Blowtorch #3 - Second Sight Publishing

BLOWTORCH No. 3, March 2022

Despite creator Alfred Paige’s understandable upset at this comic being two pages short due to “a printing error”, there’s still arguably plenty of pulse-pounding pugilism to enjoy in Issue Three of “Blowtorch”, courtesy of its publication-long punch-up, an utterly insane car chase to the steps of a Mesoamerican pyramid, and simply stunning, purposely planned plane crash. Indeed, for those bibliophiles who like their senses to be persistently assailed by eye-winching socks to the jaw and catastrophic explosions Alex De-Gruchy’s adrenalin-fuelled plot has all their bases covered; “Stay down, ladies. This is probably only gonna get messier.”

Furthermore, there’s a good deal of banter to be enjoyed between both this book’s titular character and mean-spirited partner Pinpoint, as well as with its main masked antagonist Davenport. Rather neatly inserted amidst all the sense-shattering shenanigans, these tense verbal exchanges actually provide some much-needed exposition as to why Avery Davis’ two top C.H.E.S.S. black ops agents are at something of a distinct disadvantage in trying the capture their formidable target alive – especially once Blowtorch quite foolishly makes “the middleman” aware of their mission’s overriding objective.

Setting aside all the bone-crunching blows, showers of hot lead and high-octane antics, this comic’s narrative also provides some nice interpersonal development between Richard Kinkaid and James Washington, as the two widely contrasting team-mates temporarily set aside their differences with one another so as to semi-successfully conclude their latest assignment. Such growth is debatably quite unusual when it comes to action-focused storylines, so Pinpoint’s eventual begrudging acceptance of Blowtorch as squad leader is one of the highlights of the twenty-page periodical.

Perhaps therefore this book’s sole quibble lies with some of J.C. Grande’s over-enthusiastic layouts, which are occasionally so crammed full of debris and destruction, that it makes it difficult to discern who is hitting who. These exuberantly pencilled and heavily inked panels prove particularly frustrating to navigate when it comes to some of the scenes depicting Infrared’s no-holds barred battle with a similarly souped-up automaton, as both robots appear quite similar in their appearance as they brutally batter their way through a series of walls, ceilings and other steel-supported structures. Indeed somewhat disconcertingly, it may well take some fans a few read-throughs of the fight's final stages to fully gather which android actually won.

Creator/Story: Alfred Paige, Plots/Writer: Alex De-Gruchy, and Pencils & Inks: J.C. Grande

DC Horror Presents: Sgt. Rock Vs. The Army Of The Dead #5 - DC Comics

DC HORROR PRESENTS: SGT. ROCK VS. THE ARMY OF THE DEAD No. 5, March 2023

Opening with Easy Company receiving (yet) another mission briefing from their military superior at Command Centre, Bruce Campbell’s narrative for Issue Five of “DC Horror Presents: Sergeant Rock Verses The Army Of The Dead” initially feels like something of a reset for the mini-series considering that in the comic’s previous instalment the veteran soldiers had just sensationally discovered the Fuhrer’s secret headquarters. But such a strange feeling isn’t necessarily a bad thing as the Allies would arguably need to consolidate their intelligence and plan a co-ordinated attack upon so formidable a defensive bastion in ‘real life.’

Furthermore, the conference establishes an aura of vulnerability to the mini-series’ titular character by emphasizing that he can’t simply just wade into a Nazi stronghold packed full of super-strong zombies like John Wayne and easily win the day. Indeed, much of this twenty-two-page periodical’s plot actually demonstrates the difficulty incurred by an American strike force trying to specifically target a well-guarded German fortification, courtesy of some hair-raising parachute drops onto ruinous terrain, an unsuccessful bomb drop from the air and a desperate, last gasp bazooka blast; “We ain’t goin’ in that way! We’ll go in the service entrance. Right this way…”

Perhaps this publication’s most startling feature though is just how small the reinforced concrete bunker belonging to “an uber-graded, rejuvenation serum-addicted Adolf Hitler” is. True, the facility’s dimensions are plainly shown on a well-detailed interior map when Rock is originally told of his latest assignment. But the disconcertingly dank place’s claustrophobic central corridor debatably doesn’t hit home with the reader until Frank is staring straight down it at the solitary steel door leading to the Fuhrer’s occupied office.

Ably adding to this comic’s all-pervading atmosphere of nervous anticipation and ballyhoo bravado are Eduardo Risso’s marvellous layouts, which do a first-rate job of depicting Easy Company’s edgy excitement during their mission’s early moments, and then understandable unease as things start to go awry. In addition, the illustrator’s ability to imbue the likes of Eva Braun and Hitler with the subhuman strength of Doctor Theodor Morell’s zombie solution is impressive, with the Fuhrer’s wife proving to be a particularly savage specimen when confronted in close combat.

The regular cover art to "DC HORROR PRESENTS: SGT. ROCK VS. THE ARMY OF THE DEAD" #5 by Gary Frank

Creepshow #5 - Image Comics

CREEPSHOW No. 5, January 2023

Providing something akin to a modern day take of Oscar Wilde’s “The Picture of Dorian Gray”, Steve Orlando’s standalone story for Issue Five of “Creepshow” is probably a little too preoccupied depicting Parker’s blithe bedroom activities than how the old man turned young somehow managed to summon a demon to feast upon his increasing great age. But once the clubber’s phone is inadvertently taken by a casual overnight partner the tale soon heats up as a rapidly decaying octogenarian has to plead for it back before his soul is consumed by The Creep’s heavily-fanged friend.  

Arguably not helping “Thirst Trap” with its slow start though is Marianna Ignazzi, whose art style doesn’t seem to quite suit the narrative until the central character’s fate is truly sealed and they’re literally turned into a puddle of grisly goo on a residential area’s pavement. Before this scene of ghoulish jellification, the Italian illustrator appears to struggle to show Parker at his true age, simply pencilling the disconcertingly unwrinkled pensioner with white hair so that he looks strangely reminiscent of an adolescent Race Bannon rather than a long-time devotee of the Devil; “There. It’s done. It is done. Isn’t it? A deal’s a deal, and you… You’ll do it? Give me more time? That is… It’s what we said.”

Much more intriguing is debatably Clay McLeod Chapman’s “Husk”, which ends this “mini-series finale” with a fantastic show of eye-wincing body horror, courtesy of a poor debutante suddenly transforming into a human-sized Praying Mantis and eating her dumbfounded parents alive. Leaving much to the imagination as to just what covenant was agreed between the girl’s non-biological father and the woodland witch who gave her to him, the Richmond-born writer does a good job of hinting at the teenager’s transformation with a disgusting bunion and freakish rippling bone moment, before having the monster finally reveal itself in true “Carrie” fashion.

Perhaps this yarn’s sole concern therefore lies with the initially quite lifeless layouts of “exciting newcomer Anwita Citriya", which at first appear as trepidatious in their woodenness as the elegant “Texas Dip” curtsey Sally is trying to master alongside her mother. Happily however, this listlessness soon departs once the young aristocrat retreats to her bedroom, and is ultimately replaced with some excellent-looking panels portraying the girl’s metamorphosis into a truly nightmarish, all-devouring giant insect.

Writers: Steve Orlando and Clay McLeod, and Artists: Marianna Ignazzi and Anwita Citriya

Shook! [Part One] - Second Sight Publishing

SHOOK!, March 2023

Distinctly disturbing in its depiction of Patricia’s final days in a hospital bed, John Jennings’ “The Breaks” provides readers of this "historic horror anthology" comic book with a genuinely enthralling flashback to the days of Hip Hop when the emaciated invalid was better known as the young exuberant Queen Showstoppa of the Starlight dance club. True, the dying woman’s fate is arguably never in doubt. But the twelve-pager’s plot is so well-penned that few within this anthology’s audience will be able to look away from the narrative’s twists and turns until the dance is done and the deceased is once again reunited with her loyal crew in “Hip Hop Heaven.”

Foremost of these strengths is arguably this tale’s introduction to its cast, with the New York Times bestselling author highlighting the various characters’ best days under the disco ball, bopping to the musical beats in a trance-like state whilst being in the prime of physical health. This powerful preface really helps establish just what poor Patricia has lost as a result of her debilitating disease, as well as illustrates just how truly terrible the ravaging effects of human immunodeficiency virus (HIV) can have upon the body; “God help me… Part of me wanted to die in pain because of what he did to me… to us. I miss him so much… and the way we danced.”

In addition, Jennings’ does a first-rate job of succinctly explaining the grim fates to befall the other members of Queen’s crew, in order to maintain a strong focus upon the fast-failing convalescent and her delusional dreams to once again return to the Starlight’s dance floor. These visions are rather horrific in places, particularly when the almost skeletal patient faces down the clawing, red-eyed corpses of her deceased friends. However, they also offer a truly touching moment of hope at the end, as the medical staff finally concede that they can’t revive an unresponsive Patricia and allow her to forever party alongside “Mother Ship” in the great beyond.

Helping imbue so disconcertingly dark a yarn with all the dynamic twists and twirls of Hip Hop music, as well as the ghoulish gauntness of a murderous malady, is Charlie Goubile. The 2013 Glyph Comics Award-winner’s pencilling of Queen’s transformation from vibrant beauty to a haggard-looking shadow of her former self is incredibly moving, as is the Doctor’s battle to save her life whilst the woman inevitably succumbs to her deadly sickness.

Story: John Jennings, Art: Charlie Goubile, and Colors: Alex Bradley & John Jennings

Batman: Urban Legends #19 [Part One] - DC Comics

BATMAN: URBAN LEGENDS No. 19, November 2022

Leading with a twenty-two-page plot which could easily have held its own as a standalone comic book issue, Brandon Thomas’ second instalment to his “Signal And The Outsiders” storyline certainly seems to show just how a super-team should co-ordinate a multi-pronged infiltration of a villain’s nefarious headquarters. In fact, Metamorpho’s tense, well-penned exploration of Doctor Alan March’s Rose Creek Rehabilitation Clinic proves an incredibly intriguing experience, as both the likes of Katana, Black Lightning and even Batman, as well as the reader, wait with bated breath for the metahuman to give the word he has located Duke’s long thought dead mother.

Enjoyably, this sense of anticipation is arguably only heightened by Alberto Jiménez Alburquerque’s layouts, which prove particularly strong once Kirk Langstrom’s father-in-law transforms into a monstrous Man-bat and leads an attack upon the publication’s astonished protagonists with an army of zombie-like convalescents. These sense-shattering scenes are especially noteworthy as Signal is desperately trying to ensure that he doesn’t hurt any of the innocent invalids attempting to savagely stab him to death, and this concern is impressively pencilled upon the youth’s cowled face throughout the increasingly desperate confrontation.

Much darker and disconcerting in tone is Zac Thompson’s “Tiny Hands In The Dark”, which depicts Batman investigating a series of grisly murders which apparently point at a small, homicidal child committing the night-time mutilations. Gruesome in its depiction of slit throats and spilled human intestines, many within this anthology’s audience will probably be hard-pressed to imagine a more disturbingly sinister spirit to just a “Teen Rated” tale concerning the Caped Crusader, as the World’s Greatest Detective discovers the trail of corpses he's doggedly following leads back to the footsteps of the Monarch Theatre where his crime-fighting persona was born; “I like stickin’ peoples guts! I like swimming my hand in ‘em! Spillin’ em like psaghetti!”

Ensuring that this already decidedly grim yarn is even gloomier is Hayden Sherman, whose marvellous layouts atmospherically add a genuine feeling of claustrophobia to the storytelling, particularly once the true villain is revealed and the Dark Knight has to fight for his life against a real psychopath. Also well worth highlighting, as they add bucket loads of atmosphere to the “award-winning” author’s narrative, are Dave Stewart’s colours, which splatter all the pulse-pounding proceedings with a traumatic gizzard-pink hue.

The regular cover art of "BATMAN: URBAN LEGENDS" #19 by Dike Ruan

Batman: The Adventures Continue Season Three #1 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON THREE No. 1, March 2023

Featuring a solid, straightforward storyline which enthrallingly follows the Muscle’s eventual escape from Blackgate Penitentiary and potential opportunity for some semblance of redemption, Alan Burnett and Paul Dini’s “return once more to the world of Batman: The Animated Series” is surely something of a success. Indeed, with all its well-penned twists and turns, it was probably hard for many in this comic’s audience not to hear composer Danny Elfman’s highly iconic theme music playing in their head throughout the action-packed adventure.

Quite possibly foremost of these triumphs is the writing team’s ability to underline the high level of organised crime which exists within Gotham City, courtesy of a brief visit to Esther Valestra’s kitchen and the Crime Lady’s familiarity with the likes of Oswald Cobblepot, Roman Sionis and Rupert Thorne. Chillingly understated as the elegantly-dressed hostess dines alongside her nefarious guests on a course of homemade Pasta A La Valestra and Calamari Fritti, this scene illustrates just how cold-hearted the killers around the dining table are as they nonchalantly discuss how best to murderously ‘tie and skewer’ Mama’s former top underworld assassin.

Of course, the meat of this twenty-page periodical’s plot lies in the Muscle’s double-dealing with the prison’s priest, and the subsequent shenanigans which occur in a deserted factory when the hired gun suddenly realises he’s been played for a fool by the clergyman the entire time. So obvious a twist probably didn’t come as much of a surprise to many a perusing bibliophile, however, the way the actual action then plays out is rather exhilarating, especially when the sturdy-looking Lock-Up actually manages to temporarily incapacitate Batman himself; “Looks like I’ve wrapped up a great big bonus on this job. Signorina Valestra will gladly pay extra for your carcass.”

Helping to make this particular publication appear as if it had literally just stepped from out of the small screen cartoon programme are Jordan Gibson’s pencils and Monica Kubina’s colours. Together, the creative team genuinely do a first-rate job of replicating both the look and feel of “Fox Kids” hit show from the early Nineties, with their ability to have the Dark Knight’s punches pack a truly impressive wallop being just one of several visual treats.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON THREE" #1 by Kevin Nowlan

Dune: House Harkonnen #1 - BOOM! Studios

DUNE: HOUSE HARKONNEN No. 1, January 2023

For those readers unacquainted with Frank Herbert’s Dune Universe and hoping to use Issue One of “Dune: House Harkonnen” as an opportunity to familiarise themselves with the late Science Fiction Hall of Famer’s franchise, this “brand new” twelve-part comic book series is probably not the best of starting points. Indeed, considering that the twenty-two-page periodical bewilderingly throws its audience to almost every corner of the Padishah Emperor’s interstellar empire, it is arguably difficult to imagine even those fans who are well versed in the fictional universe’s “rich mythology” easily following so huge a web of colourful characters, political manoeuvrings, Machiavellian machinations and geological explorations.

To begin with, whilst Brian Herbert and Kevin J. Anderson’s narrative undeniably does contain plenty to do with Baron Vladimir Harkonnen, interest in the titular Great House is debatably soon swallowed up by all the numerous insights into other worlds, such as the Imperial Planetologist’s investigation into the cataclysmic storms of Arrakis and a burgeoning rebellion brewing on the Tleilaxu-conquered planet of Ix. Coupled with artist Michael Shelfer prodigiously pencilling some serious shenanigans occurring during a supposedly peaceful party at Count Hasimir Fenring’s Arakeen residency, as well as a somewhat sedentary sojourn to the Mother School complex of the Bene Gesserit to witness Jessica practicing her Prana Bindu training, and it’s hard to imagine many bibliophiles managing to keep their eyes fixed upon quite so many spinning plates.

Perhaps this novel adaption’s biggest disappointment, however, lies in the comic’s sudden and rather undramatic conclusion on the planet of Caladan. Admittedly, the authors’ try their very best to add an element of impending doom to poor Duncan Idaho’s final words as the youth receives a valuable blade from Duke Leto Atriedes prior to departing to become “a worthy trainee for the famed Swordmaster school.” But it comes so out of the blue and with so little context that it sadly smacks of the writers simply crowbarring the scene into this opening instalment just so it doesn’t end on a whimper; “I will study hard on Ginaz, my Lord. I will become the best Swordmaster ever… For all our sakes.”

Written by: Brian Herbert & Kevin J. Anderson, and Illustrated by: Michael Shelfer

DC Vs. Vampires #12 - DC Comics

DC VS. VAMPIRES No. 12, February 2023

Bringing most of its planet wide sub-plots to a semi-satisfying ending James Tynion IV and Matthew Rosenberg’s “cataclysmic final issue of the bestselling series” quite surprisingly does actually end with both the promised “bang and a whimper!” Indeed, despite the highly anticipated confrontation taking place between the blood-drinker’s King and Barbara Gordon’s costumed alter ego, many of this twenty-three-page periodical’s readers will almost certainly be clamouring for a thirteenth instalment; “The war is over. I was the last casualty. And when I died so did the last thing Humanity had left to cling to… Hope.”

Foremost of these ‘dangling threads’ is that despite the heroic demises of Duke Thomas, Captain Cold and numerous unnamed prisoners at the Smallville blood farm, the Vampire’s domination of Earth arguably appears to be as formidably strong as ever. True, the narrative to “Dawn” does contain the grisly death of the aforementioned food farm’s supposedly immortal “real big one”, as well as the successful resurrection of Supergirl following Leonard Snart’s creation of “a sort of polar vortex in the upper atmosphere.” But what will actually come of these enthralling events has clearly been bookmarked for another day and potentially, a second mini-series.

Likewise, the last gasp efforts of Black Canary, Frankenstein and Damian Wayne battling a small army of sharp-fanged fiends in the streets of Gotham City disconcertingly disappears from sight once Signal has sacrificed himself so that Batgirl can make her way to Dick Grayson’s throne room reasonably unmolested. So sudden a departure is perhaps understandable given that the comic’s main focus primarily shifts across to Nightwing’s attempt to have the late Commissioner Gordon’s daughter join his side. However, like Green Arrow’s success in Superman’s hometown, nothing is actually finalised and is simply left up in the air for a subsequent publication.

Perhaps this book’s most agreeable asset therefore lies in the art and colours of Otto Schmidt, Francesco Mortarino and Pierluigi Casolino, who together deliver all the savage violence and depressing darkness of a DC Universe ruled by murderous vampires. Furthermore, the creative team do an excellent job of imbuing the smart-mouthed Harley Quinn with some incredibly funny moments, such as when the high-spirited fighter is evidently intimidated by the presence of an all-powerful Wonder Woman, and later traumatised by Barbara’s suggestion that Dick drink her blood.

The regular cover art of "DC VS. VAMPIRES" #12 by Guillem March

Batman: Urban Legends #18 [Part Two] - DC Comics

BATMAN: URBAN LEGENDS No. 18, October 2022

Helping to establish this anthology comic’s second half with a genuinely enthralling experience, Chris Burnham’s “The Fall Of The Scales” provides an intriguing insight into Alfred Pennyworth’s own deductive capabilities, whilst simultaneously conjuring up all manner of Lovecraftian Mythos-based mummery. Indeed, many bibliophiles, understandably mesmerised by the elderly servant’s deadly investigation into the robbery of a well-stocked bazaar, were doubtless half expecting the butler to actually make his way to the “decrepit town of Innsmouth, Massachusetts” before the ten-page plot played out.

Similarly as beguiling is the Connecticut-born creator’s pencilling for this aptly named ‘Pennyworth File’, with the American artist producing some fascinating panels absolutely packed full of gloriously-detailed trinkets, shady side-glances, and the obligatory fish-faced antagonist. Furthermore, there’s a lot of fun to be had with Burnham’s decision to include some significant humour into his tale, with the out-of-town Batman’s reaction to his friend’s repeated phone-calls for advice causing quite the guffaw whenever they appear; “I’m not certain how to ensure his safety. Master Bruce, are you there?! Blast it all.”

Focusing far more upon the Dark Knight and the costumed vigilante’s significant demons following the death of Jason Todd, Tini and Blake Howard’s “Night Terrors” provides a truly traumatic depiction of Tim Drake’s early days alongside the Caped Crusader. In fact, the story is cleverly written from the latest Robin’s perspective and resultantly hooks the audience in with the adolescent’s understandable fears for his mentor when Gotham City’s “King Maniac” momentarily gives way to Doctor John Dee’s terrifying, sleep-based psychosis.

Also adding an extra element of vulnerability to Batman’s usually impenetrable psyche are Max Raynor’s adrenalin-charged layouts, which one minute show the intimidating scale of an eerily quiet Arkham Asylum, and in the next adds some incredible pace to the proceedings via half a dozen small-sized panels depicting the Dynamic Duo rushing to help an unconscious nurse. This technique proves particularly powerful towards the yarn’s end, when the audience are given access to a 'frozen' Wayne reliving how horribly he believes Jason died at the hands of the Joker, and subsequently superimposes that distressing mental picture upon his new companion’s present predicament.

The regular cover art of "BATMAN: URBAN LEGENDS" #18 by Liam Sharp

Batman: Urban Legends #18 [Part One] - DC Comics

BATMAN: URBAN LEGENDS No. 18, October 2022

For those readers of Brandon Thomas’ “Signal And The Outsiders” who weren’t familiar with “the events of The Caretaker and The Fearful”, this opening tale to Issue Eighteen of “Batman: Urban Legends” probably wouldn’t have made too much sense until the twenty-two page plot is at least half-way finished. Sure, the narrative eventually suggests that Duke and his team-mates are primarily fighting for the planet’s future in some sort of three-battle competition against Vogel the Lord and his Subterranean Forces. But these scraps of context are only fed to the audience in a piecemeal fashion as the main narrative focuses upon the teenage vigilante’s obsession in finding his dead mother and difficulty in getting enough sleep.

Happily however, despite this uncertainty as to what is actually going on, Alberto Jiménez Alburquerque’s artwork more than manages to hold the attention until the adventure is played out, courtesy of some particularly well-pencilled set-pieces and wonderfully dynamic splash pages. Indeed, quite possibly this yarn’s best moment comes when the Spanish illustrator draws an adrenalin-charged chase through the streets of Gotham City as Batman tackles the evidently ‘mad as a March hare’ Wonderland Gang.

Far more straightforward, though a tale which simply doesn’t stop in its relentless drive to reach a somewhat succinct conclusion after only ten pages, is “Blood In And Blood Out” by Henry Barajas. Crammed full of depictions of the Caped Crusader battering away at a great mystical eye whilst the demon Etrigan confronts his adopted brother Lord Scapegoat, the pulse-pounding pace of the ensuing carnage begins just as soon as the “Latinx author from Tucson” quickly establishes that Bruce Wayne has bought the haunted Huitzilopochtli Statue so as to return it “back to Mexico’s Museum of Anthropology.”

Sketching all this chaos and insanely fast shenanigans is Serg Acuna, who does an excellent job of drawing both the Dark Knight in his prime, always one step ahead of his foe no matter how bizarre they may be, and the joy had by Jason Blood’s yellow-hued alter ego as he repeatedly batters his goat-headed sibling at the foot of a truly unholy-looking altar. Furthermore, the graphic designer impressively shows that there is much more to the character of Randhir Singh than just being a psychic-skilled ally of Etrigan; “This makes him your half-brother!”

The regular cover art of "BATMAN: URBAN LEGENDS" #18 by Liam Sharp

DC Horror Presents: Sgt. Rock Vs. The Army Of The Dead #4 - DC Comics

DC HORROR PRESENTS: SGT. ROCK VS. THE ARMY OF THE DEAD No. 4, February 2023

Pausing simply to allow Easy Company to reload their arsenal of heavy weapons, Bruce Campbell’s script for Issue Four of “DC Horror Presents: Sergeant Rock Verses The Army Of The Dead” is arguably an absolute rollercoaster of a ride for its readers, as Frank momentarily disguises himself by wearing a German uniform and causes even more chaos behind enemy lines. Indeed, it’s difficult to calculate the Axis death count within this twenty-two-page periodical due to the Allies mercilessly mowing down all manner of Nazi soldiers with a mixture of small arms fire, flamethrowers and bazooka blasts; “Short Round, ditch the bunker on my signal.”

Enjoyably however, this comic isn’t just all action for the sake of it, as the American veterans continually have to reassess and redirect their efforts to successfully follow Doctor Theodor Morell all the way to Adolf Hitler’s secret headquarters. Debatably it would have been all too easy for the “B-Movie Actor” to simply pen for “ol’ sarge” and his men to effortlessly obliterate everything in their path en route to completing their mission. But instead, Campbell pens an enthralling narrative which repeatedly sees Rock having to adapt to a change in circumstances - whether that be a heavily guarded Third Reich checkpoint, a camouflaged enemy bunker or truckload of super-strong Nazi zombies.

In addition, “Where The Rubber Meets The Road” is packed full of humour and some genuinely laugh-out-loud moments, such as when the grizzled Sergeant nonchalantly hands a Nazi Guard some torn out papers from an Opel Blitz truck operator’s manual. This comical timing, for what is otherwise an incredibly dark and disconcerting tale, is absolutely spot on and makes it perfectly plausible to imagine many within this publication’s audience quietly chuckling to themselves every few panels, even when a terrified Four Eyes yells out an uncensored expletive upon seeing a still burning German ghoul rushing headlong towards his all-too vulnerable location.

Helping to maintain this dual atmosphere of amusement and sense-shattering war-time shenanigans is illustrator Eduardo Risso, who is able to prodigiously pencil an astonished-looking German sentry or completely dumbfounded member of the Feldgendarmerie with unnerving ease. Furthermore, the Argentine artist is able to manufacture some additional menace to the “Re-Gens” by stretching out their shadows and highlighting Rock’s brooding presence, courtesy of his cigarette end burning red within the darkness of a church tower.

The regular cover art to "DC HORROR PRESENTS: SGT. ROCK VS. THE ARMY OF THE DEAD" #4 by Gary Frank

Shang-Chi And The Ten Rings #6 - Marvel Comics

SHANG-CHI AND THE TEN RINGS No. 6, February 2023

Bringing both the Game of Rings multi-part narrative and “Shang-Chi And The Ten Rings” comic book series to a satisfying end, Gene Luen Yang’s twenty-page plot certainly must have wrong-footed a fair few of its Kung Fu fans, courtesy of some unexpected twists and turns. In fact, it’s probably difficult to decide which of this publication’s surprises is more shocking - Shen Kuei’s stomach-churning decision to scoff down the still-quivering remains of a Wyrmspawn, or the revelation as to just who is the leader of the cyborg-infested criminal organisation known as the Red Dot Collective.

Enjoyably though, these sense-shattering shenanigans aren’t simply crowbarred into the storyline just for the sake of giving its considerably sized cast something to do. But help add an extra dimension to some of the characters concerned, especially the likes of Cat, who demonstrates just how increasingly frustrated he is becoming by being continually outmatched by Commander Hand despite supposedly being the better warrior; “Frankly, it’s infuriating. You’re not stronger or faster or more skilled. Why should victory favour you?”

Similarly as solid is the pulse-pounding pugilism on show throughout this comic, with all the martial artists demonstrating some utterly insane abilities with which to either severely batter or defend against their opponents. Of course, at the centre of all these super-powered devilries lie the “mystical iron rings originating from Ta-Lo”. However, due to all the contestants having access to at least some of the Heavenly Weapons, the actual winner of the deadly tournament is debatably always in doubt – particularly after Kuei turns into a misshapen monstrosity following his disagreeable amalgamation with the spawn of the Wyrm of Desolation.

Unquestionably helping make this magazine a visual masterpiece are both Marcus To’s adrenalin-packed panels and Erick Arciniega’s atmospheric colours. Together the creative team genuinely provide this book with some stunning set-pieces, most notably the insanely fast fistfight between Shang-Chi and Cat, as well as the palpable heft to Red Cannon’s formidable hand-cannon. Indeed, many a perusing bibliophile will doubtless feel a chill of terror when Shen suddenly realises his mistake in aligning himself with a gruesome demon from a pocket dimension and is prodigiously pencilled momentarily showing that comprehension within an all-too human-looking eye.

The regular cover art of "SHANG-CHI AND THE TEN RINGS" #6 by Dike Ruan & Matthew Wilson

Creepshow #4 - Image Comics

CREEPSHOW No. 4, December 2022

Containing two vastly contrasting “all-new standalone stories”, there’s still arguably not a great deal for Creepsters to enjoy inside this twenty-two-page periodical. Sure, Kyle Starks’ opening fright fest “Come Out, Come Out, Wherever You Are” initially shows some terrific potential by capturing the feel of both Joel Schumacher’s 1987 horror film “The Lost Boys” and Stephen King’s award-winning novel “It”. But disappointingly the narrative soon becomes incredibly sedentary once three of the “ragtag group of kids” are fatally bitten by the neighbourhood’s vampires, and the sole-survivor spends the next twenty-five years of her life sat inside her home in total isolation.

Sadly, this sudden change of tempo can’t even be saved by Fran Galan’s artwork, which having been packed full of pace during the unwise adolescents’ flight from Mesker Woods, suddenly lapses into a succession of panels depicting a now rather rotund SkinnyNancy81 tied to her computer desk conversing with faceless ‘friends’ over the internet. Pencilling so lack-lustre a life certainly helps sell the author’s plot that the woman has completely removed herself from the real world so as to keep her safe from the blood-drinkers at her doorstep. However, many readers of this comic may well have preferred for the writer to have shown more of the energetic build-up to the gang’s ill-advised hunt or possibly have extended their sad demises rather than this somewhat soulless ending.

Infinitely livelier is “La Mascara De La Muerte” by Henry Barajas, which ultimately turns into a seriously gratuitous depiction of mutilation within the squared circle as a wrestling champion quite literally tears off her face to end a demonic curse. The notion of a would-be winner selling their soul so as to reach the top of their profession’s ladder is hardly new. Yet, the Latinx author adds some intriguing elements into the mix with Dragon Roja’s legendary father having been similarly cursed for desiring greatness; “I’m sorry I lied to you all these years, Mija. But the truth was too painful --”

Sadly, what debatably lets this tale down are Dani’s layouts, which many a bibliophile will doubtless find somewhat difficult to navigate. The illustrator’s splodgy style makes some of this yarn’s panels rather indistinct, especially during the flashback to when Lupe’s parent became a murdering psychopath “after he won the belt”. Albeit the scene of the victorious female wrestler desperately ripping her cursed mask from her head, flesh and all, is plain for all to see, and will doubtless give anyone witnessing the grotesque event nightmares for weeks.

Writers: Kyle Starks and Henry Barajas, and Artists: Fran Galan and Dani

Rick And Morty Verses Cthulhu #2 - Oni Press

RICK AND MORTY VERSES CTHULHU No. 2, January 2023

Despite this comic’s narrative tying into arguably one of H. P. Lovecraft’s most popular horror novellas - “The Shadow Over Innsmouth”, Jim Zub’s subsequent decision to then make his twenty-two-page plot ‘Rick Sanchez free’ must surely have struck many fans of this Cartoon Network/Cthulhu Mythos crossover as a big mistake. For whilst both Morty and Summer Smith initially make an impressive duo as they bravely batter the fish-faced denizens who caused their grandfather’s apparent death. By the time the pair have been separated from one another by their eventual captors and commence vastly contrasting ‘escape plans’, the book’s pace has somewhat slowed to something of an expletive-laden crawl; “I have seen enough s**t in this a**hole dimension to give me nightmares for the rest of my life.” 

True, Sum-Sum’s mind trip to the Dreamlands definitely gees things up a little when Zadok Allen is shockingly speared through the chest by a roving pack of savage Moon Beasts, and the terrified teenager is forced to flee for her life before she suffers a similar lethal fate. But this action-sequence is somewhat short-lived, and debatably feels like it was simply ‘crowbarred’ into the adventure just to help fill a void prior to the gore-splattered girl meeting Nyarlathotep and the Egyptian deity’s army of murderously savage cats.

Disappointingly, Morty’s thread is even more sedentary, at least to start with, courtesy of the Canadian author focusing upon the boy’s virginity whilst he is interrogated in a dingy cell. This supposedly embarrassing state of affairs is explored for over a dozen panels and does not actually end until near the book’s conclusion when it becomes clear it matters neither one way nor another to the sea-dwelling Dagon. Indeed, considering the puzzled reaction of Innsmouth’s chief cultist when the boy mentions 'unflowering himself' with a female co-captive, there is a strong suggestion that Rick’s grandson actually imagined his entire intimate moment with Cathy anyway.

Perhaps also capable of causing this publication’s audience some consternation is Troy Little’s rough-looking artwork, which was purposely pencilled to appear somewhat less clean-lined than normal so as to add an extra level of grubbiness to those scenes set within the decrepit seaport. Unfortunately, this 'filter' debatably starts to ‘spoil the senses’ after a while, especially when the cartoonist returns to his usual style in order to illustrate Summer’s aforementioned exploits having “move[d] above tha Earthly coil”.

The regular cover art of "RICK AND MORTY VERSES CTHULHU" #2 by Troy Little

Batman: Urban Legends #17 [Part Two] - DC Comics

BATMAN: URBAN LEGENDS No. 17, September 2022

On plain paper a battle between this anthology’s titular character and Theo Ramses Djoser Teth-Adam would appear to be a rather short, infinitely one-sided affair, with Otto Binder's dauntingly super-powered co-creation winning the tussle within a matter of mere moments. However, such a disconcertingly brief conclusion doesn’t take into account the Justice Leaguer’s ability to out-think his opponent, and Alex Paknadel’s script for “Statecraft” arguably does a first-class job of depicting just that; “Hawkman was right -- Kings are one thing, but the people of Kahndaq have had their fill of butchers. Killing me would make him look weak, so he’ll try to get inside my head.”

Of course, that doesn’t mean for a second that the English author falls into the trap of having Bruce Wayne unconvincingly defeat “Shazadam” through uncharacteristic magic use or manipulative mind games. Quite the opposite in fact, as an overly confident Dark Knight is proficiently pencilled by Amancay Nahuelpan still having to fight for his very life against the formidable villain’s ‘human’ alter-ego, following the Caped Crusader’s realisation that Black Adam is actually a master of the immortal martial arts discipline Dhritishastra.

Rounding off this comic’s quartet of adventures is Dan Watters’ short story “On His Worst Nights”, which dips its toe into the murky waters of Batman’s frustration-fuelled hatred for the Riddler and the criminal’s canny conundrums. Intriguingly penned to surprisingly show just how many steps ahead of his arch-nemesis Edward Nygma can occasionally be, courtesy of the green-costumed cad actually narrating the plot, admirers of the World’s Greatest Detective should still enjoy this depiction of the costumed crime-fighter’s remorseless groundwork to ascertain just how his fiendish foe managed to escape custody once again.

In addition, Riley Rossmo provides some excellent layouts which genuinely go a long way to help sell the Dark Knight’s mounting anger as his enquiries with the likes of the Penguin and Catwoman prove fruitless. The vigilante’s attack upon Oswald Cobblepot in the Iceberg Lounge is particularly pulse-pounding. Although, it is probably the Canadian creator’s panel showing a raging Batman shouting up into the night sky upon discovering his puzzle-obsessed prey has already ‘flown the coop’ that is the artistic highlight of this particular parable.

The regular cover art of "BATMAN: URBAN LEGENDS" #17 by Jim Cheung & Jay David Ramos

Batman: Urban Legends #17 [Part One] - DC Comics

BATMAN: URBAN LEGENDS No. 17, September 2022

Described by “DC Comics” as “a blockbuster issue”, Ryan Cady’s script for “Cold Shoulders” arguably appears to live up to the Burbank-based publisher’s boast by providing this anthology book with a fantastically fast-paced opening yarn featuring Batman and the Flash. However, whilst it is undoubtedly the “Scarlet Speedster” who injects this twenty-page tale with much of its mesmerising momentum. It is perhaps the plot’s focus on Captain Cold questioning just how evil he is willing to be when compared to the murderous machinations of his partner-in-crime, Mister Freeze, which is the highlight of the adventure.

Similarly as sensational is the story’s artwork by Gleb Melnikov, Scott Hanna and Luis Guerrero. The creative team’s depiction of events as respective penciller, inker and colorist genuinely adds to the ever-increasing sense of peril as Barry Allen feverishly attempts to run rings around Gotham in an effort to locate Victor Fries’ secret hideout. Indeed, a lot of the wide-eyed youth’s anguish and sense of desperation to both thwart the villains’ deadly plan, as well as live up to the Dark Knight’s high expectations, are projected through the character’s well-drawn facial expressions and body moments, rather than what Central City’s protector says.

Likewise, the impetus quickly established by Joey Esposito’s excellent “The Sea Beyond” doesn’t let up until Bruce Wayne’s deep sea mission to identify the mysterious source of some catastrophic seismic activity has been completed. Sure, the author’s decision to pen Mera as a debatably dislikeable foil to Aquaman’s good manners and courteousness may well remind many a Silver Age bibliophile of Stan Lee’s writing for the anti-hero, Namor the Sub-Mariner. But her overzealous, sarcastic rants that the Caped Crusader only ‘rules’ on land because her beloved King permits it can easily be forgiven once the three super-heroes enter the ocean; “You’re not listening, Batman! We know the cause. That’s why we’re here. With you. Show him, Arthur.” 

Serg Acuna and Alex Guimaraes also add an incredible amount of energy to this narrative’s telling, courtesy of some truly sumptuous underwater illustrations which genuinely help sell just how far down under the surface the action is taking place. The sheer physical power of the spiralling currents at play are incredibly well sketched, as is this chronicle’s final splash page, depicting the World’s Greatest Detective riding home on the back of a grim-looking Killer Whale.

The regular cover art of "BATMAN: URBAN LEGENDS" #17 by Jim Cheung & Jay David Ramos

The Batman And Scooby-Doo Mysteries #3 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 3, February 2023

Seemingly stepping straight out of the animated television series which “Hanna-Barbera Productions” launched in 1969, Matthew Cody’s script for Issue Three of “The Batman And Scooby-Doo Mysteries” rather succinctly folds the secret society known as the Court of Owls deep within the ‘Elseworld’ where Mystery Incorporated regularly patrol Bruce Wayne’s darkly-lit metropolis alongside the Caped Crusader. Sure, the centuries-old criminal organization is greatly reduced in scale from that of a “violent cabal of some of Gotham City's oldest and wealthiest families” down to a simple haunting used to cover a number of antique thefts. But that still doesn’t arguably stop a lot of menacing fun from occurring at Bibi’s poorly-attended birthday party inside the Owl Court Hotel, as a Talon (or two) scare poor Shaggy and Scooby-Doo within an inch of their lives.

Indeed, the Missouri-born writer manages to imbue this twenty-page periodical with some genuinely classic moments inspired by the “fifth-greatest TV cartoon of all time” (at least according to “TV Guide” in 2013) - most notably that of Rogers and his great dane dressing up as a pair of bell boys and momentarily defeating their murderous ‘ghost’ with the utterly hair-brained “Your room’s, like, ready already” gag. This laugh-out-loud action sequence, prodigiously pencilled by Erich Owen, is obviously doomed to failure. Yet readers will surely still hear the canned hilarity in their head when the deadly assassin turns out his embarrassingly empty trouser pockets when required to pay the unprofessional porters and subsequently gets buried under a ton of tightly-packed luggage cases; “Sorry sir, but no tip, no special service!”

Similarly well-written are the rest of this comic’s quite considerable cast, with Cody providing a particularly intriguing insight into Daphne Blake’s old cheerleading days, courtesy of the “pretty snobby” Bibi. Likewise both Fred Jones and Velma Dinkley are able to ‘show off’ their impressive investigative muscles, even arguably besting Batman to the punch when they notice just how odd the hotel’s brand-new light switches are when compared to the rest of the place which “is covered in an inch of dust.” This deduction notably occurs before the Dark Knight has made his physical presence known, and leads to the teenage group’s “bespectacled resident genius” single-handedly locating the Owl-beast's secret lair.

Written by: Matthew Cody, Drawn and Coloured by: Erich Owen

Batgirls #7 - DC Comics

BATGIRLS No.7, August 2022

For those Batfans able to negotiate their way through Becky Cloonan and Michael W. Conrad’s surprisingly sedentary storyline for Issue Seven of “Batgirls”, it was probably very clear just why “DC Comics” needed to ‘pump up’ the enthusiasm for the book by largely focusing its solicitation upon the mysterious identity of the serial killer known as the Hill Ripper, rather than what this twenty-two page periodical genuinely contains. Yet whilst such a debatably dishonest ploy might have tricked a few ill-fated bibliophiles to pick a copy up off their local store’s spinner rack, the actual narrative to “Bad Reputation” will arguably have ensured that few readers would make a similar mistake again.

Indeed, considering that this magazine contains the murderous mercenaries known as the Saints and Barbara Gordon’s arch-nemesis Seer, as well as a covert mission to infiltrate Oswald Cobblepot’s felon-filled Iceberg Lounge, many devotees must have been bitterly disappointed that nothing much action-orientated occurs within its cover. Sure, the publication opens dynamically enough with Kira Kosov apparently racing for her life across the rooftops of a night-time Gotham City. However, even this short-lived, adrenalin-pumping act is soon shown to be nothing more than a sham to lure Tarsus, Assisi and Valentine into Oracle’s trap.

Furthermore, this comic’s collaborative writing team appear to unashamedly test their audience’s willing suspension of disbelief by skirting over the fact that the Saints had previously been well and truly defeated by the Batgirls, courtesy of a single line stating that the supposedly imprisoned “ex-Magistrate splinter cell” simply “vanished” from police custody before they could be booked in at Central Station. Quite possibly such an ‘unusual’ escape would be much more forgivable if incoming artist Robbi Rodriguez had actually been given an opportunity to draw their escape. But instead, the co-creator of Spider-Gwen is disappointingly tasked with simply pencilling numerous panels featuring alcoholic news reporter Grave O’Halloran talking nonsense or Barbara getting dressed up for a date with Dick Grayson; “I don’t care! How am I supposed to kick butt in a dress?”

In fact, the illustrator’s layouts must have come as something of a shock to those readers who have been collecting this ongoing series from its start, as the American’s heavily-laden line style somewhat shocking jars with the much more quirky drawing technique employed by his predecessor Jorge Corona – a striking contrast which is probably made all the worse by this book having Corona sketch its cover.

Story: Becky Cloonan & Michael Conrad, Art: Robbie Rodriguez, and Colors: Rico Benzi

Shang-Chi And The Ten Rings #5 - Marvel Comics

SHANG-CHI AND THE TEN RINGS No. 5, January 2023

Rather energetically explaining the tragic origin of the ten rings, Gene Luen Yang’s storyline for “Game Of Rings” surely must have ‘hooked’ this comic’s audience with its exhilarating mixture of pulse-pounding pugilism, and unhappy flashback to a time when the Jade Emperor despairingly ordered the death of the god-hero Nezha. Indeed, there’s barely a dull moment to be found inside the American author’s twenty-page long plot, as Shang-Chi battles both a maggot-infested demonic Leiko Wu and treacherous Shen Kuei for ownership of the legendary Ten Rings; “What happened to partnering until we’re the last two left!?!”

Foremost of these fights are the Master of Kung Fu’s titanic tussles with his former lover. Now an unwilling host of a spawn of the Desolation Wyrm, the possessed MI-6 agent provides a suitably dangerous opponent for Commander Hand to face, especially when he’s equally occupied keeping the Cat from inadvertently plunging to defeat through a ground-based portal, and this palpable threat to the Chi-Meister’s success genuinely helps raise the tension between the combatants as they rapidly exchange seismically-powered blows.

Equally as engaging as this book’s all-out action though, has to be the emotional drain experienced as Shang-Chi desperately tries to reach inside Leiko Wu’s head and help her battle the fiendish monster controlling her. The woman’s eventual exorcism of the grisly mind grub arguably adds an extra element to her previously somewhat unsympathetic character, whilst some genuine sadness is generated in the character's final scene when she willingly departs “maybe the only one I trust at all” with a tearful kiss and admits that the British Intelligence Service were entirely wrong to have stolen the “set of ten mystical iron rings” from the head of the Five Weapons Society in the first place.

Impressively adding plenty of jaw-breaking “HWOK” and sense-shattering “SHINGGG” to this publication’s proceedings are Marcus To’s layouts, which somehow manage to cram an awful lot of punches, kicks and throws onto each individual sheet. In fact, the sheer sense of speed created by the artist’s clever use of small panels depicting all the intense drama, really helps sell the breath-taking pace of the furious fisticuffs on show - whether it be Red Cannon cold-bloodedly falling upon an otherwise distracted Yokozuna Tak, or the leader of the Red Dot Collective savagely blowing a hole straight through an astonished Ghost Maker with his formidably-sized hand-cannon.

The regular cover art of "SHANG-CHI AND THE TEN RINGS" #5 by Dike Ruan & Matthew Wilson