ the formidable energies of his mystical iron rings. But even this remarkable feat is accomplished with breath-taking ease, especially as the deadly bands are supposedly entombed within a block of rock similar to how Excalibur was ‘protected’.

Happily however, such effortlessness doesn’t debatably detract too much from the spine-chilling tension generated by this comic’s central antagonist, the grisly grub-like Wyrmspawn, which quite terrifyingly burrows itself straight down poor Clive Reston’s throat and subsequently exudes suckers through the secret agent’s bleeding eyeballs; “I’m fine, Jack, Just feeling a bit… Lonelyyy!!!” This horrific transformation genuinely seems to be a bit more gratuitous than the New York-based publisher’s usual fare and coupled with Tink’s unacceptably frank expletive early on in the comic, undoubtedly makes the periodical live up to its “Teen+” rating.

Furthermore, for those Shang-Chi fans long-enough in the tooth to remember the martial arist’s “first friends” from the mid-Seventies, the American author’s penmanship manages to give the likes of Black Jack Tarr and Leiko Wu plenty of ‘spotlight’ too. Indeed, the British secret service’s latest Director brings some much-needed humour to this twenty-page publication’s perilous proceedings, courtesy of a wicked face palm when his fairy friend from Avalon decides to elaborate upon her mystical solution to their dilemma with a “Once upon a time” story-telling session.

Nobly assisting Yang in his endeavour to depict a gripping yarn is Marcus To, whose ability to visualise Brother Hand’s sheer quickness of motion with his pencilling repeatedly steals the show. Likewise, the Canadian illustrator does an excellent job in projecting all the slimy grotesqueness of the writhing Wyrm of Desolation, as well as the raw magical momentum available to whoever successfully bends the Ten Rings to their will.

The regular cover art of "SHANG-CHI AND THE TEN RINGS" #3 by Dike Ruan & Matthew Wilson

Batman: Gotham Knights - Gilded City #1 - DC Comics

BATMAN: GOTHAM KNIGHTS - GILDED CITY No. 1, December 2022

Leading “directly into the upcoming video game Gotham Knights” by “Warner Bros. Interactive Entertainment”, Evan Narcisse’s narrative for “Limited Editions” probably didn’t excite its readers anyway near as much as “DC Comics” hoped it would. In fact, considering that this twenty-two-page periodical is supposed to tie-in with an action-packed beat ‘em up set “in the immediate aftermath of Batman's death”, the American author’s plot of a mysterious virus causing shoe, handbag and food fans to potentially die from FOMO (Fear of Missing Out) arguably seems a little ‘left field’ when it comes to storylines detailing the Dark Knight’s demise; “If these button-mashers want the newest graphics card so bad, they should’ve preordered like I did!”

Furthermore, there’s a definite lack of threat posed to any of the Bat Family throughout their city-wide ordeal, despite the likes of Robin and Batgirl working alone against numerous opponents. Much of this apathy is generated by the heroes facing simple, everyday Gothamites who are more determined to get their hands on the latest ‘in thing’ as opposed to being well-trained, deadly killers. But the book also lacks any recognisable central antagonist or arch super-villain, courtesy of the Scarecrow supposedly being “in custody for months” and his last “vermin-infested hellhole” being empty.

Happily however, what Narcisse’s modern-day adventure lacks in intrigue and tension, his wild west yarn debatably makes up for in some small part. Indeed, it’s a pity that the exploits of the masked Runaway and his physical endeavours to ensure white slavers don’t succeed in their vile trade of “dragging bodies back into bondage” on the outskirts of Gotham in 1847 aren’t given even more ‘screen time’ than they are – especially as the plight of Vivian Foxworthy momentarily smacks of genuine peril when she’s violently dragged from a carriage by her prejudicial abductors.

Helping add some much-needed energy to the gun-toting cowboy sub-plot is the artist Abel, who quite marvellously manages to imbue this ‘golden day of the American Frontier’ with all the shocking savagery and merciless ferocity an audience might expect from a time when a person sadly had to rely more upon their wits and close combat skills than fancy papers covered in scribbles. Disappointingly though, the illustrator doesn’t seem to succeed quite so well when pencilling Batman, and even depicts a rather stiff-looking Caped Crusader when he suddenly encounters two of Scarecrow’s ex-goons loitering in Jonathan Crane’s old lair.

The regular cover art of "BATMAN: GOTHAM KNIGHTS - GILDED CITY #1 by Greg Capullo

DC Vs. Vampires #10 - DC Comics

DC VS. VAMPIRES No. 10, December 2022

Cleverly weaving the various exploits of Earth’s surviving super-heroes together as part of a combined effort against the blood-drinking machinations of a dark-hearted Nightwing, James Tynion IV and Matthew Rosenberg’s penmanship for Issue Ten of “DC Vs. Vampires” definitely delivers when it comes to portraying a global wide crisis. In fact, the sheer scope of the action on show is quite breath-taking, as the writers firmly take their readers by the crook of their arm through the dank waters of Gotham City’s underground, across the red-baked deserts of Australia, and finally, unflinchingly imprison them alongside the surviving “human cattle” found at Hawkman’s nauseating Blood Farm.

Enjoyably though, all three of these plot-threads are mesmerising, courtesy of their protagonists persistently being under threat by their now heavily fanged friends and foes alike. Such tension really is truly palpable, and perhaps best leaps off the printed page during Batgirl and Black Canary’s bold attempt to infiltrate the now long-dead Dark Knight’s former metropolis via a vulnerable-looking rowing boat; “If you really have a distraction, it might be a good time to use it, Damian.”

In addition, this comic’s collaborative writing team are very good at introducing the odd curve ball into their narrative, so as to ensure it is not simply about the likes of Green Arrow or Supergirl just facing off against the armies of the Undead in a full-on battle. Indeed, this book’s ‘detour’ to depict Punchline as the nefarious mastermind behind Gotham’s Black Market is very intriguing, and in many ways it is a shame that more time can’t be spent with Alexis Kaye’s vampiric alter-ego – especially once it’s established she’s not necessarily a force of pure evil, but more a businesswoman who is able to play both sides of the conflict for a profit.

Similarly as successful as this publication’s scintillating storyline is Otto Schmidt’s pencilling, which emphatically brings each and every one of this periodical’s sizeable cast to dynamic life. Foremost of these characters has to be the illustrator’s handling of an always uppity Harley Quinn, whose comical facial expressions and zany naked behaviour brings some welcome dark humour to an otherwise disconcertingly bleak tale of treachery, terror and grisly death.

The regular cover art of "DC VS. VAMPIRES" #10 by Guillem March