DCeased: War Of The Undead Gods #7 - DC Comics

DCEASED: WAR OF THE UNDEAD GODS  No. 7, May 2023

Successfully pulling together more plot threads than this mini-series’ audience would probably care to recollect, Tom Taylor’s narrative for Issue Seven of “DCeased: War Of The Undead Gods” must have left many a bibliophile utterly shellshocked at the intense ferocity of the Australian author’s “final stand for the universe”. In fact, the Stan Lee Excelsior Award-winner marvellously manages to weave so many of his epic storyline’s surviving super-heroes into this particular twenty-two-page periodical that arguably few readers will be able to ascertain just when during the chaotic battle the tide finally turns in favour of those brave warriors who would oppose “some of the most powerful entities in existence”.

Furthermore, Superboy’s determined resistance against the zombie-like “slaves to the Anti-Life” depressingly appears to be on the verge of total collapse at the start of this comic, following the shocking fall of both Damian Wayne’s incarnation of the Caped Crusader and Brainiac. These two enthrallingly penned moments are distinctly disquieting, with the Dark Knight’s demise at the hands of Undead Darkseid’s forces proving especially poignant as the protagonist is given a brief opportunity to say his goodbyes to some of his friends and family; “You’ve grown to be a very sensible young Batman.”

Indeed, this upsetting scene solidifies an engrossing theme throughout the book, where Taylor repeatedly depicts the unconquerable love given by a father to his son and the subsequent pride shown when their offspring triumph over their galaxy-ending tribulations. Such magical moments by the Melbourne-born writer should genuinely make a connection with any parent perusing this publication, providing them with both deep sadness and exhilarating joy as Mister Miracle knowingly sacrifices himself to his boy’s murderous rage, and Superman collects the badly burnt body of Jon Kent after the “Teenager Of Steel” bravely places himself in front of Warworld’s planet-destroying weapon.

Superbly sketching all these sense-shattering shenanigans is David Hairsine and Lucas Meyer, who between them add tons of world-ending atmosphere to the numerous fast-paced events as they frantically unfold. Of specific note is the sudden appearance of a thousand Kryptonians from Kandor via a stunning splash-page, who surprisingly swoop up into outer space to tackle “the biggest gun Erebos held” after their miniaturised bottle was reverse engineered by Cyborg “in a matter of moments.”

The regular cover art of "DCEASED: WAR OF THE UNDEAD GODS" #7 by Howard Porter & Rain Beredo

The Batman And Scooby-Doo Mysteries #7 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 7, June 2023

Whilst Amanda Deibert’s twenty-page plot for Issue Seven of “The Batman And Scooby-Doo Mysteries" is pleasingly paced as the titular characters energetically rush around a small-sized theatre like headless chickens, the logic of her narrative arguably must have proved somewhat less palatable with its readers. Indeed, the notion that Mystery Incorporated would be allowed to simply shoulder barge their way into the Gotham’s Got Talent final when they never won or even competed in one of the show’s qualifying events casts something of a disagreeable shadow over this comic’s entire proceedings.

Admittedly, Daphne Blake’s “beyond exciting” karate demonstration at the Crystal Cover Talent Show wins her a place at the competition. But just why the likes of Shaggy Rogers and his Great Dane are allowed to appear as competitive eaters of pizza is debatably stretching any bibliophiles’ willing suspension of disbelief – especially when so many other acts have failed to make the grade and been forcibly dropped; “Aw, Man. I heard it’s gonna be judged by Bruce Wayne. I guess next year I need to swallow two swords.”  

Such an uninspiring contrivance is disappointingly followed by a series of bizarre disappearances and mysterious happenings all of which occur within spitting distance of an auditorium’s main stage. Just how a troupe of tap-dancers, Bob the Bear and a stand-up comedian all end up being locked inside a back closet without the rest of the contestants spotting the super-villain responsible is somewhat head-scratching, as is Daphne’s reluctance to win first place as it would mean she would have to leave her teenage friends to go on a “full-time, life-changing” tour.

Perhaps therefore this publication’s biggest draw is the excellent artwork by Dario Brizuela and Franco Riesco’s vibrant colours, which enchants the eye the moment the audience are introduced to the rest of the show’s entertainers and spot a number of notable nods to Marcel Marceau, Evel Knievel and the American rock band Kiss. Furthermore, the pair quite beautifully capture all the maniacal mayhem which the Hanna-Barbera animated television series was famous for once Shaggy and Scooby-Doo start getting chased by the ‘off-screen’ baddie, and wind up ruining everyone else’s performances as they catastrophically combine their food-scoffing act with "interpretive dance".

Written by: Amanda Deibert, Drawn by: Dario Brizuela, and Colored by: Franco Riesco

The Amazing Spider-Man [2018] #23 - Marvel Comics

THE AMAZING SPIDER-MAN No. 23, August 2019

Whilst Nick Spencer’s narrative for this “Hunted epilogue” debatably delivers when it comes to neatly sowing up the multi-issue event’s numerous outstanding plot-threads, the overall tone of the former politician’s penmanship, as a highly agitated Spider-Man desperately rushes back to Mary Jane’s flat to supposedly save her life, probably still struck many a bibliophile as being a little disconcertingly flat. True, Peter Parker’s love interest has indeed shockingly splattered her blood across the carpet as a result of a decidedly nasty injury, but the gory wound is disappointingly revealed to be as a result of the woman accidentally tripping over the laundry rather than her being attacked by a deadly super-villain.

Equally as disinteresting is arguably the American author’s handling of “an army of costumed criminals” who have suddenly “been set free in the middle of Manhattan.” This potential wave of violence could easily have become the basis of a storyline in its own right, as the cold-hearted killers make a dash for their liberty and perhaps to have their revenge upon some of New York’s outnumbered finest. However, quite miraculously, their escape occurs just as the likes of the “Earth’s Mightiest Heroes” and Fantastic Four show up to quickly wrap things up within the space of a handful of panels; “So yeah, bad guys of all shapes and sizes getting what they deserve. And hopefully that sticks this time --”

Quite possibly this publication’s saving grace therefore lies in the funeral of Kraven and his distraught son’s subsequent acceptance of his father’s name and heritage. Initially enraged by Sergei Kravinoff’s death and visibly reluctant to follow in the big game hunter’s footsteps, this intriguing emotional piece surely must have whetted the appetites of Spider-Man fans everywhere as to the pair’s future confrontations in print.

Just as frustratingly inconsistent as the writing though is Ryan Ottley’s pencilling, which despite being well-drawn in many places, such as Parker’s dynamic entrance into Mary Jane’s apartment, appears frightfully angular looking in others. Indeed, the panels portraying She-Hulk smacking Antonio Rodriguez’s alter-ego Armadillo straight in the jaw as the Avengers make a triumphant appearance, and an incarcerated Vulture re-establishing the Sinister Six, could well be mistaken for having been sketched by an entirely different artist.

Writer: Nick Spencer, Penciler: Ryan Ottley, and Inker: Cliff Rathburn

Predator #1 - Marvel Comics

PREDATOR No. 1, October 2022

Having survived a year-long delay owing to a copyright lawsuit involving “the screenwriters behind the original 1987 movie and Disney's 20th Century Studios”, Ed Brisson’s script for Issue One of “Predator” probably made the vast majority of its audience believe that the twelve-month wait was worth it. Admittedly, the thirty-page plot might have surprised many a bibliophile by initially being set on the planet X14432-8 in the year 2056 A.D., as opposed to being concerned with a modern-day Earth setting as the science-fiction franchise’s films have predominantly done. But the comic’s well-penned story concerning Theta Nedra Berwick’s unsuccessful vengeance upon a facially disfigured Yautja immediately holds the attention, especially when the young woman’s entire scientific community are cold-bloodedly butchered by her elusive prize in a fascinating flashback sequence from fifteen years earlier.

Furthermore, the Joe Shuster Award-nominee’s inclusion of the friendly artificial intelligence called Sandy, who acts as the central protagonist’s synthetic parent, cleverly provides the sole-survivor with plenty of opportunities to both demonstrate her vulnerability and imbue the yarn with some much-needed humour. Indeed, despite the fact that the computer system is only depicted as a bodiless voice, its wise words of comfort to a clearly hurting ward should lead to a genuine sense of loss in the majority of this comic’s readers when the Astar Industries spacecraft crashes “one hundred miles south of the Port Medway post” and its computer abruptly goes deathly silent; “Sandy, I don’t know where I’m supposed to go from here. I need you. Sandy?”

Adding plenty of swashbuckling savagery to this periodical’s opening, and subsequently following it up with some well-paced layouts as the titular killer methodically slaughters every person an adolescent Theta has ever known, is Kev Walker. The former “Judge Dredd” illustrator is particularly good at pencilling the emotions visible upon each character’s face as they terrifyingly realise that whatever is attacking them from within the dense vegetation is not going to be stopped by a technician wielding an unfamiliar laser gun. Furthermore, the British artist does a top job imbuing Berwick with a world-weary weight which belies her youth, sketching the woman as a grim-faced, battle-scarred warrior who is exhausted by a relentless lifestyle, yet absolutely resolute in locating the “ugly b*stard” who massacred her hapless people.

Writer: Ed Brisson, Artist: Kev Walker, and Colorist: Frank D'Armata

Terrorwar #1 - Image Comics

TERRORWAR No. 1, April 2023

As “Image Comics” debuts go, Saladin Ahmed’s script for Issue One of “Terrorwar” must surely be viewed as a major triumph, with the Eisner Award-winner’s sci-fi storyline instantly immersing its audience deep inside a desperately declining world writhing with “mind-bending monsters” and Muhammad Cho’s engagingly penned underpaid crew of freelance contractors. Indeed, in many ways the premise of “the last liveable place on Earth” being plagued by creatures created from the fears of its struggling population seems admirably evocative of Pat Mills’ anti-authoritarian heyday when "the godfather of British comics" was contributing to titles such as “2000 A.D.”, “Starlord” and “Crisis”. 

Foremost of this book’s hooks has to be the splendid swiftness in which the lead protagonist’s selfless character, evident bravery and enchantingly deadly day-job are all firmly cemented with the audience. So many modern-day authors would arguably have taken this entire twenty-eight-page periodical to painfully establish such complex subjects. But instead of wasting time, the Detroit-born writer simply grabs the reader by the scruff of the neck and takes them on a roller-coaster of a ride across Blue City where at any moment a person might be horrifyingly immolated by a giant green cartoon caricature fresh from a kid’s television show.

In addition, despite all the futuristic shanty-town’s evident woes and decidedly deadly dangers, the Arab American poet also intriguingly imbues his dystopian society with the very worst elements of capitalism - such as where its inhabitants are forced to watch “Motivids” at precisely the same time during their daily routine unless they pay to have them turned off. This obsession with financial gain and a desperate desire to buy a person’s way out of Cho’s bad neighbourhood is persistently referred to throughout the plot, and neatly helps establish those within the considerably sized cast who are motivated by greed (or at least material wealth) and those like Mister Etienne, who freely feed half the block from their kitchen.

Equally as engaging as this comic’s narrative is Dave Acosta’s prodigious pencilling, which genuinely helps permeate the downtrodden metropolis with an almost overwhelmingly grim and depressing atmosphere. Those bibliophiles acquainted with Ridley Scott’s vision of Los Angeles/Ridleyville in his 1982 film “Blade Runner” should certainly find themselves in a familiar environment, courtesy of the illustrator’s well-rendered panels. However, the “superstar horror artist” impressively ratchets up his work to an entirely different level when it comes to him sketching a giant Second World War American zombie who threatens to consume the pit workers toiling underground in Cadmium Mine Twelve.

The regular cover art of "TERRORWAR" #1 by Dave Acosta & Walter Pereyra

The Amazing Spider-Man [2018] #22 - Marvel Comics

THE AMAZING SPIDER-MAN No. 22, July 2019

It is hard to believe that many of this comic’s 78,102 buyers actually agreed with “Imagine Games Network” when the entertainment media website proudly proclaimed in May 2019 that this book “has a satisfying ending”, considering that having put Peter Parker’s alter-ego through a series of horrific emotional trials and tribulations Nick Spencer nonsensically pens Kraven The Hunter simply letting his arch-nemesis go unmolested. Indeed, the bizarre moment debatably makes a complete mockery of the entire multi-part event and raises numerous questions as to just why Sergei Kravinoff even bothered to fund so elaborate a death-trap as the one in New York City’s Central Park he constructed with the help of fellow super-villain Arcade.

Sure, there’s potentially some dark-seated logic to the storyline’s premise that the jaded, big-game Russian might seek his own death at the hands of his greatest adversary, and resultantly put into place a plan which would cause Spider-Man to lose his temper to the point where he murders Stan Lee's co-creation with his super-strength. But setting up a technologically sophisticated death-zone crammed full of Web-head’s most notorious villains and having society’s bored elite gun them down in cold-blood using heavily armed, remote-controlled robots probably isn’t the first scheme to cause such a loss of self-control which leapt to any bibliophile’s mind; “There will be no more bloodshed in the fields or the ballroom tonight.”

Intriguingly however, Issue Twenty-Two of “The Amazing Spider-Man” does contain a few arguably well-penned moments, most notably that of Kraven’s shocking demise fighting his heir. This misdirection is quite wonderfully delivered due to artist Humberto Ramos’ clever layouts, which strongly suggest the Soviet’s son is stood waiting for a frantic Wall-crawler just beyond Kravinoff’s secret headquarters and not his weary father who is disguised as the black-suited titular character. The ensuing close combat is enthrallingly brutal, and doubtless for a moment many a reader actually thought the High Evolutionary’s clone might actually have achieved what his parent could not.

In addition, the Mexican penciller’s dynamic depiction of Kraven’s Last Son battling both Black Cat and the Lizard is breathtakingly action-packed, with each panel palpably presenting a savage urgency to the events taking place. Furthermore, having established just how mercilessly vicious Curt Conner’s scaly form can be when he successfully dispatches the heavily moustached killer about to slaughter his son, the illustrator quite magically then imbues the former member of the Sinister Six with a wonderfully caring complexion so as to assure an understandably nervous Billy he won’t hurt him.

Writer: Nick Spencer, Penciler: Humberto Ramos & Inkers: Humberto Ramos & Victor Olazaba

DCeased: War Of The Undead Gods #6 - DC Comics

DCEASED: WAR OF THE UNDEAD GODS  No. 6, April 2023

Largely focusing upon a cataclysmic confrontation between two towering juggernauts of the “DC Comics” Universe, Tom Taylor’s narrative for Issue Six of “DCeased: War Of The Undead Gods” pulse-poundingly depicts a bout of pugilism like few publications have arguably done before. Sure, none of this book’s readers would have initially felt Mister Mxyzptlk warranted so high a threat level as to draw the ire of a planet-sized Spectre. But this particular incarnation of the “Fifth Dimensional imp” has been completely consumed by the anti-life equation, and now threatens to wipe out every last living thing in existence with his “nigh-omnipotence.”

Furthermore, it isn’t just the Melbourne-born writer’s basic premise of two colossal forces striking each other with world-ending impacts which probably most captures the audience’s imagination. Instead, it’s more likely the Australian’s enthralling extra elements to help emphasise the sheer scale of the contest, such as an armada of insect-sized Green Lanterns desperately attempting to distract Superman’s annoying nemesis from the Forties by universally roping one of his wrists with the emerald power of their rings, and resultantly being squashed flat by an irritated sweep of Mxy’s hand.

These ‘reality tearing tribulations’ are also rather nicely supported by an excellent secondary thread concerning the galactic war reaching Earth-2 and Alfred Pennyworth shockingly stepping forward as the one entity who might thwart Darkseid’s “unstoppable army of infected New Gods, Yellow Lanterns and more…” This moment of madness comes just as Batman appears to be on the verge of being beaten to death by an utterly insane Izaya the Inheritor, and surely must have caused many a bibliophile to quite literally catch their breath; “This is the spirit of vengeance and the rage of a man. You will not take another son from me!”

Equally as adept at storytelling is artist Trevor Hairsine, who even manages to prodigiously pencil the odd black hole being punched into outer space. The British illustrator’s “detailed style” proves especially good at emphasising the utter despair flooding over Bruce Wayne’s aged butler, who having seen his entire family recently wiped out before his very eyes (and predominantly at his own hands), just cannot cope seeing another person he loves die right in front of him.

The regular cover art of "DCEASED: WAR OF THE UNDEAD GODS" #6 by Howard Porter & Rain Beredo

The Amazing Spider-Man [2018] #21 - Marvel Comics

THE AMAZING SPIDER-MAN No. 21, July 2019

Misleadingly described by “Marvel Worldwide” as “the climactic conclusion” to Nick Spencer’s “Hunted” storyline and featuring a disconcertingly dismissal battle against a herd of Vermin duplicates, Issue Twenty-One of “The Amazing Spider-Man” surely frustrated many a fan of Peter Parker’s alter-ego. True, the former politician does initially depict Web-head bravely battling against an army of Edward Whelan clones in an incredibly dynamic bout of pugilism. But once this contest’s tide turns in favour of the numerous hungry, sharp-toothed rat-men, the lead protagonist both readily gives up the will to live and then begs Kraven for mercy when he believes the Russian immigrant is about to shoot him in the face.

Such uncharacteristic moments of vulnerability arguably haunt the rest of this twenty-three-page periodical, as the American author’s subsequent depiction of Steve Ditko’s co-creation seemingly shows him lacking any real stomach for a fight, even when Felicia Hardy’s life is clearly in danger. Indeed, rather than take a chance to have the Lizard save his former lover from the Last Son of Kraven, Spidey instead wastes valuable time adopting the moral high ground and starts waxing lyrical about “I have a code that I live by --”

Far more convincing is Spencer’s sadly short-lived spotlight upon the Vulture and his criminal force’s no-holds barred conflict with the cold-hearted Hunterbots in Central Park. Evidently able to sacrifice some of his villainous comrades-in-arms without any qualms whatsoever in order to achieve his own ends, Adrian Toomes proves as mesmerising an antagonist as he is utterly merciless, and many a bibliophile will doubtless feel somewhat robbed that this publication spends so much of its focus upon Parker’s disagreeable self-doubts, as opposed to the machinations of the founding member of the Sinister Six.

Sadly suggesting that this particular script didn’t encompass enough elements to completely fill out its page count are Gerardo Sandoval’s layouts, which, whilst prodigiously pencilled, seem to contain an awful lot of splash pages and voids throughout their storytelling. In particular, the Mexican illustrator fills many a panel with just a close-up of Spider-Man’s head depicting the Web-spinner’s increasingly defeatist attitude to the situation he faces – albeit considering just how dialogue-driven the majority of this book is it’s debatably difficult to imagine what else the artist could do.

Writer: Nick Spencer, Penciler: Gerardo Sandoval & Inkers: Gerardo Sandoval & Victor Nava

Avengers: War Across Time #4 - Marvel Comics

AVENGERS: WAR ACROSS TIME No. 4, June 2023

If Paul Levitz’s intention with his script for Issue Four of “Avengers: War Across Time” was to make the King of the Dwarfs one of the most hated opponents the Earth’s Mightiest Heroes have ever faced, then he arguably succeeds. For whilst Sindri isn’t depicted as actually being evil, the self-righteous, holier than thou monarch is so sickeningly sanctimonious in his incorrect belief that he’s been terribly wronged by Thor, that it’s difficult to imagine any reader of this comic feeling anything but contempt for him, even after the Thunder God smacks Mjolnir’s thief into next Saturday.

Indeed, this entire twenty-page periodical’s plot seems entirely intent upon depicting Stan Lee’s co-creation from the Sixties as nothing more than a petty-minded ruler, who only thinks of manipulating the Lava Men into helping his planet-destroying revenge rather than searching for the actual truth behind his present predicament on Midgard. Sure, this book also portrays Kang the Conqueror as a leveller of civilisations and cold-hearted killer of his own subjects. But the time-travelling entity is in many ways simply a power-seeking super-villain who callously guns down one man for speaking to him with “impunity”. Whereas Sindri is willing to unjustly sentence an entire population to a "fiery doom" just because he mistakenly assumes Odinson has transported him from Nidavellir against his will.

Enjoyably, the American author also appears very good at showing his considerable cast of protagonists outthinking their foe as opposed to simply beating him around the head. This becomes particularly important once “the most powerful Avenger” departs before his vulnerable alter-ego is disastrously revealed, and the team must rely far more upon brains than brawn – most intriguingly Janet van Dyne’s; “Do you have some thermal-scanning doohickey in there? Follow the heat -- I’ll bet that leads us to Sindri and the hammer!”

Adding plenty pf “Thooom”, “Whoosh” and “Zzoooom” to this publication’s proceedings is Alan Davis, who provides all his well-drawn figures with plenty of dynamic life and beguiling emotion. In fact, alongside Thor’s evident concern at losing Mjolnir, the British artist also adds considerable weight to Giant-Man as Hank Pym visibly takes pride in both his lover’s intelligent reasoning, and then the Wasp’s physical help during their subsequent battle against an innumerable horde of relentless Lava Men.

The regular cover art of "AVENGERS: WAR ACROSS TIME" #4 by Alan Davis & Carlos Lopez

DCeased: War Of The Undead Gods #5 - DC Comics

DCEASED: WAR OF THE UNDEAD GODS No. 5, February 2023

Ordinarily depicted as something of a fun-loving figure whose formidable abilities are predominantly used to either pester Superman or at least make the Kryptonian’s life a little more difficult, Tom Taylor’s “infected” incarnation of Mister Mxyzptlk in Issue Five of “DCeased: War Of The Undead Gods” will probably have “DC Comics” fans never seeing the Fifth Dimensional imp in the same light-hearted way again. Indeed, once the nigh-omnipotent alien gazes upon a “corrupted Mother Box” and becomes overwhelmed by the Anti-Life Equation, the Australian author turns Jerome Siegel’s co-creation into a truly terrifying creature who genuinely threatens the entire cosmos; “Erebos cannot be stopped. The Quintessence should focus our energy on the next universe.”

Furthermore, having established a mighty meta-human force for good on Oa which is led by Superman and supported by a veritable army of Green Lanterns, the sudden sense-shattering shift in favour of Darkseid’s zombie-like villains isn’t debatably seen until the very last minute, when the overly confident trickster fatally pauses in using his reality-warping powers to transform the New God “into a tasteful flower arrangement”. This ‘sleight of hand’ penmanship leads to a genuinely shocking moment, as the likes of Kilowog and John Stewart suddenly realise their mission to save Bolovax Vik is unachievable and get treacherously crushed to death by a being whom they thought was actually going to aid them in their quest.

Similarly as sensational is Superman’s fate at the hands of Kara Zor-El, who having been poisoned by the Anti-Life Equation on New Genesis, is depicted as an utterly vindictive and deranged “Last Daughter of Krypton” who mercilessly toasts some Bolovaxians stood cowering beside the Man of Steel without a moment’s hesitation. Admittedly, this particular twenty-two-page periodical disappointingly doesn’t provide the two combatants with much actual ‘screen time’ together, courtesy of Darkseid’s aforementioned move against Mister Mxyzptlk. But the ghastly manner in which Supergirl fries three innocent lives within mere seconds of Clark Kent assuring them of their safety is bound to have ramifications in a future face-off.

Ably assisting Taylor in his terrific storytelling are pencillers Trevor Hairsine and Neil Edwards, who both add plenty of gritty realism to the cataclysm events occurring on “one of the most populated planets in the universe.” The pair appear to be particularly proficient at imbuing “Mxy” with all the visible hallmarks of an enigmatic entity who has been driven homicidally insane, as well as plenty of jaw-breaking clout to any punches thrown.

The regular cover art of "DCEASED: WAR OF THE UNDEAD GODS" #5 by Howard Porter & Rain Beredo

Simon N. Kirby, The Agent #4 - G-Man Comics

SIMON N. KIRBY, THE AGENT No. 4, December 2021

Initially presenting itself as a sort of ‘buddy cop’ comic book, courtesy of some tongue-in-cheek humour as the overly familiar “Sergeant Flag convinces Agent Kirby to go on a fishing trip” with him, this twenty-page periodical probably wrong-footed a fair few of its audience when writer Rik Offenberger suddenly ramps up its seriousness a third of the way through his narrative. Indeed, the moment its titular character is shot through the side with a particularly medieval-looking crossbow bolt the entire mood of this tale palpably changes to an enthrallingly grave and tense battle to save Simon’s fast-fading life; “G-Men are on the way for extraction. I just need to keep you alive ‘til they get here.”

Of course, that isn’t to say that most bibliophiles won’t enjoy this yarn’s preamble as alongside a drunk Rob McFarlane’s shocking shenanigans inside his best friend’s home, and an insane battle against a Tyrannosaurus Rex at Logan International Airport, the American author also pens an absorbing backstory to the cold-hearted Canadian criminal Metis. However, once the murderous “private caped security” arrives at Northern Pike and start blazing away at their targets with a boat-busting bazooka, it soon becomes clear that this comic’s central protagonists are genuinely in deadly danger.

This almost palpable sense of menace is furthered by Offenberger’s ability to quickly add another couple of extra layers to Flag, swiftly moving the gun-toting, smart-mouthed stereotype into a tactically aware combatant, who not only cares for his comrade-in-arms, but also has a history with the maniac trying to blow them to itsy-bitsy pieces. The notion that Dark Warrior personally wants to end McFarlane makes their woodland-based conflict even edgier, especially when its revealed that the masked killer will probably walk free from whatever happens anyway on account of him having a Central Intelligence Agency contract.

Similarly as scintillating as this book’s plot is Alan Faria’s artwork, which does a terrific job in depicting both the physical humour of its aforementioned opening sequences and its subsequent pulse-pounding action. The Brazilian appears particularly prodigious at pencilling the persistent agony etched across Kirby’s face as he bravely soldiers on despite his side wound causing him excruciating pain, and certainly takes centre-stage with his large panels portraying the likes of Bandolier, Critter Queen, Martial, Sidereal, Woolgatherer and Wukong - The Monkey Prince arriving en mass.

The regular cover art of "SIMON N. KIRBY, THE AGENT" #4 by Alan Faria

Unstoppable Doom Patrol #1 - DC Comics

UNSTOPPABLE DOOM PATROL No. 1, May 2023

Unashamedly tying into Jeremy Carver Productions’ Primetime Emmy Award-nominated television series, as well as Dennis Culver’s desire to make Doom Patrol “its own pillar in the DC Universe”, this opening instalment to a six-issue limited series surely must have successfully landed with any comic book collectors familiar or not with Arnold Drake and Bob Haney’s Silver Age creation. True, the brazenly bizarre super-team’s roster is somewhat different from that which made its first appearance way back within the pages of “My Greatest Adventure” in June 1963. But part of this enchanting publication’s success arguably lies in its intriguing introduction to new members such as Beast Girl, Crazy Jane’s incarnation of the Chief and Subject 99.

Furthermore, the sheer pace achieved via the American author’s penmanship is absolutely top-notch, with the inevitably grumpy Robotman driving his comrades-in-arms straight into the action via a poorly parked bus. This rather tongue-in-cheek attempt to enter Gotham City keeping “a low profile” immediately establishes a genuinely palpable sense of apprehensive with the storytelling, and coupled with the gun-toting insanity on show with Monsieur Mallah and the Brain battling decaying cadavers on Monc Blanc in Switzerland, sets the rest of the narrative up for a series of shocking surprises.

One such revelation undoubtedly arrives in the guise of the Caped Crusaders, who swoop down from the skyline to add even more mayhem to Metagen Incorporated’s messed up machinations. Doubtless some bibliophiles won’t be too startled to see Batman and Robin make an appearance in a tale set within the confines of their celebrated conurbation. However, their presence comes unfashionably late considering the wanton devastation already caused by a writhing mass of squishy, pink-hued insectoids, and at a time when the Doom Patrol are actually handling things pretty well considering that their new Chief originally underestimated the size of the threat they faced; “I don’t care who you are. This is my city. He’ll be taken care of. Arkham Tower is preparing a special holding cell until --”

Definitely demonstrating that this is exactly the “type of comic I love drawing” is Chris Burnham, whose layouts, competently coloured by Brian Reber, are unconditionally crammed full of dynamic action and mass-destruction. Of particular note is the Connecticut-born artist’s ability to pencil the Dark Knight and Kay Challis with all the barely repressed frostiness that might be expected from two protagonists fighting alongside one another against numerous foes. Yet coming at the problem of tackling a super-powerful, meta-human threat from polar opposite positions.

The regular cover of "UNSTOPPABLE DOOM PATROL" #1 by Chris Burnham & Nick Filardi

Thor [2020] #30 - Marvel Comics

THOR No. 30, March 2023

Featuring a seriously sense-shattering battle against a veritable horde of Viking undead across a rickety-rackety wooden bridge, as well as a fascinating flashback to a time when Thor’s long-dead grandfather successfully outfought Thanos, this ‘continuation of Torunn Gronbekk’s journey into mysterious waters’ positively provides its audience with plenty of pulse-pounding plot-threads. In fact, many a perusing bibliophile will find this twenty-page periodical unputdownable once they pluck it from the spinner-rack and immerse themselves in its captivating mix of Middle Earth-like mass-battles at the very foot of an erupting volcano and Richard Fleischer’s 1966 American science fiction film “Fantastic Voyage”.

Foremost of these ‘hooks’ is arguably the Norwegian writer’s well-penned characterisation of Bor Burison, who absolutely dominates every panel in which the towering warrior appears – even when going toe-to-toe with the titanic Worshipper of Death. As arrogant as the former Asgardian King is disconcertingly merciless regarding his own subjects’ loyalty, the long-bearded deity proves to be a captivating catalyst for the chaos Odinson faces, and genuinely helps set up an incredibly intriguing finale for this publication; “Please… do not do this… make it stop. Make it stop! Please, son. I beg you… Leave this place.”

Of course, for those action-loving readers Issue Thirty of “Thor” also contains a superb confrontation against the stinking Draugr, who quite literally drag themselves up out of an underground river to feast upon both the Valkyrie Runa and the Thunder God, as well as a shoal of enchanting memory fish. This contest is mesmerizingly intense as the walking cadavers repeatedly appear likely to overwhelm their potential next meals through sheer of weight of numbers. In addition, it’s soon made clear that the “All-Father” and his axe-wielding companion could chop their enemies all day long, and still face an insurmountable horde of putrid bodies, so at best they are only buying themselves time to thwart Corvus Glaive’s nefarious plan to unlock the “bloody secrets of Asgard’s past.”

Ramping up this comic’s level of horror is undoubtedly Nic Klein, who provides all this book’s action sequences with an incredibly engrossing level of dynamism and dreadfulness. The aforementioned flying fish are incredibly eye-catching, courtesy of a magma-based palette by colorist Matt Wilson, as are the Scandinavian ghouls who relentlessly hurl themselves at the two heroes in their unthinking desire to scavenge “the carcasses of the soul”.

The regular cover art of "THOR" #30 by Nic Klein

Planet Of The Apes [2023] #1 - Marvel Comics

PLANET OF THE APES No. 1, June 2023

For those long enough in the tooth to be hoping “Marvel’s highly anticipated new Planet Of The Apes comic series” was going to return readers back to the days when the New York City-based publisher was printing books centred upon Franklin J. Schaffner’s “iconic” 1968 science fiction film, this thirty-page periodical is probably going to prove something of a major disappointment. Yet for those within the audience who are much more familiar with the franchise since its modern-day reboot just over a decade ago, David F. Walker’s narrative for “Devolution” should prove much more palatable.

In fact, the vast majority of the Eisner-winning writer’s script is dedicated to reminding the reader as to the silver screen exploits of the primates following the Golden Gate Ape Uprising in 2016 and the deadly effect upon Humanity by the ALZ-113 virus. These flashbacks are certainly well-penned, and nicely intermingled with the World Health Organisation’s desperate attempt to maintain a thriving simian population, as well as combat the military machinations of the Exercitus Viri – an “army of men” who appear to seek salvation in the total extermination of monkeykind and any “misguided souls who have chosen beasts over their fellow humans.”

However, the author’s insistence on persistently placing so many multiple plot-threads in disconnected time zones all over the planet arguably makes navigating them in any semblance of understandable order rather frustrating. True, this zig-zagging technique through history certainly provides the publication with a suitably chaotic atmosphere as different people are depicted attempting to do either right or wrong by the apes in San Francisco, Florida, Switzerland and even across the Atlantic Ocean. But by the time the spotlight refocuses upon peacekeeper Juliana Tobon, only the most strong-minded bibliophile won't have flipped back to a previous point in the story so as to reorientate themselves.

Similarly as spotty as Schaffner’s script is debatably Dave Wachter’s layouts, which seemingly veer from awe-inspiring double splashes featuring hordes of angry primates savagely battering those people foolish enough to confront them, to some quite stiff-looking facial profiles. Indeed, the “Aliens: Aftermath” artist’s style appears far more suited to pencilling soldiers blazing away with their firearms or simians bounding about an International Research Centre in Ghana, than it does drawing anything somewhat sedentary in nature.

The regular cover art of "PLANET OF THE APES" #1 by Joshua Cassara & Dean White

Thor [2020] #29 - Marvel Comics

THOR No. 29, February 2023

Despite only containing a glimmer of action in the guise of the Thunder God and Runa briefly battling a catacomb crawling with their all-too tangible shadows, Torunn Gronbekk’s narrative for Issue Twenty Nine of “Thor” still should have beguiled the vast majority of its audience. Indeed, straight from its opening salvo, which depicts the odious Corvus Glaive abducting an infant Laussa Odinsdottir, this twenty-page periodical weaves a bewitching spell which promises to take the reader on a disconcertingly dark journey back to the early days of Asgardian lore and Bor Burison.

Furthermore, this comic contains an intriguing flashback to ‘the War to end all Wars”, when Odinson’s grandfather attempted to make himself “God-King of the realms of life and death”, but instead contaminated the battlefield with a magical explosion so devastatingly powerful that it could only be contained “behind a wall of enchantments and spells.” So deadly an environment really helps the Norwegian author quickly establish the noxiousness of the landscape which the titular character must traverse, and also excitingly adds the very real possibility that at least one of the adventurers searching for Borson’s young daughter may not actually survive the ordeal; “I never went farther than this, but my sisters did. The few who came back were not… right.”

Impressively, this impending sense of doom is further heightened by the “guest writer” once the founding Avenger enters Niffleheim and witnesses first-hand the slowly decaying corpses of those whose broken bodies fell aeons ago or became horrifyingly trapped in some volcanic-like substance as if they were a hapless insect immersed in amber. Coupled with a brief appearance by Runa’s wraithlike Disir – “The cursed demons who once were her fellow original Valkyries” – on a night-time rooftop in Cleveland, Ohio and the stench of death is almost palpable throughout this entire publication.

Ably adding a considerable amount of grittiness to this comic’s atmosphere are Nic Klein’s pencils, which arguably imbue Thor with a somewhat tragic world-weariness just as soon as the Asgardian is seen pouring over a map of “the lowest level of the universe.” The “Marvel Stormbreaker” is particularly good at aiding Gronbekk in her depiction of the haunting territory “beneath the third root of Yggdrasil”, and gives all the motionless cadavers on show there a genuinely sad demeanour as their rotting flesh slowly erodes to the bone in the chill, wintry wind.

The regular cover art of "THOR" #29 by Nic Klein

Predator [2023] #1 - Marvel Comics

PREDATOR No. 1, May 2023

Described by “Marvel Worldwide” in their solicitation synopsis as “an explosive new series”, Ed Brisson’s storyline for Issue One of “Predator” certainly lives up to the New York City-based publisher's promise. In fact, fans of Twentieth Century Studios’ science-fiction franchise will probably have to wrack their brains to recall a comic book set upon “a planet far from Earth” which portrays quite so many Yautja-flavoured detonations, decapitations and disembowelments; “Looked like the jungle came alive and gutted another soldier right in front of me.”

Much of these mutilating massacres are due in large to the thirty-page-periodical’s plot replicating the insane action shown upon the silver screen in Nimród Antal’s 2010 film “Predators”. But unlike the $127 million worldwide grossing movie, “The Preserve” doesn’t allow any time for its audience to build-up much of a connection with its opening cast of eight strangers, preferring instead to repeatedly surprise the reader by having each and every one of them pitilessly obliterated by the Predators whenever the script suggests a character is actually going to become the central protagonist.

This literal meat-grinder, which is repeatedly fed fresh victims whenever the group’s number starts to dwindle, can potentially become a bit tiresome after the umpteenth evisceration. However, the pace of the slaughter taking place within the tropical game park is so intense that most bibliophiles probably won’t have time to be phased by the narrative’s somewhat repetitive nature, and instead just hope that their favourite survivor will actually make it through their first day in the extra-terrestrial jungle without being carved into pieces by their insanely deadly abductors or the odd, multi-tentacled monstrosity which they just happen to inadvertently blunder into.

Disconcertingly helping the Joe Shuster Award-nominee depict such utter slaughter is Netho Diaz, who truly helps establish an incredibly intense and terrifying atmosphere straight from the comic’s opening sequence. Able to pencil as many human internal organs spilling out across a flora-filled floor as a panel will allow, the Brazilian illustrator is as merciless with his no-holds barred artwork as the publication’s titular characters are at remorselessly gutting their hapless prey whenever one is foolish enough to try to make a futile last stand.

Writer: Ed Brisson, Penciler: Netho Diaz, and Inkers: Belardino Bradbo with Victor Nava

Thor [2020] #32 - Marvel Comics

THOR No. 32, May 2023

Proudly proclaiming “Thor verses Doctor Doom” in its frustratingly false ‘solicit synopsis’, this twenty-page-periodical’s plot probably disappointed the vast majority of its audience when just such a confrontation fails to materialise. Indeed, rather than portray the two Marvel comic book universe titans “in a battle of wits, morals and, of course… might”, Torunn Gronbekk’s narrative for “Blood Of The Fathers” instead has them travelling down significantly separate pathways; “No one observing the Earth from the outside would ever mistake the human race as intelligent.”

Furthermore, a large portion of this publication dwells upon the disconcerting resurrection of Corvus Glaive by a teenage Laussa Odinsdottir some sixteen years in the future, using “the tiniest speck of his DNA” found upon the super-villain’s trademark hand-weapon. Admittedly, this rather grisly storyline is somewhat intriguing when it’s revealed that Thanos’ revitalised loyal warrior now lacks a soul, and resultantly becomes nothing more than a semi-quivering phantom of his former self who meekly submits to being chained in a corner. But such a resuscitation is lamentably a far cry from the no-holds barred struggle Nic Klein’s energetic cover illustration suggests is contained within this publication.

Perhaps therefore this comic’s sole-saving grace lies with its titular character’s dynamic struggle against Nidhogg, as the enormous cybernetic dragon unsuccessfully attempts to devour the Thunder God as it departs Hel. This incredibly striking drama definitely captures the audience’s complete attention with its flurry of furious frames depicting a grim-faced Odinson, and proves particularly powerful once the malevolent Eater of the Dead turns to attack his would-be hunter, having decided that the blonde-haired Asgardian is actually prey.

Ultimately however, Issue Thirty-Two of “Thor” debatably fails as a result of Juan Gedeon’s layouts, which whilst overall being proficiently pencilled enough, arguably often appear rather amateurish in their simplicity - most notably those sequences depicting Hela as a prisoner of Victor Von Doom in his Latverian laboratory. In addition, whether due to a deadline dilemma or not, the Argentinian artist repeatedly fails to provide his panels with much in the way of any background, relying instead upon either a flurry of hatchings to suggest simple shadows or Matt Wilson to supply a suitable colour progression.

Writer: Torunn Gronbekk, Artist: Juan Gedeon, and Colorist: Matt Wilson

Zombicide: Day One #3 - Source Point Press

ZOMBICIDE: DAY ONE No. 3, March 2023

For those readers utterly oblivious to Source Point Press’s spoiler-filled solicitation synopsis, Issue Three of “Zombicide: Day One” probably took them on a roller-coaster ride of emotions as “the group of survivors take a shortcut through the sewer on their way to save Ned’s friend” and end up losing one of their number in the most tragic manner possible. True, Luca Enoch and Stefano Vietti’s narrative seemingly starts out using its customary combination of ‘quiet before the storm’ wanderings and pulse-pounding flashbacks. But once one of the group gets a little too close to a fast-flowing underground stream full of floating undead, the entire tone of this thirty-two-page publication changes to something much more serious.

Furthermore, the writers adopt the quite novel approach of subsequently telling their tale of terror through the eyes of the now partially-chomped and sadly deceased protagonist as they unwillingly join the horde in its frenzied desire for living flesh. This perspective is both fascinating and a little depressing, especially when the constantly moving cadaver turns a corner, spies their former comrades-in-arms battling away in a zed-filled car park and hungrily assails them; “I’m glad you found us, my friend… This way I can give you a proper death and free you from the horror you’ve become.”

Also well worth noting is this comic’s aforementioned recollection of Keiko’s first encounter with the zombie infection and her tour party’s bloody massacre amongst the relics of the municipal’s museum. Intriguing in its ability to also depict the good-natured Hobo’s daily routine of helping locals in order to obtain the funds for food, this lengthy sequence quickly heats up once the Asian guide grabs an ancient double-handed blade from a display mannequin, and starts slicing apart any grisly ghoul unwise enough to view her as their next meal.

Likewise, the artists Alessio Moroni and Marco Itri are worthy of a standing ovation for all the well-pencilled gratuitous violence they manage to imbue each and every panel with. Indeed, even the most sedentary of scenes, such as Wanda reminiscing about serving her restaurant’s customers apple pie, are laced with palpable tension as the group slowly progress through a world where a rabid pack of teeth and claws is potentially waiting around every corner.

The regular cover art of "ZOMBICIDE: DAY ONE" #3 by Fabio Babich & Tarek Moutran

Moon Knight [2021] #19 - Marvel Comics

MOON KNIGHT No. 19, March 2023

Potentially comprising of the quiet before the storm, Jed MacKay’s narrative for Issue Nineteen of “Moon Knight” certainly contains plenty of word-laden speech bubbles and conversation-heavy set-pieces. In fact, so much of this twenty-page periodical’s plot is dialogue-driven that some readers may well be caught off-guard when the titular character and Doctor Badr’s recently resurrected alter-ego suddenly go all gung-ho so as to surprise Commodore Donny Planet’s sailor-based shenanigans in Subterranea.

Happily however, that doesn’t mean for a minute that “Blood Moon Rising” isn't a beguiling yarn as the after-effects of Khonshu’s long-term incarceration are finally felt by his two modern-day priests, and their immortality whilst in the Egyptian deity’s service is unexpectedly questioned. To be fair, the suggestion that Marc Spector will be persistently brought back from the dead by his god “until we’re feral psychotics” is arguably an all-new concept only recently introduced by this ongoing series’ writer. But having resultantly added an arrogant edge to the West Coast Avenger’s attitude towards risking his life, it certainly comes as something of a shock to so quickly take it away; “Pff. What would he do? Kill me? Nothing new.”

Also adding an increasing element of disconcertion to this publication’s proceedings are the intermittent interviews of Zodiac by Doctor Robert Plesko. Well-mannered and polite in nature, even if the discussion surrounding Cletus Kasady’s sociopathic serial killings is uncomfortably blood-curdling, these consultations persistently promise that Moon Knight’s arch-nemesis is about to break free of his maximum-security prison and once again go on a homicidal, mass-murdering spree. Indeed, at one point the practicing psychotherapist even seemingly goads the mask-wearing prisoner into a fit of pique by assuring him that Moon Knight’s friend Soldier was actually alive and well, even though the cold-hearted criminal had shot him at point-blank range.

Similarly as suspenseful as this comic’s script are Federico Sabbatini’s layouts, which genuinely help add both a sense of restrained malice with Sigmund’s aforementioned exploration of Zodiac’s obsession with “super-villainy”, as well as physical violence once the two Fists of Khonshu have tracked down a band of enslaved Moloids and savagely set-upon the Commodore’s merciless minions. Furthermore, the Italian artist produces some excellent splash-pages, most notably this story’s central protagonists riding atop an underground train en route to the Mole Man’s home, and their subsequent no holds barred battle against Planet’s gang of pitiless slave-drivers.

Writer: Jed MacKay, Artist: Federico Sabbatini, and Color Artist: Rachelle Rosenberg

BRZRKR #12 - BOOM! Studios

BRZRKR No. 12, March 2023

Considering that this “epic conclusion to the ground-breaking original series” is a staggering fifty pages in length, it’s doubtful many within this comic’s audience will be particularly impressed with what they read. True, this book’s opening certainly holds true to its publisher’s promise of the nefarious Caldwell facing off against the titular character in a frantically-paced showdown. But by the time Keanu Reeves and Matt Kindt’s script purportedly provides a horrific-looking demise to Diana Ahuja’s treacherous boss at the hands of the cosmically-powered Doctor herself, many a bibliophile will arguably be wondering just where on Earth the rest of his hefty tome is going to take them.

Disappointingly, the answer is seemingly a somewhat sedentary journey towards ‘sequel-land’, where the creative team slowly put in place all the elements needed to establish a follow-up storyline, rather than focus on actually explaining just what happened somewhere in the middle of a Saudi Arabian desert. Indeed, rather than try to explain just how the immortal warrior suddenly becomes corporeal, or why the US Government’s physician is somehow able to utilise extra-terrestrial-based energy waves, this publication instead starts to tell a tale with elements potentially taken straight from the pages of Kenneth Johnson’s screenplay for the 1984 American television show “V: The Final Battle” - such as Diana miraculously giving birth to a baby girl who exhibits both superhuman powers and physically matures at an accelerated rate.

Perhaps this plot’s saving grace therefore lies with the tremendous sense of betrayal generated by this comic’s handling of the ‘powers that be.’ Having declared their overall scheme to cajole Unute into helping them make contact with his creator a success – “mostly”, the authorities cold-bloodedly decide to eliminate all witnesses to their mission, including the now vulnerable Berserker himself. Such treachery really does strike home just how untrustworthy the American administration have become, particularly when handler Jim Keever readily accepts the order to shoot the man who previously saved his own life during a botched military assignment; “I’m sorry son. It’s been an honour.” 

Ultimately, a vast amount of the storytelling inside Issue Twelve of “BRZRKR” rests upon the shoulders of Ron Garney, who unquestionably excels when it comes to pencilling the almost bestial nature of the insanely savage close combat fighting Diana’s ultimate survival entails. However, even the Inkwell Award-nominee appears to struggle to make his panels interesting as this over-sized tome plods ever onwards, most notably towards its end when the American artist has to repeatedly sketch each of its considerably-sized cast stoically standing alone as they look up towards an uncertain future.

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

Thor [2020] #31 - Marvel Comics

THOR No. 31, April 2023

Publicised by “Marvel Worldwide” as the beginning of “a new arc packed with twists and revelations”, Torunn Gronbekk and Donny Cates’ narrative for Issue Thirty-One of “Thor” certainly appears to deliver the goods when it comes to their plot whisking its audience off on a mesmerising trip through Valhalla and Hel. But for those readers unfamiliar with the Thunder God now owning the title “All-Father”, Odin Borson's spirit living inside Mjolnir and Jane Foster being Valkyrie, this opening instalment to “Blood Of The Fathers” is probably something of a discombobulating jumping on point; “I don’t… I don’t know! You said you’d know what it means!”

Happily however, a crash course in Asgardian orientation isn’t necessarily needed to thoroughly enjoy an enthralling mystery which sees the dead's souls missing from Niffleheim, and Hela’s province overrun by the limerick-loving Valraven – gigantic crows who feast upon corpses foolish enough to stray within reach of their talons or beaks. These creatures provide a decidedly dark storyline with plenty of humour, especially once the formidably-sized feathered creatures are revealed to be nothing but fawning cowards whenever faced with an opponent who can potentially best them.

Equally as entertaining with plenty of tongue-in-cheek dialogue is Odin, who despite simply being penned as an ethereal voice emanating from his son’s hammer, still manages to come across as the imperious and all-powerful Protector of the Ten Realms. Indeed, the writing behind “the king of all stories” is arguably one of this twenty-page periodical’s highlights, as he repeatedly tries to take matters into his own hands by flying out of Thor’s grip and battering any foolish enough to speak unkindly about him. This persistent potential to make an increasingly unpleasant situation even worse proves particularly amusing when Mjolnir is shown repeatedly braining one of the Valraven for daring to joke about the deceased deity once ‘bedding a giant’.

Adding plenty of “Boom” to this book’s events is Nic Klein, whose dynamic pencilling style genuinely appears to suit so grim a tale. The illustrator appears specifically good at sketching the enormous four-eyed black birds who now control Hel, giving the monstrosities all the heft and girth a bibliophile might expect from such skyrise-sized creatures who can swallow a hapless cadaver with a single gulp or attempt to squash the blonde-haired Avenger with an earth-shaking clawed foot.

The regular cover art of "THOR" #31 by Nic Klein