Dune: House Harkonnen #3 - BOOM! Studios

DUNE: HOUSE HARKONNEN No. 3, March 2023

Focusing primarily upon Giedi Prime’s bloated Baron and the increasingly debilitated leader’s battle of wills against the Bene Gesserit following his discovery that the ‘witches’ infected him with a degenerative disease, Issue Three of “Dune: House Harkonnen probably pleased the vast majority of its readers. Sure, it’s not entirely evident from Brian Herbert and Kevin J. Anderson’s penmanship just what the “secretive matriarchal order” hoped to achieve by initially inviting their enemy into the Mother School on Wallach IX and then scaring Vladimir away before the man had even spoken to Harishka. But at least by the end of the ‘game’ it is clear neither side would ever be willing to openly speak out against the other faction to either the Landsraad or Emperor.

Just as beguiling as this uneasy stalemate is Duncan Idaho’s training “to be the legendary fighter he’s destined to become” by the Ginaz Swordmasters. Arguably it would have been all too easy for the two writers to have presented the “Killer extraordinary” as an unstoppable trainee who excelled at every hurdle placed in his way by his teachers. However, despite some significant successes, the youth is shown to still learn from his defeats as well, such as when he’s made to don the most impenetrable armour imaginable and still falls before the blades of his fellow apprentices; “The hawk is safer from the attack than the turtle.”

Rounding out this twenty-two page periodical is the desperate uprising on Ix in the underground city of Vernii. Somehow crammed in between this comic book adaption’s central plots, the plight of poor C’tair Pilru makes for a good reminder as to just how terrifyingly deadly Herbert’s future universe actually is, especially when the Sardaukar dispense with an elderly “accountant for the Earl Dominic Vernius” by lashing his upside down corpse to a stone column with barbed wire for all to see.

Also aiding in the storytelling is artist Michael Shelfer, whose attention to minor details, such as unfriendly eyes of the Ginaz Swordsmasters, helps add plenty of additional atmosphere to the publication’s vast array of locations. Perhaps foremost of these touches though lies in the Florida-born illustrator’s pencilling of Baron Harkonnen, who genuinely seems to be disheartened by his worsening physical plight, and Rhombur’s “new Bene Gesserit concubine” who is cleverly shown close to her partner’s side when he makes the bold decision to “do something to liberate my people!”

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

Rick And Morty Verses Cthulhu #4 - Oni Press

RICK AND MORTY VERSES CTHULHU No. 4, March 2023

Rather neatly tying this mini-series in with one of the animated science-fiction sitcom’s most beloved opening title sequences, which depicts Rick Sanchez desperately fleeing the wrath of Cthulhu whilst harbouring a baby cosmic entity aboard his flying saucer, this twenty-two page periodical’s epilogue certainly must have pleased many a viewer of Adult Swim’s show. However, as to whether the rest of Jim Zub’s narrative proved entertaining is arguably another question entirely, with much of what precedes this comic’s conclusion proving to be something of a disorientating, expletive-laden exploration of H.P. Lovecraft’s less tangible eldritch horrors; “It doesn’t matter how many apostrophes and f**ked-up sounds you use. No one is impressed, okay?!”

For starters though, the Canadian author pens a surprisingly endearing look at what would happen to young Morty should he become the adopted son of Dagon and “look like a f**king fish.” Composed in the form of a letter the fourteen-year old plans to send his biological parents from his underwater grotto, this lengthy sequence seemingly strikes an engaging balance between the sentimentally of parenthood and obligatory gratuitous violence whenever the Fish-God rises from the depths to savagely slaughter any vessel’s crew foolish enough not to offer the deity a human sacrifice or two.

In addition, there’s plenty of short-lived fun to be found when “the Smartest Man in the Universe” returns home to rescue Jerry Smith from a supernaturally-powerful possessed Beth, and inadvertently drags his gibbering son-in-law straight into the sharp-toothed maws of the Hounds of Tindalos, who were hiding inside his space vessel. Indeed, despite the brevity of Troy Little’s dynamically-drawn chase and frenzied laser-gun shoot-out, there’s some genuine belly laughs to be found as Sanchez honestly appears determined to save the drug-addled “stay-at-home dad”.

Disappointingly however, the rest of this book almost appears to be a case of Zub writing himself into a corner as Rick somehow kills Cthulhu with a rocket launcher, and then begrudgingly acquiesces to the “original existential terror pulled from mankind’s deepest subconscious” so his now dead family will be miraculously returned to their normal lives. This ‘hard reset’ is rather disheartening after all the trials and tribulations the titular characters have endured beforehand, and despite the aforementioned association to the cartoon’s credits, it might have been better if the storyline had simply continued in its exploration of the Mythos tales as it did in its first issue, rather than have Sanchez lose a debate with a cognisant philosophical dilemma.

Written by: Jim Zub, Illustrated by: Troy Little, and Coloured by: Nick Filardi

Monica Rambeau: Photon #3 - Marvel Comics

MONICA RAMBEAU: PHOTON No. 3, April 2023

Leaping all over the place from Monica Rambeau’s supposed home with ‘husband’ Doctor Voodoo, through to the Sorcerer Supreme’s Sanctum Sanctorum and then on into deep space, Eve L. Ewing’s narrative for this comic probably infuriated its audience as much as the Avengers did Photon by wrongly insisting that the superheroine’s mother had died “a while ago now.” True, all this “topsy-turvy” nonsense is eventually revealed to be as a result of “the universe… folding in on itself.” But that arguably doesn’t explain what is actually happening to the former Captain Marvel, nor why her apparently deceased parent is able to simply call her up on the mobile phone; “Mama?! How totally not surprised I am to hear from you.”

Similarly as frustrating as the gobbledegook plot though, is the American author’s heavy reliance upon sheer blind luck helping the titular character find, and then later aid, a mysteriously 'invisible' race of green-skinned aliens who also just happen to be able to decipher the Stone of Hala. This incredible journey across the stars alone debatably contains more contrivances than most comic books contain, especially when it's made clear that the human mutate just happens to be the only person who can connect with the ancient relic’s energy signature in the first place. However, once Rambeau has arrived from her “self-discovery journey” the protagonist discovers that she is handily able to transform into yet another form of energy so her eyes can properly see all the “stellar nurseries full of embryonic stars” and spot the Guardian Hall of the Charos veiled “deep inside a forgotten corner of the cosmos.”

Such manufactured moments must surely have increasingly grated upon the audience’s nerves, and only get worse when it turns out that the one resident from amongst the “group of wanderers” who might help Monica is dying from a chest tumour. Once again Roger Stern’s co-creation just happens to be able to perform the necessary x-ray scan required to locate the life-threatening growth and replicate the low-level radiation therapy treatment necessary to immediately cure them. Indeed, literally within seconds of Photon blasting her terminally ill patient with her super-powers, artists Ivan Fiorelli & Luca Maresca are proficiently pencilling the diminutively sized extra-terrestrial miraculously back up on its feet ready to “refer to some notes from the Grandmothers” as to how the Stone of Hala works.

The regular cover art of "MONICA RAMBEAU" #3 by Lucas Werneck

Moon Knight [2021] #17 - Marvel Comics

MOON KNIGHT No. 17, January 2023

Depicting Marc Spector’s white-hooded alter-ego at arguably the height of his power, Jed MacKay’s storyline for Issue Seventeen of “Moon Knight” must surely have caused many a fan of the millionaire entrepreneur to shout in triumph as he brutally batters the super-assassins Grand Mal and the Nemean. Indeed, despite having opened with the disconcerting scene of Tigra declaring that the titular character’s comrade-in-arms Doctor Badr is dead, this comic’s plot persistently then projects a series of successes which climaxes with the two West Coast Avengers confidently striding into the Structure’s vampire conclave; “It’s customary to show up to a party with presents -- and this is a party, isn’t it?”  

Admittedly, many of the Fist of Khonshu’s achievements do debatably belong at the feet of the masked vigilante’s “entity from another dimension”, which has more recently taken up residence as the Midnight Mission. However, that doesn’t necessarily detract from the hero’s ability to quite literally drag the “killers who beat him once already” straight into the House of Shadows’ very belly first. Furthermore, before the pair succumb to the psychological tortures of the ‘magical office space’ they are given a darn good thrashing by the Egyptian Moon God’s favoured son, courtesy of some hand-batons.

Intriguingly though, this twenty-page periodical’s plot isn’t just about portraying Moon Knight, and later a resurrected Hunter’s Moon, exacting their revenge upon their blood-drinking opponents either. But also dedicates the final fifth of the book to showing just how dominate the various vampire organisations across the world actually are, and just how insanely ambitious the Tutor has become. This disconcerting sense of global sovereignty becomes especially palpable once it becomes clear that with the sole exception of Count Dracula himself declining Kenneth’s invitation, the leader of New York City’s “massive cult-like Ponzi scheme” appears to have the attention of every Nosferatu leader on the planet.

Helping to make this comic as sensational-looking as the Midnight Mission’s shadow-filled corridors are spine-chillingly scary, at least for Grand Mal and the Nemean, are Alessandro Cappuccio’s layouts. The Italian artist does a prodigious job pencilling all the flesh-crawling horrors to befall Tutor’s minions, as well as noticeably adding some extra swagger to Spector and Tigra as they almost nonchalantly walk in upon the Structure’s grand ceremony wearing the very finest in formal attire.

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

Monica Rambeau: Photon #2 - Marvel Comics

MONICA RAMBEAU: PHOTON No. 2, March 2023

Despite Eve L. Ewing desperately attempting to tap into the success of the much-lauded Stern-Buscema-Palmer years on “The Avengers”, her script for Issue Two of “Monica Rambeau: Photon” most likely landed with a disappointing thud when it first hit the spinner-racks in January 2023. In fact, this twenty-page periodical’s “topsy-turvy” storyline is debatably so unfollowable as it sucks the audience “across the infinite cosmos into the wrong corner of fragmented space-time", that many a perusing bibliophile probably popped it straight back into its empty pocket once they realised that at best this book’s guest stars were just the creations of the ever obtrusive Beyonder.

Foremost of these frustrations is arguably the way in which the “associate professor” attempts to create an aura of mystery within this comic by simply not explaining why anything is happening, and randomly throwing the titular character into one bizarre situation after another. True, this technique does initially work when the former Captain Marvel attempts to stop a flaming meteor from exploding into New Orleans and strangely finds herself unable to detonate the deadly satellite with her formidable super-powers. However, by the time Photon is depicted inexplicably battling a giant-sized crocodile in the Bayous of Lousiana whilst the rest of the Earth’s mightiest heroes idly stand by watching from the deck of a land-stranded yacht, the audiences’ heads are probably spinning as badly as Rambeau’s purportedly is.

Indeed, so little of the plot actually makes sense by this stage, including the gobbledegook dialogue of an entirely reimagined Beyonder, that many a Marvelite doubtless needed a rest and moved on to something else before soldiering on through this comic’s final few scenes; “Imagine my surprise in discovering that the one with the great power was also one enshrouded in a tremendous yearning. A being at the nexus of cosmic ability and tumbling, cacophonous wants.”

Disappointingly, artists Ivan Fiorelli and Luca Maresca don’t seem able to do much with the narrative either, even though the pair do a reasonable job in replicating the look of the Avengers from the mid-Eighties. The illustrators’ doe-eyed, gossamer-wearing central antagonist is especially disconcerting, appearing far too cartoony amongst some of the more ‘realistic’ figures. Whilst Monica appears to wear nothing but a bedazzled, open mouthed expression across her face for the entirely of the book.

Writer: Eve L. Ewing, Artists: Ivan Fiorelli & Luca Maresca, and Color Artist: Carlos Lopez

The Amazing Spider-Man [2018] #15 - Marvel Comics

THE AMAZING SPIDER-MAN No. 15, April 2019

Considering that this twenty-page periodical was apparently the sixth best-selling title in February 2019, at least according to “Diamond Comic Distributors”, it’s doubtful many of its 71,407 readers were particularly impressed with its ponderous plot and lack of any awe-inspiring action. In fact, considering that it starts with the rampaging Rhino somehow already being in Black Ant’s custody, it’s probably likely a fair few bibliophiles were at first somewhat busy wondering whether they’d inadvertently missed an issue of “The Amazing Spider-Man” somewhere; “May needs me! I might be too late. She might already be dead. No. Can’t think like that.”

Sadly, this frustrating sense of disconnect between this particular edition’s storytelling and its preceding instalment is then only compounded by the titular character’s absolute pulverisation of Taskmaster within the space of half a dozen panels. Solicited as containing a deadly confrontation between the two antagonists, this incredibly abrupt altercation is bitterly disappointing, especially once the book’s audience are reminded that Tony Masters had previously boasted of watching more footage of Web-head in order to increase his odds of outfighting the wall-crawling vigilante.

Instead, Nick Spencer provides his audience with the tried and tested trope of a superhero saving numerous civilians from a semi-caved in building. Sure, this particular scene does contain an element of excitement considering one of the partially-destroyed restaurant’s customers just happens to be Aunt May. But there’s arguably never really a suggestion that Peter Parker’s relative, or even her second husband’s attorney for that matter, are in mortal danger. Indeed, this comic’s biggest surprise actually stems from the shock identity of a homeless man who needlessly dies during the ceiling’s final collapse, rather than from anything the author pens for the white-haired widow.

Equally as unenthused for this publication’s script appears to be Chris Bachalo, whose pencilling gives the impression that the artist was predominantly concerned with just padding out the storytelling with noticeably empty backgrounds, large blank voids and even the odd seemingly ‘blow up’ sketch. The number of sheets showing white vacuums is particularly conspicuous as events unfold, as if the Canadian decided he was never going to hit his deadline without reducing his workload in some shape or manner.

Writer: Nick Spencer, Penciler: Chris Bachalo, and Colourists: Chris Bachalo & Jim Campbell

Moon Knight [2021] #16 - Marvel Comics

MOON KNIGHT No. 16, December 2022

Cleverly entwining Marc Spector’s exhilarating interview with Lady Yulan and a terrifying battle involving an overconfident Doctor Badr, Jed MacKay’s narrative for Issue Sixteen of “Moon Knight” must surely have landed very well with this comic’s audience. True, the West Coast Avenger’s lengthy conversation with a vampire “raised from birth to be an assassin to the dread immortal Yi Yang” is incredibly word-heavy and bursting with well-filled text balloons. But having shown just how incredibly fast the undead killer can be by suddenly single-handedly pinning the superhero against a wall without any warning, every subsequent word uttered in Chinatown is laced with a deadliness that should keep even the most blasé of bibliophiles unequivocally hooked.

Furthermore, the tense sequence helps establish just how large-scale the blood-drinkers’ operation actually is, as the demonic-looking Nosferatu talks openly of a global structure which even includes Dracula’s “first internationally recognised sovereign vampire nation in history.” This context shows just how big a problem Doug Moench’s co-creation is actually facing and intriguingly raises the odds of the ‘street level vigilante’ surviving a long-running campaign against the Tutor; “Maybe it takes ten years. Maybe it takes a hundred. Vampires can work on a very long timeline, Mister Knight.”

So lethal a threat is certainly reinforced by the chilling fate of Hunter’s Moon, following the Egyptian doctor’s unwise decision to tackle Nemean and Grand Mal alone during the dead of night. Arrogantly assuming he can outfight Kenneth’s top two hired guns with just his knuckles, despite the fact that the pair have already bested the (other) Fist of Khonshu, Badr is eventually brought to his knees by a torrent of ferociously-fanged and lethally armed thralls during a riveting, roof-top ambush.

Similarly as sensational as this twenty-page-periodical’s penmanship is Alessandro Cappuccio’s eye-catching artwork, which genuinely helps make the fraught atmosphere inside Yulan’s head-quarter’s palpably pulse-pounding. Likewise, the Italian illustrator is extremely good at pencilling the increasing desperation which creeps into Hunter’s Moon as the anti-hero stoically stands his ground against overwhelming numbers. Indeed, one of the highlights of this publication actually arrives at this publication’s end, when he provides a splash page which encapsulates all the haunting, spine-snapping dread of Gwen Stacy’s disconcerting demise by Gil Kane way back in 1973.

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

The Amazing Spider-Man [2018] #14 - Marvel Comics

THE AMAZING SPIDER-MAN No. 14, March 2019

Having been described in its rear-situated Letters Page as a title “worth the money in my wallet” due to ‘Nick Spencer’s run on The Amazing Spider-Man being fantastic’, the former politician’s script for “Family Matters” probably didn’t live up to that particular reader’s expectations. Indeed, this twenty-page periodical’s plot is predominantly packed full of sedentary table-talk and family squabbles, as opposed to anything either sensational or even slightly entertaining; “What did you think would happen? That you could just take advantage of my grief and my financial situation to --”

True, at the very end of this publication Peter Parker’s alter-ego finally starts spinning some webs when he goes toe-to-toe against the Taskmaster and Black Ant in a seemingly upper-market restaurant. But this fracas is so short-lived, courtesy of the Rhino literally crashing the party in time to form an unlikely team-up with the titular character that the mouth-watering confrontation arguably just acts as an enticing appetiser for the ongoing series’ subsequent issue.

Instead, this comic’s audience are left with several snapshots into the domestic life of the ever-villainous Arcade, the poverty-stricken Aunt May, and the Lizard’s scale-covered son, Billy. Such scenes are admittedly quite endearing, especially Curt Connors’ evident concern over his young boy’s behaviour on social media when it threatens to expose the vulnerable child’s whereabouts to the world. However, debatably just one of these dialogue-driven dramas would be quite enough when interspersed between the panels of a dynamically paced narrative. So to have penned four similar conversations condensed within a single instalment badly slows down any sense of speed which this book’s storyline might have.

Luckily though, what this edition lacks in sense-shattering shenanigans it somewhat makes up for with Chris Bachalo’s colours and pencils. The Canadian illustrator does a particularly good job in providing the sewer-dwelling anthropomorphic reptile with plenty of heft and girth to his cold-blooded form, as well imbuing the few punches thrown during Spidey’s altercation with Tony Masters with some incredible bone-crunching impacts. Furthermore, the artist makes good use of some old X-Men artwork when depicting Arcade playing a video game on a big screen, and later likewise incorporates a classic Web-head verses Lizard sketch too.

The regular cover art of "THE AMAZING SPIDER-MAN" #14 by Ryan Ottley & Nathan Fairbairn

Batman: The Adventures Continue Season Three #3 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON THREE No. 3, May 2023

Focusing an enthralling spotlight upon “the Joker’s right-hand man, Straightman”, as well as featuring an intriguing appearance from both Amada Waller and Task Force X, Alan Burnett and Paul Dini’s script for “Crack-Up!” certainly should have impressed most of the twenty-page periodical’s bibliophiles. True, the Caped Crusader’s brilliantly brutal battle against the former super-soldier doesn’t actually last all that long. But that doesn’t stop the Dark Knight’s investigation into Captain Carl Finley’s “pre-Joker life” from being any less intriguing, especially once the likes of the Suicide Squad show up to help muddy the waters; “I figured that was you back in the alley, Deadshot. The expert marksmanship was one clue. The motley company you keep was the clincher.”

Furthermore, the book’s opening action sequence, depicting the Afghanistan veteran bravely risking all to save the life of a badly-wounded Colonel Haslett, makes for a riveting read and also helps establish that the formidably-powerful hoodlum clearly has a tragically heroic backstory to be told. Indeed, despite the slow-minded bruiser’s evident loyalty towards the Clown Prince of Crime, it’s debatably difficult not to feel some semblance of sympathy for so courageous a trooper who unselfishly put himself into the hands of Professor Hugo Strange in an unwise attempt to help create “a battlefield where no soldier has to suffer, where none are left behind.”

Similarly as successful is this narrative’s introduction of a mysterious, heavily-honed female fighter, who seemingly has Straightman’s best interests at heart and will even merrily blast away at Batman with an automatic weapon at close range if she feels it will aid her mission to “save him from Waller and that horrible clown!” Of course, many perusing this publication will soon deduce that the hooded vigilante is probably the aforementioned Haslett, who apparently joined her would-be rescuer as a guinea pig for Strange’s diabolical experimentations once she recovered from her injuries. However, that notion doesn’t lessen the sense of intrigue permeating any scenes in which the vigilante appears.

Also adding to the aura that this issue of “Batman: The Adventures Continue Season Three” was lifted directly from the animated television series are Ty Templeton’s layouts, which at times genuinely look like a cartoon still. The Canadian illustrator's art style is particularly impressive whenever a panel features the Dark Knight himself, with colorist Monica Kubina doing a first-rate job in covering the crime-figure or his trademark silhouette with precisely the sort of shadows any Bat-fan would expect from a super-hero who utilises “a bat-inspired persona.”

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON THREE" #3 by Baldemar Rivas

Avengers: War Across Time #3 - Marvel Comics

AVENGERS: WAR ACROSS TIME No. 3, May 2023

Containing two pulse-pounding battles between this mini-series’ titular characters and the king of the dwarfs, as well as an intriguing look at the underground world of the Lava Men, it’s arguably easy to see just why this comic’s letters page is filled full of compliments congratulating Paul Levitz on capturing “the magic of the Silver Age.” Indeed, such is the sense of Sixties nostalgia generated by Issue Three of “Avengers: War Across Time”, that it’s quite clear the American author “learned much of my writing craft from The Avengers” and clearly wrote the storyline to “pay homage to my old friends Stan [Lee], Jack [Kirby] and Don [Heck].”

Quite possibly this comic’s biggest success though actually lies in the personality of the highly disagreeable and self-righteous Sindri, who despite all his claims of royalty is still perfectly happy to sink his teeth into Thor Odinson’s wrist when the diminutive miscreant wants to get his unworthy hands on Mjolnir. Astonishingly powerful, and clearly capable of causing the entire Earth to sink into “a fiery doom”, the Dwarf of Nidavellir grabs the attention in every panel in which he appears, even during the somewhat more dialogue-driven sequences whilst he energetically explores the caverns beneath New York City’s paved surface.

Furthermore, the former editor of “DC Comics” is able to remind this twenty-page-periodical’s audience that the true villain of the piece, Kang the Conqueror, is still very much a threat by occasionally visiting the time-obsessed tyrant in his future-housed headquarters. These brief interludes help establish just why Sindri’s accidental presence on the planet is so integral to the title’s overall plot, and actually helps keep the reader momentarily guessing as to just where the superheroes’ next threat will come from; “We barely stopped Kang’s robot Hulk -- Who knows what he’ll send to attack us next..?”

Helping smash the look and feel of Marvel Comics’ early era are Alan Davis’ layouts, which quite justifiably are acknowledged as calling back “to its roots in Kirby, Heck and [Dick] Ayers.” One particular success is debatably the initial battle between the God of Thunder and his lesser-sized adversary, with the British artist imbuing Thor’s opponent with all the feisty mannerisms of a scrapper who is facing a much more physically impressive antagonist.

The regular cover art of "AVENGERS: WAR ACROSS TIME" #3 by Alan Davis

The Batman And Scooby-Doo Mysteries #6 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 6, May 2023

Crafting a genuine sense of bewilderment, courtesy of Mystery Incorporated refusing to assist the Caped Crusader in pursuing a team of bank robbers, Ivan Cohen’s script for Issue Six of “The Batman And Scooby-Doo Mysteries" must have hooked the vast majority of its readers with its surprising opening. True, such utter puzzlement doesn’t last particularly long, once Fred Jones and his gang return to Madame Xanadu’s fortune telling store and the audience are treated to a flashback sequence summarising the amateur gumshoes’ previous visit. But for a while, it appears the likes of Shaggy Rogers and Daphne Blake might be being blackmailed, threatened or mystifyingly mislead by some malignant force for evil.

Somewhat disappointingly, arguably none of these explanations prove valid though once it’s revealed that Velma Dinkley suspected foul play straight from the start, and only had her friends play along with the unsuccessful ruse so as to lure the criminal culprit behind the ploy out into the open. The Dark Knight too appears disconcertingly quick to guess what his ‘fellow sleuths’ are up to, especially once it’s made clear to him that the real female magic user has previously left Gotham City to reside along the Mississippi River; “She hasn’t been around in months. Last I heard she was in New Orleans. Or maybe Maine. One of those Places.”

Cohen also pens an unexpectedly dislikeable incarnation of Batman, who starts moaning to Alfred Pennyworth about how he has to deduce the identities behind the thefts all on his own..? Naturally, his much more grounded butler puts the billionaire straight as to his whinging behaviour. However, this bizarre moment of petulance is debatably so out of character for someone “revered as the world's greatest detective” that it will infuriatingly remain firmly in the mind’s eye of any bibliophiles for the rest of the twenty-page periodical.

Perhaps therefore this publication’s biggest selling point lies with Erich Owen’s layouts, which are cleverly pencilled to provide a pseudo realistic 3D image of Bruce Wayne’s metropolis. Some of the sketches of Fred, Daphne and Velma are a little rough-looking at times. Yet when placed over the incredibly detailed backgrounds admirably seem to provide each panel with an impressive amount of eye-pleasing depth.

Written by: Ivan Cohen, Art by: Erich Owen, and Letters by: Saida Temofonte

Monica Rambeau: Photon #1 - Marvel Comics

MONICA RAMBEAU: PHOTON No. 1, February 2023

Considering that Issue One of “Monica Rambeau: Photon” features a team-up between the titular character and the amazing Spider-Man, some endearing cameos by the chess-playing inhabitants of the Sanctum Sanctorum, as well as a frighteningly frantic fracas against the disconcertingly gifted Hinge, readers will probably enjoy just over half of this twenty-page periodical. However, once the former lieutenant in the New Orleans harbour patrol returns home and starts taking domestic-related phone calls Eve L. Ewing’s script debatably takes a turn for the worse.

Indeed, the American sociologist’s script suddenly seems to disappointingly degenerate into little more than a series of family issues and squabbles, where the human mutate desperately tries to solve her disagreeable cousin’s fractious relationship issues for the rest of the comic. Sure, such an insight into the mighty Avenger’s kin-based loyalty provides her with some admirable development. But the dialogue-driven sequence drags on for so long that it also ensures much of the pulse-pounding pace generated by this book’s early action scenes has completely evaporated by the publication’s end; “A reset? A therapist? A crystal ball to tell me who I am if not just the MVP of every team?”

Thankfully, so sedentary a conclusion can still be somewhat overlooked due to the dynamic punch-up Ewing pens beforehand. The “universal powerhouse” is still very much a veteran leader during combat, so her slight disagreement with Peter Parker’s alter-ego when she orders him about during their attack upon a deranged Doctor Yesenia Rosario, adds an intriguing wrinkle to an already engrossing persona. Furthermore, this “all-new adventure” contains a pleasing nostalgic nod back to Monica’s days as “Captain Marvel” when she is spotted by an elderly white-haired enthusiast who used to keep a scrapbook on the woman’s exploits alongside the rest of Earth’s Mightiest Heroes.

Perhaps slightly more successful than this all-new adventure’s narrative are the layouts by Luca Maresca (with Ivan Fiorelli). The aforementioned fight sequence is packed full of punches, blurring motion and even the quirky athleticism Spider-Man has become famous for. Whilst even the comic’s conversational pieces contain some considerable emotion as Caleb angrily snaps at the person he called for help, and a noticeably world-weary Photon tries to take comfort in the company of her parents.

Writer: Eve L. Ewing, Artists: Luca Maresca with Ivan Fiorelli, and Color Artist: Carlos Lopez

The Adventures Of Captain Cosmic #1 - Frontier Comics

THE ADVENTURES OF CAPTAIN COSMIC No. 1, February 2018

Brought to life by 247 backers pledging £3,444 on the Kickstarter crowdfunding platform back in April 2018, Andy W. Clift’s narrative for Issue One of “The Adventures Of Captain Cosmic” certainly must have pleased those bibliophiles anticipating “a classic, good vs evil, space adventure superhero comic in the vein of the Silver Age.” Indeed, this twenty-page yarn is absolutely packed full of numerous nostalgic nods to this particular period in American mainstream publishing, such as a parental robotic subordinate worrying about its adolescent ward, an utterly outrageous plot featuring a maniac miniaturising entire planets, and a dynamic conclusion which sees the self-assured adult hero rescued by his adolsecent side-kick; “Oh Boy, I better do something quick! Before Dad becomes a permanent member of the Krazy Kena Toy Club!”

Furthermore, the author’s ability to imbue all of his characters with precisely the sort of campily cut vocabulary a reader might expect whilst watching an episode of William Dozier’s Sixties live-action television series “Batman” should surely raise a smile or two from the book’s audience. In particular, the titular character’s frequent reference to Kid Cosmic as “Chum” smacks of thespian Adam West’s delivery of the word to Burt Ward’s Boy Wonder, and resultantly some readers will soon find it rather difficult not to imagine the space age protagonist actually being played by the late great American actor.

Ultimately however, this periodical’s significant success rests upon its storytelling. The tongue-in-cheek tone is set the moment the brilliantly named Prime Consoler Zoltan of the Commonwealth of Worlds “calls in the only people that can help” and continues to deliver Stan Lee styled tropes throughout the comic until its very end. In fact, considering the book’s plot is reminiscent of Superman’s bottled Kryptonian city of Kandor and Hanna-Barbera Productions’ Space Ghost, as well as quite possibly even a suggestion of Star Trek: The Next Generation’s villainous Kivas Fajo, then it’s debatably difficult to think of a sci-fi influence the self-confessed “cartoon maker” doesn’t tap into during this tale.

Similarly as striking is Clift’s art-style, which quite splendidly manages to capture all the hallmarks of Jack “King” Kirby’s much-lauded look when it comes to pencilling any panels set in outer space. Likewise, there’s a solid, strong-jawed look to Captain Cosmic himself, with the colourfully-costumed crime-fighter proving particularly well-pencilled whenever he gets the opportunity to smack one of Kena’s robots right into next week.

Written, Drawn and Lettered by: Andy W. Clift

The Batman And Scooby-Doo Mysteries #5 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 5, April 2023

For those Silver Age connoisseurs who enjoy nostalgic trips back to the days of “wealthy Gotham City heiress and former circus performer” Kathy Kane wearing the colourful costume of Batwoman, Sholly Fisch’s script for “Rat’s All Folks” surely brought them a lot of rosy reminisces. In fact, arguably this twenty-page-periodical’s greatest strength is its incredible ability to educate its audience with the history of Edmond Hamilton’s co-creation and then bring the partially greying crimefighter back out of retirement, alongside sidekick-turned-professional tennis player Bette, for one final adventure.

However, for those bibliophiles who require at least some sort of explanation as to why a pack of ferocious Rat-men are ransacking the antique motorcycle collection of the Caped Crusader’s former-love interest, Issue Five of “The Batman And Scooby-Doo Mysteries" is probably going to be something of a disappointment, especially once Professor Achilles Milo’s masterplan to create an unstoppable army of the “monstrous minions” is revealed; “Who were you expecting? Hugo Strange? Tell me, what do you think of my new serum’s ability to transform bikers into quite literal lab rats?”

Admittedly, the “renowned chemist who turned to crime” does concede that his despicable concoction is only partially successful, and it is also clear from Batwoman’s stark concern at having to restrain Shaggy Rogers after he inadvertently consumes some, that Milo’s cocktail detrimentally affects the behaviour of its victims. But seeing as the perfidious pseudoscientist is supposedly just a day away from achieving his grand aim, it seems somewhat bizarre that he’d allow his guinea pigs to attract the attention of the local authorities by repeatedly terrorising the local highways and roads with a spate of burglaries.

Luckily, what this comic debatably lacks in logic or depth, it more than makes up for with Dario Brizuela’s drawings and Franco Riesco’s colours. The flashbacks to Aunt Kathy’s heyday when she “trained her mind and body” to become Batwoman are superbly sketched, with the sequences being greatly enhanced via the washed-out pigmentation of publications printed during the Sixties. Furthermore, there is definitely something distinctly uplifting about seeing the likes of the original superheroine riding a motorbike alongside her trusty Bat-Girl and alter-ego’s latest modern-day incarnation, whilst the Mystery Machine brings up the rear.

Written by: Sholly Fisch, Drawn by: Dario Brizuela, and Colored by: Franco Riesco

Shang-Chi: Master Of The Ten Rings #1 - Marvel Comics

SHANG-CHI : MASTER OF THE TEN RINGS No. 1, March 2023

As series ending one-shot’s go, this “shocking conclusion” to “Gene Luen Yang’s Shang-Chi saga” probably didn’t deliver the ground-breaking finale it’s American author was hoping for when he first penned the notion of the Master of Kung Fu meeting a much more optimistic version of “his evil parent” in Nineteenth Century China. Indeed, for those comic book collectors long enough in the tooth to recall Ron Marz and Kevin Dooley’s 1998 "Emerald Knights" storyline for “Green Lantern”, the concept of a titular character travelling back in time to meet a much more amiable incarnation of their greatest nemesis certainly isn’t a new one; “He’s younger… less angry… But he’s still unmistakably him. Father.”

Admittedly, there is something definitely intriguing about this flashback to the Opium Wars and Zheng Zu’s battle against both drug-smuggling foreigners and the disagreeable Constable Yuan. But just how the future “Fu Manchu” fails to remember fighting alongside a warrior wielding the heavenly weapons of the Jade Emperor is never mentioned, even after the stranger who cuts his “hair in exotic ways” saves the sorcerer’s life by single-handedly overcoming an entire platoon of the local policeman’s soldiers when they’re about to slice off the leader of the Golden Dawn’s head.

Disappointingly however, these oddities are just some of this publication’s frustrations, with the reader being repeatedly asked to accept quite a few contrivances in order to enjoy the ‘wibbly, wobbly’ devilries plaguing Commander Hand throughout his thirty-page long adventure. For example, what legal wranglings did Shang-Chi’s ‘on-off-on’ girlfriend Delilah Wang negotiate to arrange for Deadly Sabre to be suddenly released from the Vault? Why would someone as fanatically straight-laced as Yuan allow a hated British infantrymen to fire a musket ball directly between his eyes in the hope of luring Zheng Zu into a trap, and how did a single drop of Falo’s blood striking his long-dead ancestor’s skull cause a time portal to appear which would specifically “pull a younger version of our Master from the timeline of his life”..?

Fortunately, this comic does succeed when it comes to Michael Yg’s layouts, which do a prodigious job of depicting the ebbs and flows of Yang’s ‘timey wimey’ narrative. In fact, the “extraordinary artist” manages to add so much additional menace to the likes of Yuan’s well-armed forces and the traitorous modern-day Zheng Zu Loyalists, that it is a great pity the illustrator wasn’t given the opportunity to sketch how Sister Dagger defeated the turncoats of the Deadly Hand instead of the confrontation disappointingly occurring ‘off-screen’.

 The regular cover art of "SHANG-CHI: MASTER OF THE TEN RINGS" #1 by Jim Cheung

Avengers: War Across Time #2 - Marvel Comics

AVENGERS: WAR ACROSS TIME No. 2, April 2023

If capturing the almost adolescent simplicity of some of Stan Lee’s Silver Age storylines was Paul Levitz’s plan for Issue Two of "Avengers: War Across Time", then this twenty-page-periodical certainly does the job. But for those True Believers who like far fewer contrivances and (un)happy accidents in their comic books, such manufactured moments as the Earth’s Mightiest Heroes deciding to burgle the Baxter Building and an age-addled Postman accidentally activating Doctor Doom’s time machine might prove a bit too much; “Stark will have to square up with Richards for the damage. But I’m betting I can switch this off without our ripping it all apart.”

Happily however, any Marvelites willing to forgive such quibbles and simply enjoy the Eisner Hall of Famer’s channelling of the classic heroes’ adventures, should arguably still find that there’s plenty of sense-shattering shenanigans to enjoy once Willie Lumpkin has inadvertently teleported an irate Sindri into the heart of New York City. Indeed, the subsequent battle between the likes of Iron Man, Thor and Captain America against the angry king of the Dwarves of Nidavellir proves tremendously intriguing, especially as the diminutive forger of Mjolnir is able to resculpt Tony Stark’s armour like it was clay with the simple touch of his hand.

Furthermore, there’s plenty of pulse-pounding proceedings to be found beforehand following Shell-head’s ill-advised decision to pick the lock of the Fantastic Four’s residence and enter the skyscraper’s lift. The Golden Avenger demonstrates all the holier-than thou arrogance his character has become famous for, so many a reader will doubtless enjoy his discomfort at being manhandled by Reed Richard’s steel security tentacles and inability to manipulate Victor Von Doom’s machinery – at least without revealing his (then) secret identity to his team-mates.

Definitely helping the Avengers “break the barriers between worlds” are Alan Davis’ layouts, which seem to capture all the nuances of this narrative’s earlier era when the Wasp was wearing one of her more wildly wonderful costumes, and you could still see the rivets running around Iron Man’s face-plate. In addition, the “legendary X-artist” does an excellent job of imbuing Sindri with all the formidable physical power and fighting prowess a bibliophile might expect from an adversary who “once sent Thor as a prisoner to the Rock Trolls to be their slave.”

The regular cover art of "AVENGERS: WAR ACROSS TIME" #2 by Alan Davis

Alien [2022] #6 - Marvel Comics

ALIEN No. 6, April 2023

Whilst Phillip Kennedy Johnson’s storyline for Issue Six of “Alien” arguably contains more than enough adrenalin-fuelled action to satisfy even the most bloodthirsty fan of Twentieth Century Studios’ science fiction franchise, it’s hard to imagine many won’t be shaking their heads in disbelief at the Eisner-nominated writer’s handling of the synth Eli. Indeed, having increasingly depicted the android as a psychopathic killing machine who is responsible for most of the mutilation found within this mini-series, it seems utterly bizarre that the artificial soldier would suddenly change his vindictive viewpoint at the last minute in order to save Tobler-9’s young sole survivor; “What the humans did to Steel Team changed you. Everything you believe of them is true of you now.”

For starters, this comic opens with the whack-job warrior holding a large, curved blade to the throat of his squad leader so as to stop her from helping the poor child he has mercilessly thrown smack into the centre of a xenomorph nest cluster. It’s perfectly clear from Eli’s disagreeable attitude that he’s perfectly willing to brutally murder Freyja. Yet once she escapes his clutches by quite literally blindsiding him with a piece of metal piping straight through the right eye, the audience are meant to believe he supposedly changes his mind and starts firing at the aliens attacking her..?

So sudden and unconvincing a change of heart, inorganic or otherwise, arguably smacks of being contrived simply so Johnson’s script can end on a happy(ish) family’s note with the war veterans replacing their adolescent ward’s dead parents by promising to raise him – at least once Freyja has repaired all the damage she caused Eli when he was threatening to slice her head clean off. Furthermore, it’s debatably unclear as to just why the “expensive toys with delusions of grandeur” allow the alien hybrid to survive after it has just gutted Lieutenant General George March and his landing party, or why the humanoid creature would strangely rather stab itself in the chest with its deadly claws than kill the badly battered android who betrayed/created it in the first place.

Happily however, both Julius Ohta and colorist Yen Nitro’s layouts at least make some sense, most notably during the sequence showing March’s aforementioned demise when he overconfidently strides out to greet Nora from his shuttlecraft, and walks straight into the “new kind of Xenomorph”. The sheer look of terror, surprise and realisation as to his gory fate is incredibly well pencilled, as is the subsequent series of panels depicting the amazing speed at which the insectoid-like amalgam can move whilst cutting down her foes with her bare hands.

The regular cover art to "ALIEN" #6 by Bjorn Barends

DC Horror Presents: Sgt. Rock Vs. The Army Of The Dead #6 - DC Comics

DC HORROR PRESENTS: SGT. ROCK VS. THE ARMY OF THE DEAD No. 6, April 2023

Doubtless ensuring many a cadet will be stood to attention ramrod straight on account of Sergeant Franklin John Rock sensationally going toe-to-toe against a chemically enhanced Adolf Hitler in a twenty-two-page long slugfest, Bruce Campbell’s storyline definitely delivers upon its pre-publication promise of being a “fear-soaked finale”. Indeed, many a fan of Joe Kubert’s “steelworker from Pittsburgh, Pennsylvania” will doubtless struggle to recollect a time when the veteran soldier has come quite so close to being sent home in a flag-draped coffin.

Happily however, that ultimately is not the case as this comic’s “horror and comedy icon” captivatingly pens a series of standout moments which ably demonstrate “The Rock” can genuinely back-up his tough talk when it comes to a bout or two of fisticuffs with Nazi Germany’s Fuhrer. Furthermore, the increasingly fatigued American infantryman shows just how quick-witted his instincts for survival have made him, by employing a series of last second solutions to a plethora of Hitler’s utterly insane attacks; “Holy hell, is he tryin’ to..? You ain’t gassin’ my ass… Ugh… You should see the other guy!”

Intriguingly though, this book isn’t simply about Easy company coming face-to-face with the Third Reich’s ghoulish undead either. But also hints at its conclusion, following Frank's Skipper handing him a mysterious folder labelled the Division of Anomalous Phenomena, that the likes of Four Eyes, Bulldozer, Long Round and Short Round are probably destined to “come face-to-face with something far more horrifying than zombies” in a follow-up mini-series. Such a tantalising move debatably smacks of something from Mike Mignola’s “Hellboy”, yet it should certainly be enough to get any weird war fan frothing in anticipation at the prospect of the “just peachy” Sergeant having similarly unholy future adventures.

Equally as enjoyable as this periodical’s writing are Eduardo Risso’s pencils and Kristian Rossi’s colours, both of which help sell the bone-crunching impact of every punch Rock throws. In addition, this tale is not short on devastating, landscape-shaking explosions, and resultantly the creative duo do a first-rate job of fooling the reader into believing they can actually hear the violently loud bangs and odd “Wha-Boom” with their ears.

The regular cover art to "DC HORROR PRESENTS: SGT. ROCK VS. THE ARMY OF THE DEAD" #6 by Gary Frank

Book Of Shadows #4 - Valiant Entertainment

BOOK OF SHADOWS No. 4, February 2023

Brutally battering its audience’s senses straight from the start, Cullen Bunn’s concluding instalment to his “Book Of Shadows” mini-series essentially comprises of an exhausting twenty-page punch-up which enthrallingly appears to ebb and flow with every other sense shattering scene. Indeed, each time it seems certain that Exarch Fane’s murderous army of werewolves and vampires are about to complete their horrific Ritual of Sacrifice, “the supernatural heroes of the Valiant Universe” somehow manage to pull the rug from under the all-powerful warlord’s feet.

Foremost of these hooks arguably stems from the villain’s ability to temporarily control Punk Mambo and bend the Voodoo Priestess to his wantonly violent will. This demonic possession quite cleverly serves several purposes, such as providing the “terrifying ancient threat” with another voice other than Fane’s to persuade Persephone to help build a great Library of Darkness, as well as providing the two female magic users with some humorous banter at the adventure’s climatic end. However, it also enables Doctor Mirage and the Eternal Warrior a little more time to convince a “storm of ghosts” to aid them in the battle – something which ultimately results in the black-hearted sorcerer’s eventual defeat.

Just as enjoyable is the fact that Bunn doesn’t simply have the likes of Shan Fong trounce the “armies of the damned” by simply waltzing back into the main fray at the last minute either. In fact, despite successfully directing all the vengeful souls the protagonists' ghoulish, armour-clad foe has previously slaughtered right back at him, it’s soon shown that Exarch is still too powerful a magus to be beaten by paranormal means alone. This subversion of expectations genuinely comes as something of a shock, and quite wonderfully then leads into a final swashbuckling swordfight between Gilad Anni-Padda and his long-time nemesis; “Come on, then!”

Phenomenally pencilling all these gratuitous goings-on and psychic shenanigans is Vicente Cifuentes, whose terrifying transformation of Mambo into a wide-mouthed Nosferatu is one of this publication’s many visual highlights. Furthermore, the Spanish illustrator’s ability to surround the central cast with all manner of non-corporeal entities and slavering undead helps sell the impression that this tale is taking place amidst a massive, sprawling street invasion of the unholy, as opposed to just a few characters trading blows in isolation.

The regular cover art of "BOOK OF SHADOWS" #4 by Rafael Albuqueque

Avengers: War Across Time #1 - Marvel Comics

AVENGERS: WAR ACROSS TIME No. 1, March 2023

Essentially consisting of a forty-page long punch-up between “the classic Avengers” and the incredible Hulk, there’s surely plenty for fans of pulse-pounding pugilism to enjoy with Paul Levitz’s “Marvel debut”. Indeed, it is difficult to imagine a connoisseur of the Silver Age of Comics being able to resist this super-sized publication once they’ve seen Alan Davis’ sensational opening splash page depicting Thor, Captain America, Giant-Man and the Wasp falling to the ground through a wind vortex; “The rage of the storm is mine to command. A power beyond your mortal reckoning.”

Furthermore, the “Eisner Hall of Famer” still manages to enjoyably imbue each of this comic’s considerable cast with a little bit of personality in between them trading blows with Bruce Banner’s alter-ego, even when some of that spotlight does focus upon Janet van Dyne’s disconcerting crush upon “the Norse god of good looks!” Such moments really help break-up an otherwise potentially monotonous carousel of veiled threats and punches, whilst also helping establish the legitimate aura surrounding Steve Roger’s World War Two heroics and the super-team’s genuine concern for those innocent lives around them as they try to minimise any collateral damage caused by their actions.

Of course, this book’s biggest hook is witnessing the world’s mightiest heroes stoically strike against a creature who simply gets stronger the angrier he gets. This epic confrontation is quite nicely lengthened by fate compelling each Avenger to face-off against the Hulk single-handedly, and as a result there are some interesting duels involving Captain America, Thor, Giant-Man and an ultra-brave Wasp. In fact, one of this publication’s finest moments is debatably when Iron Man dons his infamous roller skates to repeatedly outfox an increasingly irate “Green Goliath” on a deserted public ice rink.

Issue One of “Avengers: War Across Time” also owes a lot of its success to its acclaimed British-born artist, whose prodigiously pencilled panels capture all the sense-shattering shenanigans this mini-series’ audience would expect from a comic attempting to capture the look and feel of the Sixties. Davis definitely attains some impressive images whilst drawing the various combatants slugging away at one another. But impressively, his layouts also contain a couple of notable nods to some of the other inhabitants of New York City, such as Betty Brant and Aunt May.

The regular cover art of "AVENGERS: WAR ACROSS TIME" #1 by Alan Davis

DC's Terrors Through Time #1 [Part Four] - DC Comics

DC'S TERROR THROUGH TIME No. 1, December 2022

As penultimate parables go in graphic novels, Matthew Levine’s “Blood Lost And Found” is utterly enchanting as it initially delves into the melancholy past of Jason Blood during Medieval times, and ends on a modern-day moment of satisfying revenge some five hundred years later; “It’s about time. Gone, gone, the form of Man…” Indeed, it’s a pity the intriguing ten-pager isn’t somewhat longer as the immortal trouble-shooter demonstrates some of the magical tricks he’s learnt from Merlin the Wizard whilst tracking down a party of hapless children stolen by a hungry giant demon.

Just as enticing as the penmanship is Jorge Corona’s mesmerising layouts, which really help add an extra shiver or two to the creative team’s storytelling courtesy of a chilling snowstorm stinging a local village and this tale’s formidably sized monster from Hell. The Venezuelan sequential artist also does an incredible job of depicting the love between young Emil and his temporarily distraught mother, as well as the brave boy’s faith in his knight when Etrigan materialises in a rattle of rhymes to save the day.

Arguably much more grisly-looking, thanks largely to Kelley Jones pencilling a plethora of baleful eyes and writhing tentacles throughout, is “The Haunting Of Wayne Manor” by Tim Seeley, which quite enthralling depicts what happens to the souls of those criminals who Batman’s son killed whilst under the malign influence of the lad’s grandfather Ra's al Ghul. Determined to have his revenge in the Afterlife, Hazaz Saber’s corrupted spirit from the Underworld looks like something straight out of a H.P. Lovecraft novel, and certainly seems to readily penetrate Damian’s usually steel-hard psyche with disconcerting ease.

In fact, debatably this adventure’s sole weakness lies in how the American author turns “The Robin” into a cowering kid who actually repeatedly pleads with the restless shade for his life. Such a bemusing characterisation of a cold-blooded killer is difficult to accept, and proves something of a frustrating disappointment, especially when coupled with the “Lemure” suddenly silently slinking off unsated simply because Deadman convinces the dead member of the Moroccan Mafia that a much more powerful menace has mysteriously laid claim to the adolescent’s soul.

The regular cover art to "DC'S TERRORS THROUGH TIME" #1 by John McCrea & Mike Spicer