Terrorwar #5 - Image Comics

TERRORWAR No. 5, August 2023

Far more focussed upon Muhammad Cho’s traumatic captivity by the mysterious Terrors, than it is depicting a direct confrontation between the man’s crew and the deadly phantasmagorical nightmares, Saladin Ahmed’s penmanship still manages to imbue this comic with a pulse-pounding sense of pace. In fact, only the most indifferent of readers won’t find their heart rate rocketing upwards once Representative Ronali declares a mass evacuation and her defenceless people are forced to flee their ramshackle houses from a horde of multi-tentacled, gestalt entities.

Likewise, the science-fiction horror series’ writer also appears able to permeate a decidedly dark flashback sequence showing the grisly death of Cho’s mother with some truly disconcerting sounds. Of course, the noise of the credit hounds’ metal claws scrapping against the walls of the twelve-year old’s failing home-turned-fooderie can only be implied through the text. But so convincing is the stark terror on the faces of the small building’s occupants that the high-pitched screeching of the robot canines’ attack clearly resonates within the audience’s ears; “Ma always had trouble making her payments. I pulled lots of little kid hustles to help…”

Regrettably such high praise probably can’t be heaped upon this twenty-page periodical’s opening though, which deals with “Mae and the rest of the crew” unsuccessfully attempting to rescue their boss and suddenly finding themselves allied with the inharmonious Doctora Z. To be fair, it’s difficult to see how the American author could have the Terrorfighters lose all contact with Muhammad without having their state-of-the-art technology suddenly become unable to detect either the Terror’s energy signature or their leader’s biometrics. However, having the government’s top scientist abruptly spring out of the shadows with “the right equipment” for the job is debatably a contrivance too far.

Probably this publication’s most problematic component however, is Dave Acosta’s disappointingly inconsistent pencilling. The “Michigan based comic artist” does a proficient job sketching Cho’s aforementioned memory of his parent’s death as his “mind and body are stretched to the breaking point.” Yet, the same simply cannot be said when it comes to the panels portraying events in Central Command or the Lower Wards, where the sequential illustrator's numerous figures appear rather roughly hewn and frustratingly rushed.

Written by: Saladin Ahmed, Pencils by: Dave Acosta, Inks by: Jay Leisten, and Colors by: Walter Pereyra

Conan The Barbarian #2 - Titan Comics

CONAN THE BARBARIAN No. 2, September 2023

Smartly showing the titular character to be so much more than just a big man wielding a hefty sword, Jim Zub’s penmanship for “Homeland!” does a very good job of depicting the Cimmerian as an already much experienced, thinking fighter. True, the barbarian does eventually wade neck deep into a horde of ravenous undead ghouls towards the end of the comic. But the adventurer is very much forced into this perilous situation after desperately trying to avoid a confrontation with so formidably-numbered a foe for much of this twenty-two-page periodical.

Instead, the Canadian author’s incarnation of Robert E. Howard’s Sword and Sorcery hero, patiently follows his prey over several snowy days, quietly watching the zombies for any signs of weakness, and soundly reasoning that whatever final destination they are travelling to will surely house the source of their black-hearted witchcraft. This somewhat sedentary sequence might have proved a laborious experience in the hands of a less able writer. Yet here, the sheet space is wisely used to bring the audience up to speed with both the background and physical charms of Conan’s new ally, Brissa.

Just as impressive as Zub’s handling of the deadly female Pictish scout, is his ability to emulate the clash with foul, primordial races, which the successful Hyborian Age civilisations were repeatedly shown to have encountered during the titular character’s original printed tales. This publication's particular nightmarish vision of ancient, serpent-men threatening to resurrect their savage epoch of culling numerous human victims with the post-Atlantean people of Cimmeria is genuinely disturbing, and brilliantly illustrates the fate of mankind if the barbarian fails in his mission to thwart the rotting “Army of the Lost”; “Sacrifices made to appease Dark Gods. All of it plummeting toward one who lies beyond flesh… beyond death… beyond time.”

Also unquestionably causing the odd shiver of trepidation whenever a bibliophile unwisely casts their eyes into one of this book’s numerous, well-sketched shadows for too long, is Rob De La Torre, whose utterly uncanny ability to replicate the prodigious pencilling style of John Buscema is phenomenal. The aforementioned double splash concerning an endless line of sheeplike prisoners being walked off of a cliff-top to a bone-crunching end by their scaly captors is quite possibly the highlight of this comic’s layouts. Though Conan’s grim-faced decapitation of several revenant villagers in a shockingly savage fight scene is not to be sneezed at either.

The regular cover art of "CONAN THE BARBARIAN" #2 by Alan Quah

C.H.E.S.S. #3 - Second Sight Publishing

C.H.E.S.S. No. 3, September 2021

Previously described as ‘G.I Joe meets the Agents of Shield’ it is doubtful that either Don Levine or Joss Whedon’s action-packed franchises ever truly matched the utterly enthralling high-octane shenanigans seen within Issue Three of “C.H.E.S.S.” Indeed, whether the comic’s readers are mesmerised by all the dirty dealings which take place before Yumi and their hit squad strike, or simply ensorcelled by Alex De-Gruchy’s subsequent pulse-pounding punch-up once it becomes clear to Blowtorch’s team-mates that their presence in Philosopher’s Walk is known to their enemies, few within this twenty-two page periodical’s audience will have been able to put the book down until it was completely finished.

Foremost of this hooks has to be the publication’s opening and the writer’s well-paced build-up featuring poor Footpath’s deadly interrogation at the hands of her captors. Marking out the seemingly hapless Rowan Kelly Moore’s demise as a real possibility if their supposedly covert military mission fails, it is not difficult to imagine many a bibliophile actually holding their breath as each of the titular team’s roster quietly confirm their assault positions as a large, cuddly Panda bear carrying a harmless-looking yellow balloon nonchalantly dances its way towards one of the operatives.

Delightfully though, Alfred Paige’s creations aren’t simply concerned with a mass, heavily muscled melee either, due to a couple of subplots prodigiously playing out during the scintillating smackdown. Debatably the most bewitching of these surrounds an assassination attempt upon the man behind C.H.E.S.S. in Avery’s Arlington-based home - which involves a partially snake-faced killer who takes many a sock to the jaw (and stab to the chest) before finally being laid low. However, the notion of masked hoodlums blasting their way into Takashi Nakadai’s headquarters and snatching one of the weapons manufacturer’s armed guards is not to be sniffed at either; especially when the outrageously brave move occurs during Footpath’s attempted escape.

Fiendishly depicting all this slaughter and mayhem with gleeful relish is William Allan Reyes, whose excellent pencils do a great job of highlighting both the painful apprehension on Moore’s sweat-drenched face as she endures Scarlette’s telepathy and some electric shock treatment, as well the determination upon Pinpoint to defeat his opponent and help support his fellow team-mates; “Well, here you go! My head’s not the kinda place you wanna go poking around in, lady.”

The regular cover art of "C.H.E.S.S." #3 by William Allen Reyes

Titans #3 - DC Comics

TITANS No. 3, November 2023

Initially depicting a twenty-page plot which strongly suggests that Nightwing’s concerns about Brother Eternity are unfounded and solely based upon the crime-fighter’s prejudicial paranoia, Tom Taylor’s utterly beguiling storyline for Issue Three of “Titans” surely must have lulled a fair few of its readers into a false-sense of security. But whilst Dick Grayson’s dubious infiltration of the Church of Blood certainly seems ill-advised when the trespassing vigilante first penetrates the grand building’s security system. Batman’s former sidekick certainly seems to have been proved right by the comic’s shocking conclusion; “You played your part well in today’s ruse. But I require something more of you. You’re going to visit your friends.”

Intriguingly however, the “New York Times bestselling author” employs a couple of ‘bait-and-switch’ moments involving the cult’s “new telegenic, media-savvy leader” before the super-villain’s true colours and mind-controlling machinations are finally revealed. These ‘ups and downs’ as to whether the book’s central antagonist is truly a victim of those within his shadowy sect who murderously were “a little unsatisfied with the new direction and new management” are convincingly penned, and genuinely make it appear that that the Australian author’s co-creation is trying to make amends for the fanatical organisation’s past offences.

Also well worthy of a ‘shout-out’ is the Melbourne-born playwright’s handling of Beast Boy, who receives plenty of opportunities to demonstrate his insane animal transformation skills during the Titans’ battle against the Church of Blood. Furthermore, Taylor provides Garfield Logan with a palpably moving moment, when he quite literally begs his old-time team-mate Tempest into re-joining the team, only to disappointingly find his plea falling upon deaf ears and be distressingly led away from the emotionally charged confrontation by a softly spoken Raven. 

Perhaps however, a good many of this publication’s considerable accomplishments are also down to the pencilling of Nicola Scott, who somehow manages to imbue many a figure with an almost life-like countenance – even when metamorphosing into a multi-tentacled green-hued octopus. The illustrator is equally as capable of making this comic’s cast come across to the reader as being utterly sincere in whatever they are saying, courtesy of some incredible eyes and heartfelt facial expressions.

The regular cover art of "TITANS" #3 by Nicola Scott & Annette Kwok

Dune: House Harkonnen #6 - BOOM! Studios

DUNE: HOUSE HARKONNEN No. 6, June 2023

Whilst there should be little doubt that “award-winning novelists Brian Herbert and Kevin J. Anderson expand upon “the rich mythology of Frank Herbert’s Dune” with their storyline for this twenty-two-page periodical. The comic book adaption’s frequent time jumps from planet to planet, and then back again, must surely have baffled all but the most committed fans of the best-selling, distant future interstellar franchise; “A year and a half since I was thrown into this slave pit.”

Foremost of these continuum conundrums is arguably that surrounding the events taking place inside Castle Caladan. The publication’s narrative has potentially already been moved on by eighteen months following its opening scenes set upon Arrakis. However, Jessica states she has only been assigned to Leto Atreides for six weeks since she was first introduced to the great house, and resultantly is “still learning the household, the people, the relationships.” However, Kailea then later accuses the Red Duke of having an affair with Baron Vladimir Harkonnen’s daughter at some point during the past couple of years, so it’s debatably difficult to say when this important argument actually occurs in relation to the Bene Gesserit’s aforementioned earlier sequence and the surrounding events depicted upon other worlds. 

Of course, considering just how many characters within this comic’s considerably sized cast repeatedly mention events moving on ‘a year and a half’, the writers could well have simply pushed everything within this book forward for that span simultaneously. But if so then it has been clumsily implemented, as at Lankiveil the audience are shown Rabban mercilessly destroying the settlement’s reconstruction some four months after its inhabitants first started its repairs, before being hurled the obligatory eighteen months into the future, and are then pushed a further eight weeks forwards to see Lord Abulurd’s wife announce her surprising pregnancy.

Perhaps therefore the sole success of this mini-series’ sixth instalment lies within the layouts of Fran Galan, whose consistently prodigious pencilling at least manages to gel everything together into a harmonious looking feast for the eyes. The freelance illustrator is particularly good at depicting each figure’s emotions on their faces, with Leto’s angry and utterly exhausted looks at the ever-antagonistic mother of his child telling the audience everything it needs to know about his feelings for the infuriating woman.

The regular cover art of "DUNE: HOUSE HARKONNEN" #6 by Raymond Swanland

Unstoppable Doom Patrol #4 - DC Comics

UNSTOPPABLE DOOM PATROL No. 4, August 2023

Announced during the “Dawn Of DC” panel at Wondercon 2023 that this six-issue mini-series was being “bumped up” to include a seventh instalment, it is arguably easy to see why Dennis Culver would decide to use the opportunity to try telling the supplementary tale in a slightly different manner than normal. However, it is difficult to imagine all that many bibliophiles were particularly happy with the author’s decision to pen an entire twenty-two-page plot from the perspective of a psychiatrist session or five. Indeed, the dialogue-heavy discussions debatably do so little to progress the limited series’ overarching narrative, that “Breakthrough Breakdowns” disappointingly smacks of simply being a ‘filler’ edition of the “Unstoppable Doom Patrol”, rather than a rare chance to further explore the meta-human community’s increasing unease as to what Kay Challis’ heroic band of “freaks and misfits” are up to. 

Arguably aiding this sensation of the publication lacking direction is the fact that the author just seems to have rehashed the origin stories of the strange team’s roster, including a brief synopsis of their resident therapist, Doctor Syncho – a being who “channels five Fifth Dimensional entities into one super consciousness to delve deep into the psyches” of her team-mates. These consultations are probably fascinating for those within the audience who are unfamiliar with the considerable cast of characters on show. Yet for fans more acquainted with Arnold Drake’s co-creations from the Sixties, the only psychoanalysis sessions possibly of any interest are those involving reluctant member Degenerate and Kareli’s “brand new” furry alter-ego Beast Girl; “We usually don’t get much farther than this before you storm out.

The understandable decision to replace “series co-creator Chris Burnham” with artist David Lafuente due to time scheduling constraints also somewhat jars upon the senses, courtesy of the Spanish-born illustrator’s cutesy, almost cartoonish pencilling style. Admittedly, there is absolutely nothing wrong with this book’s interior layouts or Brian Reber’s predominantly bright colour choices. But having become acclimatised to the more detailed drawing technique of this title’s Connecticut-born regular contributor, the ‘different look’ debatably just reinforces the feeling that this comic was somewhat ‘done on the fly’. 

Fortunately, the periodical does appear to at least finish on something of an intriguing conclusion, with the Chief’s subdued Crazy Jane personality evidently being deeply unhappy with the mysterious machinations of her dissociative disordered host. This revelation greatly contrasts to Jerry’s satisfactory assessment of Doom Patrol’s overall mentality, and tantalisingly doesn’t bode well for the team leader’s current battle for control of the Shelter’s operations with rival Doctor Niles Evelyn Caulder.

The regular cover of "UNSTOPPABLE DOOM PATROL" #4 by Chris Burnham & Brian Reber

Conan The Barbarian #1 - Titan Comics

CONAN THE BARBARIAN No. 1, August 2023

Announced in April 2023 that “Titan Comics” were partnering with “Heroic Signatures” to bring the fictional sword and sorcery hero “back in a new tale of bravery and heroism”, many bibliophiles perusing Jim Zub’s narrative for Issue One of “Conan The Barbarian” will probably have felt the legendary Robert E. Howard himself was whispering what to write in the Canadian author’s ear. For whilst “Scourge Of The Dead” is not an adaption of any story previously published within the pages of a pulp magazine. The adventure’s atmosphere brilliantly captures all the character, chaos, and sword-slashing carnage of the Cimmerian’s printed chronicles in “Weird Tales”.

For starters, the sweeping scale of this book’s narrative begins typically small, with the experienced combatant simply swapping savage punches with a bullish craven, who ignorantly feels ‘right is might’ when it comes to ordering his men to die needlessly on the battlefield. This violent introductory scene firmly establishes Conan as being cut from the same imaginative cloth as his Texas-born creator would have wanted him, as well as quickly settled the nerves of any long-time fantasy fans that the franchise is in safe hands with the British publisher. In addition, the warrior’s legendary sense of honour is proudly proclaimed when he refuses to kill his “former mercenary captain”, despite the unconscious foe having just tried to gut him with a dagger in what had initially been a ‘fair’ fist fight.

As per Howard’s classic short stories though, the ante is soon ramped up in the guise of a mysterious Pictish scout who “rides in to warn the Cimmerians of an imminent threat on the march”. The shadowy background to this lone woman is nicely penned, and arguably leaves this comic’s audience immediately wanting to know more about her, even when a seemingly unstoppable wave of undead zombies suddenly hurl themselves at the inhabitants of Hauler’s Roam in a bloodthirsty, night-time frenzy; “Too late now. Heft a blade, you cowards!” 

Just as sensational as this twenty-two-page periodical’s plot are Rob De La Torre’s incredible layouts, which appear impressively inspired by the two hundred plus publications of “Conan The Barbarian” pencilled by the late, great John Buscema, when the Hyborian Age adventurer’s licence was owned by “Marvel Comics”. The artist appears particularly adept at imbuing the wanderer with all the physical presence a reader would expect from the future King of Aquilonia, and certainly appears able to depict the odd lopped off head or limb whenever necessary.

The regular cover art of "CONAN THE BARBARIAN" #1 by Dan Panosian

Star Trek: Annual 2023 - IDW Publishing

STAR TREK: ANNUAL 2023, May 2023

For those casual fans of Gene Roddenberry's universe who are unfamiliar with “IDW’s brand-new, flagship Star Trek ongoing series that goes where no comic has gone before”, Jackson Lanzing and Collin Kelly’s narrative for this thirty-two-page annual was probably a bemusing gestalt of all the science fiction franchise’s past incarnations, what with the likes of James Kirk, Jean-Luc Picard, Benjamin Sisko, Tom Paris, Mister Data and numerous other notable characters all being prodigiously pencilled by Rachael Stott throughout this book. True, “the critically acclaimed” duo do at least attempt to explain just how Montgomery Scott happens to be the Chief Engineer of the U.S.S. Theseus following the Emissary of the Prophets’ return from a Bajoran Wormhole. But the script unrelentingly throws so many other “Starfleet legends” at its audience that only the most diehard of Trekkies won't become confused as to just who is real and who is a holographic replica.

Similarly as perplexing is the publication’s plot, which arguably takes an inordinately long time to explain that the experimental starship’s holodeck technology has become self-aware. This notion is definitely an intriguing one that borrows heavily from Naren Shankar’s televised episode “The Quality of Life” featuring some sentient utility robots. However, in order to pad out this over-sized one-shot, the creative team seemingly attempt to have the audience somewhat wearisomely visit almost every iconic vessel ever seen on the small or big screen – whether that be the warp five capable NX-01 Enterprise, the Napoleonic era H.M.S. Enterprise, or Doctor Cochrane’s Phoenix - before penning this revelation.

Quite possibly this comic’s biggest disappointment though debatably lies with its depiction of “Starfleet's youngest starship captain”, who towards of end of the story is probably the closest it has to an antagonist. Repeatedly insisting that things be destroyed, annihilated, and even threatening to kill Sisko at one point with a phaser, this computer-generated duplicate is obviously a far cry from the genuine Jim Kirk. Yet considering that all the other artificial programs made manifest seemingly behave as per their true-life counterparts it seems odd the writers would choose this particular personality as the adversary. Unless its more than coincidence that this book was produced at a time when “StarTrek.com” would feel it necessary to post an article defending actor William Shatner's role from an increasingly popular bandwagon of ill-founded criticism and derision.

Writers: Collin Kelly & Jackson Lanzing, and Artist: Rachael Stott

Sgt. Flag #1 - G-Man Comics

SGT. FLAG No. 1, April 2022

Impressively funded in just eleven minutes as part of the publisher’s 2022 “Rise of the G-Men” Kickstarter, this comic certainly places its audience up to their necks in adrenalin-fuelled violence and some utterly insane firefights. Indeed, as opening issues go, this first instalment of “Sgt. Flag” definitely must have left a lasting impression upon any bibliophile lucky enough to purchase a copy, with Rik Offenberger’s two stories showing just how versatile, and down-right deadly, the smart-mouthed FBI operative can be when it comes to gunning down either a gang of gun-toting gangsters or a deadly super-villain.

First up is arguably the more intriguing (origin) tale “Semper Fi!”, which does a great job in depicting the pulse-pounding pandemonium surrounding Rob McFarlane’s reassignment to President Trump’s recently reactivated Caped Agent Program from an undisclosed modern-day battlefield. Energetically sketched by Gilbert Monsanto, this twenty-page plot hooks the reader straight from the start, and simply doesn’t let them go until The Agent’s latest recruit smashes his way out of an exploding building with the battered banker he was sent to rescue; “Oof! You here to help me or hurt me?!”

Somewhat more leisurely paced, at least at the beginning, is “Two Of A Kind!”, which is co-authored by Gregg Whitmore. This much shorter adventure, confined to the interior of the Beaumont Building, has a distinct “Die Hard” feel to it as the titular character and Wildcard blast through a veritable army of armed hoodlums to reach the skyrise building’s ground floor. Such relentless gunplay, even when prodigiously pencilled by Bobby Ragland, could potentially become a little tiresome after a while. But the outnumbered pair’s ‘back and forth’ banter manages to keep everything entertaining.

Perhaps therefore this publication’s sole quibble lies in the portrayal of McFarlane himself, who seemingly swears at everyone and everything throughout his action-packed exploits. True, no actual expletives are on show. But coupled with the marine’s evident overbearing arrogance and chauvinism, this almost relentless assault upon the sensibilities for the entire duration of the comic could potentially cause some readers to dislike Offenberger's colourfully-costumed creation – especially when so much of the chaos being caused is seemingly due to Sgt. Flag’s poor judgement in the first place.

The regular cover art of "SGT. FLAG" #1 by Gilbert Monsanto

Alien [2023] #3 - Marvel Comics

ALIEN No. 3, August 2023

Splitting its storyline between the surviving crew of the USCSS Boreas bravely battling a lone Xenomorph, and Batya Zahn attempting to escape the clutches of her Weyland-Yutani captors. Declan Shalvey’s script for Issue Three of “Alien” certainly seems to ‘juggle an awful lot of plates in the air’ so as to keep its audience entertained. Disappointingly however, despite all these high-octane action sequences featuring “a trail of gore and eviscerated bodies”, some within this comic’s audience probably still felt the book was lacking somewhat when it comes to the horror franchise’s famous claustrophobic feeling of terror and suspense.

True, the Irish writer certainly establishes a compellingly chilling set of scenes for any perusing bibliophile to navigate through, courtesy of a hapless security team being forced to slowly creep down a seemingly endless series of restrictive corridors looking for the chest-burster which killed their comrade-in-arms. But despite this ‘classic’ premise, and the fact that the outclassed company men eventually face a fully-grown killer alien, the furious firefight, grisly demises, and insane savagery on show arguably just doesn’t quite land with the impact this title’s creative line-up probably felt it would.

Much of this impotence is quite possibly due to the layouts of Andrea Broccardo, which whilst proficient enough, appear a little too Manga-like to genuinely give the comic’s pencilled proceedings the gruesome gravitas envisaged by H. R. Giger when he first began sketching the deadly extra-terrestrials and their suffocating environment for Ridley Scott’s ground-breaking film in 1979. Likewise, Triona Farrel’s colours are both too bright and flat-looking, making many a sequence appear rather one-dimensional, even when its clear there’s some sizeable distances between the figures in view.

Resultantly, it’s possibly not until towards this twenty-page periodical’s conclusion, that the comic actually catches its readers out with a seriously shocking gut-punch, by having Dayton heartbreakingly sucked beneath the planet’s icy waves when the spaceship he has commandeered catastrophically falls through a fast-appearing crevasse. This incident is wonderfully depicted, and despite Zahn’s character not being the most sympathetic in the cast, doubtless caused the odd bookworm to momentarily feel for the scientist and her husband’s tragic loss; “After everything you gave me… I let you down when you needed me the most. I couldn’t save you.”

Writer: Declan Shalvey, Artist: Andrea Broccardo, and Colorist: Triona Farrell

Planet Of The Apes [2023] #3 - Marvel Comics

PLANET OF THE APES No. 3, August 2023

Considering that almost the entirety of David F. Walker’s script for Issue Three of “Planet Of The Apes” is arguably designed to simply set up this ongoing series’ next edition, there's surprisingly still plenty of plot to keep the comic’s audience hooked throughout its fifteen pages. In fact, it’s debatably difficult not to come away from this periodical without some sympathy for the leader of Exercitus Viri, considering just how traumatic the tragic death of his entire family hits him, despite the anti-simian terrorist subsequently launching a mass attack against an ocean liner packed full of hapless apes, chimpanzees, and orangutans.

Quite possibly this book’s best moment though lies in Juliana Tobon’s short-lived defence of some monkeys in Florida during 2015, in which the U.N. Peacekeeping soldier guns down a handful of misguided “pendejos” who attempt to cold-bloodedly murder her furry friends. This flashback sequence not only provides the publication with some much needed, adrenalin-fuelled fighting. But also demonstrates that the ofttimes politely spoken woman is definitely not to be trifled with when it comes to her mission to ship “the world’s last sizable population of apes in captivity across the world”.

Competently pencilling the Ringo Award-winning author’s script is Dave Wachter, whose panels during the aforementioned gun-battle really help sell the notion of a straightforward, stand-up firefight between two bitterly opposed military forces. Sadly however, the “American artist best known for Teenage Mutant Ninja Turtles” doesn’t debatably deliver quite so well when it comes to the more sedentary scenes, especially those set a hundred miles east of New York, with many a simian and human figure appearing strangely square-headed.

Curiously, the same can’t really be said for the illustrator’s work on this comic’s secondary tale, “The Smartest Gorilla In The World”, which focuses upon a group of surviving apes searching through the house of a long dead couple in Calais, France. Despite some quite word-heavy narration by Walker at the start of this story, the vast majority of Pug’s experience with a child’s electronic word game is visually told, and Wachter does an excellent job of showing how the titular character shockingly begins to vocally form words using the handheld toy as a speech prompt.

Writer: David F. Walker, Artist: Dave Wachter, and Colorist: Bryan Valenza

Thor [2020] #8 - Marvel Comics

THOR No. 8, December 2020

Based upon the debatably bizarre premise that anyone in Broxton, Oklahoma can simply pick up “the famed hammer of the Thunder God… no worthiness required”, Donny Cates script for Issue Eight of “Thor” was probably never going to really win over that many of the comic’s readers. Indeed, Odinson’s behaviour throughout this entire twenty-page periodical is unusually odd, with the founding Avenger seemingly not even caring when an incredibly detestable Iron Man batters him straight across the face with Mjolnir itself; “For the vast majority of the time I have known thee… You have been a noble ally and friend.”

Furthermore, it doesn’t seem particularly clear just what the American author was actually trying to achieve with his storyline. True, this second instalment of “Hammerfall” does a first-rate job of depicting Tony Stark as a total jerk, whose holier than thou ego foolishly makes the billionaire industrialist momentarily believe that he has every right to both keep Thor’s hammer for himself and subsequently assault the Thunder God with it. But frankly, the inventor’s famous arrogance is obvious for all to see when he immediately starts threatening a bemused Adam Aziz for possession of the enchanted hand-weapon at the start of the comic.

Likewise, it seems somewhat anomalous that Jack Kirby’s co-creation would later willingly allow a local mechanic to wield Mjolnir and go so far as to teach him how to fly using its power. Of course, this sequence is actually rather endearing, as the elderly repairman exudes an utterly enchanting childlike excitement during his once in a lifetime lesson. However, apart from padding out the publication with some tongue-in-cheek humour, as well as planting the seed in the long-haired deity's mind to reset “the Uru hammer”, this silly scene disconcertingly jars with the serious nature of the titular character’s potentially catastrophic confrontation with Iron Man just moments before.

Frustratingly, guest artist Aaron Kuder doesn’t seemingly help ‘sell’ Cates’ tale either, courtesy of some rather lack-lustre pencilling. The heavily detailed panels depicting the titular character staring into the great Book of Kings at this comic's opening is incredibly atmospheric, and packed full of menacing intrigue. Yet, as soon the audience are whisked to present day Broxton, there’s arguably a noticeable drop in quality – not least of which is the design of Adam’s Asgardian costume.

The regular cover art of "THOR" #8 by Olivier Coipel & Laura Martin

Blade #2 - Marvel Comics

BLADE No. 2, August 2023

Perhaps somewhat disconcertingly reminiscent of the Wachowskis’ “Matrix” franchise more than Stephen Norrington’s 1998 American superhero movie “Blade”, Bryan Hill’s script for “Mother Of Evil” surely still provided its readers with plenty of high-octane set-pieces and gratuitous violence. In fact, the action rarely stops to allow this comic’s audience to catch its breath as the Daywalker repeatedly attempts to foil a series of assassination and abduction attempts on “a high-end supernatural arms dealer” turned hostile ex-girlfriend.

Foremost of these pulse-pounding predicaments is probably a gun-toting helicopter’s endeavour to riddle Tulip with enough lead to sink a steamship whilst the woman is busy bedding the dhampir in her high-rise Japanese apartment. Sporting a serious exchange of bullets between the two warring factions, the fracas does somewhat incongruously show Eric Brook’s favouring a demonically possessed machine gun rather than the titular character’s famous hand-made sword. But despite this ‘mismatch’, the sequence still packs an exhilarating punch – especially once Lord Daido’s armed forces pour in through the front door and blast Blade out through the bedroom’s already shattered glass window through sheer force of firepower.

Rather enjoyably though, this issue isn’t simply about the feisty gunrunner’s perilous plight either, as the American author also pens plenty for Rotha to do during this publication’s second half. True, the mystic cultist does spend much of this book’s storyline tied to a post in the Daywalker’s Minka. However, once she is released the angry ‘sidekick’ soon sets about Daido’s contingent of personal bodyguards with a flurry of well-aimed arrows to the head; “I really hope they were bad people.”

Notably adding some extra “Thok” to the deadly bolts of the vampire’s Cambodian compatriot, as well as some impressive zip to all the gunshots sounding off throughout this comic’s layouts, is Elena Casagrande. The Italian illustrator does a particularly good job of imbuing Blade with all the athleticism a bibliophile would expect from Marv Wolfman’s co-creation, most notably when the anti-hero leaps aboard a soldier-filled rotorcraft and mercilessly guns down the elite, special forces inside at extreme close range within a single, mouth-wateringly good splash page. In addition, the artist does a stellar job of showing the wounds Eric incurs when his body plummets numerous floors to the sidewalk and is then savagely thrown back up into the air by the impact of the hitmen’s getaway car.

The regular cover art to "BLADE" #2 by Elena Casagrande & Jordie Bellaire

The Incredible Hulk [2023] #3 - Marvel Comics

THE INCREDIBLE HULK No. 3, October 2023

Clearly investing this particular twenty-page periodical with an utterly bewitching Stephen King vibe, Phillip Kennedy Johnson’s zombie-packed narrative for Issue Three of “Incredible Hulk” would seem much more suitable for Skybound’s spinechilling “Creepshow” comic book anthology series than one of Marvel Worldwide’s range of super-hero titles. For whilst Bruce Banner’s green-hued alter-ego dominates the publication, he faces a veritable army of undead ghouls and the gigantic, antediluvian creature which the long-abandoned mining town’s decomposing population have been worshipping for untold aeons.

In addition, this continuation to “The Age of Monsters” storyline gleefully taps into the darkest corner of the Eisner nominated writer’s mind, by conjuring up an underground world where talking corpses and long dead folk religiously dig in the dirt with their lifeless limbs for Brother Deep’s emancipation. So truly macabre a scene is genuinely disturbing, with the ferocious heat emanating from the old god’s temporary tomb bringing a palpable rise to any reader’s temperature who dwells for too long on the panels depicting the debris of the settlement’s fallen church steeple and the wooden structure’s fiery plight.

Pleasingly however, this comic isn’t simply about its titular character beating the hell out of a huge, multi-eyed “monster unlike any he has faced before”, courtesy of some enjoyable backchat between the Hulk and new companion Charlie. The feisty runaway is understandably perplexed by her encounter with a village packed full of the walking dead. But eventually demonstrates the strength of personality she so naively claimed she had when this adventure first started, by kicking the place’s partially rotting sheriff to pieces at the end, when the ‘immortal’ lawman desperately tries to drag her back to his subterranean retreat; “Shoulda stayed in yer stupid hole!!!”

Just as enjoyable as this book’s penmanship though is Nic Klein’s pencilling, which manages to imbue Brother Deep’s domain with all the claustrophobic dread a bibliophile might expect from a province painfully dug from the very earth itself by the most primitive of hand-tools. Furthermore, the design of the Fractured Son’s towering opponent is excellent, with the giant-sized, tentacled gestalt appearing to have quite literally stepped from out of H.P. Lovecraft’s Cthulhu Mythos into our universe.

The regular cover art of "THE INCREDIBLE HULK" #3 by Nic Klein