Batman: The Adventures Continue Season Three #8 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON THREE No. 8, December 2023

As a “series finale over thirty years in the making” goes, Alan Burnett and Paul Dini’s storyline for Issue Eight of “Batman: The Adventures Continue Season Three” certainly seems to successfully strike home, courtesy of an outrageously audacious scheme by Ra's al Ghul to convince the Dark Knight into retirement by secretly incarcerating the super-hero’s Rogues Gallery in an underground prison. In fact, the Detective’s discovery of his potential father-in-law’s plan genuinely provides this twenty-page-periodical with a jaw-dropping revelation, especially once Bruce Wayne’s alter-ego learns that the super-villain’s solution to worldwide famine will actually cause sterility within a few generations.

Furthermore, the comic contains plenty of fisticuffs and punch-ups to keep the adrenalin-junkies content, as the Caped Crusaders face-off against a veritable army of zombie dogs and undead assassins. This notion that the sickly Dragon’s Head would readily take over the Court of Owls following the demise of its original council, is an easy plot-twist to accept, and resultantly provides the writers with more than enough Talons for the Bat-Family to sporadically battle as they tensely travel deeper into Gotham City’s maze-like system of subterranean tunnels; “My guess is the Owls brought you this way.”

Perhaps therefore this book’s sole disappointment might arguably come in the lack of limelight given to so many of Batman’s most notorious opponents. Admittedly, the likes of Talia al Ghul, Selina Kyle, Kirk Langstrom and Oswald Chesterfield Cobblepot do well enough with each criminal actually contributing to the overall narrative. But Clayface, Killer Croc, Two-Face, the Black Mask and the Scarecrow regrettably are given just enough panel space for a brief cameo, potentially making some of the Dark Knight’s greatest adversaries appear as little more than afterthoughts.

So minor (and understandable) a quibble though is soon forgotten thanks to the stellar artistic contribution of Ty Templeton, Jacob Edgar, and Monica Kubina, who together produce a fantastic feast for the eyes with their prodigious pencilling, inking and colour choices. Indeed, the sheer grandeur of Ra's al Ghul’s hush-hush head-quarters really helps sell the scope of the international mastermind’s evil machinations, and provides an excellent backdrop to this masterwork’s cataclysmic conclusion once Catwoman has freed all the long-lived felon’s numerous prisoners.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON THREE" #8 by Ty Templeton

The Incredible Hulk [2023] #5 - Marvel Comics

THE INCREDIBLE HULK No. 5, December 2023

Considering the sheer size of the malevolent swamp siren confronted by this comic’s titular anti-hero, some Hulk-heads may well have been anticipating “an epic brawl” between the Jade Giant, Man-Thing and the formidably-strong, multi-limbed, Floridan monstrosity. But whilst that may well arguably be the case, much of the battle’s impact is disappointingly lost as a result of Travel Foreman’s crude drawing style. In fact, many of this twenty-page-periodical’s harsher critics might even go so far as to suggest that the Honolulu-born artist’s inexpert illustrations wouldn’t look out of place inside an adolescent’s homemade fanzine rather than within the cover of a magazine produced by the current “comic book specialty market's top publisher.”

This disconcerting visualisation of Phillip Kennedy Johnson’s script also debatably distracts the reader from emotionally connecting with poor Charlie Tidwell, when the young girl relives the trauma of her ‘baby’ brother Earl dying at the hands of their abusive father. Charny’s despair is so tragically deep that it actually forces the onlooking Defender to painfully revert back to Bruce Banner. Yet due to the quality of the layouts any perusing bibliophile may well struggle to find even the smallest amount of sympathy for the unsatisfactorily sketched schoolboy's second demise; “If I wasn’t so… so clumsy, maybe he wouldn’t’ve… sniff. You didn’t even do anything…”

Perhaps this book’s biggest mystery though lies in precisely what threat the siren poses to the Nexus of Realities. Ted Sallis is very clear that the “mindless avatar of hatred and grief” is both “old and angry”. However, Man-Thing never explains how the wretched creature is physically threatening the cross-dimensional gateway, and eventually just resorts to informing an unconvinced Hulk that if the founding Avenger doesn’t help him, it’ll eat the Green Goliath’s unlikely companion. 

Somewhat more successfully delivered is this comic’s “backup story featuring a surprise guest character to honour Latin and Latinx characters and creators!” Penned by Vita Ayala, this unlikely fist-fight between the “World-Breaker” and Victor Alvarez initially appears to be little more than a staged set-piece to show-off Power Man’s impressive Chi-manipulating super-powers. However, once the Hero-For-Hire passes out and is temporarily cared for by the Hulk’s somewhat emaciated alter-ego, the storyline quickly transforms into a tolerable tale which focuses upon “Goggles” insecurities about being “nothing but a bootleg copy of a C-lister…”

The regular cover art of "THE INCREDIBLE HULK" #5 by Nic Klein

Conan The Barbarian #4 - Titan Comics

CONAN THE BARBARIAN No. 4, November 2023

It’s easy to see with his script for Issue Four of “Conan The Barbarian” that Jim Zub is clearly “a lifelong fan of the [titular] character”, if not an entirely devoted scholar of all things penned by Robert E. Howard. Yet whilst “Bound In Black Stone” enthrallingly smacks of something taken straight from the pages of a Forties pulp magazine, it’s reliance upon the reader needing to have a much broader knowledge of the Hyborian Age mythos to fully appreciate its cleverness, may well dissuade some perusing bibliophiles from seeing this title as a ‘jumping on point’ for the Sword and Sorcery hero.   

True, the Canadian author does spend a considerable amount of this twenty-two-page periodical explaining just why a drowning Cimmerian might suddenly encounter the ghost of a long-dead Pictish Chieftain, courtesy of a spell-binding flashback. However, despite this sequence somewhat enjoyably mirroring Conan’s encounter with Epemitreus in the 1932 short story “The Phoenix on the Sword”, its appearance arguably comes completely out of nowhere, and rather contrivingly seems to be solely based upon the adventurer just happening to have Brule’s mystical blade about his loincloth.

Perhaps this comic’s biggest disappointment though, rests with the off-screen demise of poor Brissa, who apparently rushes back to aid her heavily-muscled lover in the Black Tower only for the evil spire to fatally collapse upon her. Doubtless many within this comic’s audience will be hoping that so dismal a death for one of the tale’s foremost protagonists is simply a ploy by the Eisner Award-nominee to establish a sensational future return. But even if this proves to be the case, as it is the brave scout’s abrupt passing implies a disconcertingly lethargic way to end the book within its allotted sheet-space; “…One more victim of the Baneful Black.”

Fortunately, such quibbles are easily set aside once Rob De La Torre begins his pulse-pounding pencilling. The artist’s dynamic layouts for the aforementioned trip back to the days neighbouring King Kull’s pre-cataclysmic Atlantis are visually stunning, and should genuinely make many within this publication’s audience yearn for this comic’s creative team to produce a magazine solely based upon the supernatural exploits of the Borni Tribe’s leader too.

The regular cover art of "CONAN THE BARBARIAN" #4 by Roberto De La Torre

Titans #4 - DC Comics

TITANS No. 4, December 2023

Intriguingly treading the line between low-level crime-fighting and international terrorism, Tom Taylor’s narrative for “Out Of The Shadows” certainly seems to start well, courtesy of a touchingly intimate focus upon Beast Boy and Raven as the couple reconcile Garfield Logan’s doubts about the future of humanity by defeating a pair of knife-wielding neighbourhood bullies. But whilst this somewhat tongue-in-cheek transformation into a talking tiger proves entertaining enough, some within this comic’s audience might be left scratching their heads in bemusement at the rest of the book’s plot.

For starters the notion that the Teen Titans should suddenly decide to return to the Southeast Asian island of Borneo at precisely the same location as one of its settlements is being forcibly removed by the gun-toting Demolition Team is arguably a little too manufactured, considering that it appears to occur solely upon Changeling’s whim to “lead a reforestation effort” with the agencies there. Admittedly, the young vigilante has been badly affected by the recent deaths of the area’s wildlife in a mysterious fire. But to immediately convince the rest of his friends to abandon investigating the Flash’s imminent death sadly smacks of the “New York Times bestselling author” sluggishly contriving the super-group’s separation simply so Wally West proves an easier target for his enigmatic assassin.

In addition, the sudden disappearance of both Nightwing and the Scarlet Speedster just when an alien-influenced Tempest arrives at the Titan’s headquarters also appears incredibly fortuitous for the extra-terrestrial invader. Indeed, the pair’s absence, weakly explained as being due to them “being off somewhere” arguing seems unlikely considering Linda Park-West has already made it crystal clear her husband won’t be participating in any adventures for at least the next twenty-four hours; “I wouldn’t say I’m a secret weapon. But you’re going to listen to Donna and Dick…”

Happily however, what this twenty-page periodical debatably lacks in convincing penmanship it makes up for with prodigious pencilling. Whether it be Nicola Scott and colorist Annette Kwok’s awesome-looking regular cover illustration, featuring Beast Boy being surrounded by a veritable menagerie of birds and animals, or a grumpy Peacemaker scrutinising the satellite images of Donna Troy’s battle against the Demolition Team, each and every panel within this comic is incredibly well drawn.

Writer: Tom Taylor, Artist: Nicola Scott, and Colorist: Annette Kwok

Blade #4 - Marvel Comics

BLADE No. 4, December 2023

Arguably using Stephen Strange’s guest star appearance as an opportunity to bring any new readers to this ongoing series bang up to speed with the storyline’s past events and characters, this comic’s “high-speed heist” certainly promises plenty of sense-shattering shenanigans. But whilst the vast majority of the twenty-page periodical does focus upon a bullet train whose “chassis is made of adamantium” and which “rarely slows below 180 miles per hour”, its perplexing plot may well prove just a little too bemusing for many a perusing bibliophile to properly enjoy.

Foremost of these oddities in "Mother Of Evil" is probably the absence of the Master of the Mystic Arts himself, who despite conjuring up a portal to allow Blade access “into the armoured fortress of a weapons collector”, doesn’t actually then fight alongside the vampire. Instead, the Sorcerer Supreme simply informs the titular character from a notable distance that Adana will “destroy reality as we know it” if not stopped, and then later adds that the only “sword of unknown power” which can apparently kill her will prove equally as dangerous to the Daywalker if he succeeds in appropriating it.

Similarly as disappointing though has to be the much-anticipated confrontation between Eric Brooks and Hamilton Achilles, which ends with the powerful, master criminal somewhat ridiculously tearing his own head in half as a sacrifice to Adana. Considering that the thick-set blood-drinker clearly doesn’t want this comic’s titular character to steal Lucifer’s infamous hand-weapon, this suicidal behaviour is debatably an incredibly peculiar move, and one that sadly smacks of contrivance so as to simply propel Blade into the lengthy narrative’s final instalment suitably well-armed; “That weapon has the will of the Lightbringer. It will change you…”

Sadly, such a confounding scenario also seemingly appears to have detrimentally affected the book’s illustration team, with both Valentina Pinta and Elena Casagrande pencilling a series of surprisingly stagnant layouts featuring wooden figures and lack-lustre action scenes. Indeed, Achilles’ aforementioned death may well strike many within this publication’s audience as appearing like something out of a cartoony Japanese anime show, with the wide-eyed vampire’s inexplicable self-immolation being difficult to visualise without repeated visits to the panel apparently depicting it.

The regular cover art to "BLADE" #4 by Elena Casagrande & Jordie Bellaire

Creepshow [2023] #2 - Image Comics

CREEPSHOW No. 2, October 2023

Initially providing his audience with a genuinely relatable depiction of a lonely youngster desperate to find companionship with their favourite television programmes when left alone for the night, Michael Walsh’s wonderful “The Man With No Eyes” must surely have caused many a bibliophile to have had some considerable sympathy for both Dan and his “down-on-his-luck dad” as they desperately try to survive a week of gruelling night shifts before “things’ll be easier.”

As well pencilled as it penned by the Eisner Award-winner, this terrifying ten-pager soon turns even more tragic though as the completely innocent child totally falls under the sinister spell of a malignant magician who horrifically has his ghoulish heart set on the friendless lad’s eyeballs, and causes the boy’s father to lose his crucial, bill-paying job through absolutely no fault of his own. Disconcertingly haunting, the tale’s subsequent conclusion is genuinely upsetting, as the minor’s remorseful parent appears about to make amends for smashing up their sole telly in a drunken temper only to face a grotesquely disfigured Dan desperate for revenge and armed with a jagged piece of their smashed set’s glass screen.

Slightly less hard-hitting, though perfectly entertaining in its own right, is “Keep It Down” by Dan Watters, which rather intriguingly taps into the life of a woman who can communicate with the dead. This supernatural ability is ofttimes presented as being something of a boon to those who possess it, and initially the London-born writer follows just such a path with the young woman responsibly listening to all the spirits’ different plights. However, once the sheer number of unwanted souls starts to impact upon poor Amy’s day-to-day life the desperate medium decides to take a very drastic step to ensure she obtains a good night’s sleep.

Interestingly however, it soon turns out that the lady’s keen hearing has actually been keeping her safe from a much darker demonic monstrosity than artist Abigail Larson’s well-sketched spectre who persistently enquires about what Tik Tok is all about. This deadly threat neatly ties in with the yarn’s opening too, so rather impressively helps bookend the petrifying piece too; “In the end, her pleas for quiet really fell on deaf ears.”

Writers: Michael Walsh and Dan Watters, and Artists: Michael Walsh and Abigail Larson

Batman: The Adventures Continue Season Three #7 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON THREE No. 7, October 2023

Packed full of suspicion, intrigue and potential duplicity, there was surely a lot for Bat-fans to enjoy with this second instalment to Alan Burnett and Paul Dini’s “The Offer” storyline. Indeed, the sheer scope of the narrative is beguilingly large, as Bruce Wayne seriously considers Ra’s al Ghul’s suspiciously generous offer to take control of the super-villain’s worldwide organisation whilst simultaneously battling a metropolis-wide incursion by the diabolically deadly Court of Owls.

Furthermore, the inclusion of Poison Ivy, Harley Quinn, Catwoman and Talia al Ghul as potential allies against Gotham City’s nefarious secret society adds plenty of tension between the Dark Knight and his family – especially when Selina Kyle makes it abundantly clear that the burglar would very much like to rekindle her romantic relationship with the Caped Crusader despite the daughter of the Demon's Head declaring she has a similar goal; “If you ask me, when she calls, the only one who’s going to be in trouble is you.”

Happily however, this twenty-page periodical isn’t simply content to weave a sedentary web of conspiracy and double-dealings, but also provides plenty of pulse-pounding action whenever the Talons make a dramatic appearance. These bone-crunching interludes genuinely help spice up the narrative’s pace, and also add an extra plot-thread in the shape of Doctor Kirk Langstrom’s hideous alter-ego, the Man-Bat, who somehow appears to have become an imprisoned pawn of the Court despite the scientist’s promise to his good wife that’ll he’ll never undergo his transmutation again.

By far this book’s biggest success though is arguably the team effort behind it’s artwork. Featuring the illustrations of regular Ty Templeton with Norm Rapmund and Jacob Edgar, as well as colours by Monica Kubina, this comic’s layouts are a visual feast for the eyes. Furthermore, whether it be Harley Quinn literally lopping off an assassin’s head with a bloody scythe once she’s informed the black-garbed ghoul is an ‘undead soldier’ or the Boy Wonder’s repeated looks at Batman whenever his mentor becomes the focus of Selina’s intimate desire, there always seems to be a prodigiously-pencilled panel just around the corner ready to make a reader involuntarily giggle.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON THREE" #7 by Juan Ferreyra

Conan The Barbarian #3 - Titan Comics

CONAN THE BARBARIAN No. 3, October 2023

Impressively able to “take the classic Robert E. Howard canon stories and build around them”, Jim Zub’s narrative for Issue Three of “Conan The Barbarian” smacks of everything which has helped make the fictional sword and sorcery hero so beloved since his first appearance in “Weird Tales” way back in December 1932. Indeed, the Canadian writer appears to have mastered all the ingredients needed for an utterly enthralling tale of the Cimmerian, whether it be a seductive female ally, a horde of blasphemous serpent-faced aggressors or a disconcertingly dark wizard who harks back to a long-forgotten age when men were no more than hapless sacrifices to be made to a decidedly grisly god.

To make matter even better though, the Animex Honorary Award-winner doesn’t simply depict the battle of Venarium veteran as a solitary killing machine who is able to mercilessly chop up an insurmountable number of assailants with his blade. But instead, portrays a coldly calculating adventurer, who needs other able-bodied warriors at his side when faced with more than a handful of foes. This practical thinking adds a lot of legitimacy to an evidently fantasy-based plot, and shows that the titular character is already so much more than an ignorant mercenary who simply sells his highly efficient sword arm to the highest bidder.

In fact, “The Fortress” is packed full of compelling examples of Conan’s thoughtfulness and cunning. The future king of Aquilonia is keen to learn all that he can about the black tower he is infiltrating before he is willing to reveal his presence to the powers that be, and even turns down the opportunity to follow some cloaked cultists through a supernaturally-guarded doorway for fear of the move divulging himself and Brissa to their foes much too early; “Before the Cimmerian can ponder the wisdom if that hesitation, his keen hearing picks up voices echoing from different hallway.”

Also imbuing the black-haired barbarian with plenty of mightily-muscled menace are “ravaging” Rob De La Torre’s simply sensational layouts. The panels pencilled to portray the fierce fighter stealthily creeping through the confining corridors of the Citadel of Black Stone are palpably claustrophobic. Whilst his dynamic double-splash of the surviving prisoners bravely battling against a seething tide of Snakemen and undead walking cadavers is absolutely breath-taking in its attention to death-dealing detail.

The regular cover art of "CONAN THE BARBARIAN" #3 by Doug Braithwaite

Fantastic Four #605 - Marvel Comics

FANTASTIC FOUR No. 605, June 2012

Despite its New York City-based publisher’s attempt to imbue this book with some semblance of pulse-pounding speed, courtesy of a disingenuous solicitation synopsis which sensationally declares “the team must literally fight to save their future”, Jonathan Hickman’s plot to Issue Six Hundred And Five of “Fantastic Four” is pleasingly slow-paced and simply uses good penmanship to enthral its audience rather than action-packed fireworks. Indeed, considering that this twenty-page periodical contains nothing more than a series of dialogue-driven, sedentary set-pieces, many of this comic’s readers probably still felt somewhat emotional once its storyline concluded; “I’ve missed you too, Stretch.”

To begin with the American author depicts a genuinely caring Reed Richards, who whilst delighted that the Thing is finally able to revert “to his normal human form for approximately one week every year”, is clearly still worried about his friend’s future, and therefore devises a plan to travel forwards one thousand years. Ordinarily such a plot thread could lead to all sorts of unbelievable flights of technobabble-fuelled fancy. But on this occasion the writer simply settles for penning Ben Grimm’s increasingly solitary existence, where even the immortal Franklin Richards eventually leaves the super-team “to run with the Gods.”

This decline is genuinely touching, as the Fantastic Four’s former powerhouse wearily wanders through an age where there are quite literally hundreds of Future Foundation graduates willing to put any unruly villain back in their place without a moment’s notice. As a result, Benjamin becomes increasingly mournful that the original roster are long dead, and, with typical Yancy Street humour, that the former astronaut hasn’t even “had a hamburger in fifteen hundred years.”

Much of this pathos is generated by the prodigious pencilling of Ron Garney, whose ability to sketch the Thing with an increasingly long beard, really helps sell the eternity which has passed in between Reed Richards’ time skips. Interestingly however, the artist doesn’t seem to be quite on his best game at the book’s start, when strangely both Mister Fantastic and his father seem to be lacking in facial detail – at least until the narrative has them arriving in the Big Apple in 3012 A.D. aboard an invisible observation platform.

Writer: Jonathan Hickman, Artist: Ron Garney, and Color Artist: Jason Keith

Alien Annual #1 - Marvel Comics

ALIEN ANNUAL No. 1, December 2023

Described by its New York City-based publishers as “a frightening new chapter in the Alien mythos” which “launches a war between Xenomorphs”, Declan Shalvey’s storyline for this first “Alien Annual” is certainly crammed full of ferocious close combat and buckets of flesh-burning acidic blood. Indeed, considering just how many different extra-terrestrials are shown swarming across the frozen surface of Moon LV-695, only the most studious of franchise fans will arguably have the fortitude and patience to tally-up the thirty-page periodical’s horrendous kill count.

Such an unrelenting assault upon the readers’ senses is probably manna from heaven for any adrenalin junkies, considering that this publication almost entirely consists of panels depicting the different species lopping off one another’s heads or being lethally burnt straight through to their innards. But by the time the plot moves on to the original invaders’ Queen facing off against her prodigal sons’ equally-formidable monarch, many within the comic’s audience will surely have grown numb to such gratuitous violence and yearn for more sedentary scenes, such as when the satellite’s native inhabitants momentarily gather their wits by a drinking pool following their initial fracas with H. R. Giger’s deadly creatures.

Perhaps this book’s biggest hurdle however, lies with its complete lack of dialogue. This intriguing storytelling technique certainly seems to work at the beginning of the adventure, as the Irish writer pens the sudden, fiery arrival of a derelict interstellar spacecraft from the perspective of the planet’s giant, spidery-like denizens. Yet, as the narrative continues with sheet after seemingly endless sheet of six-to-seven panels, many a perusing bibliophile will debatably start losing interest; “Whrrrr! Hssssss! Skreee!”

Undeniably therefore shouldering the lion’s share of this one-shot’s workload is Danny Earls, who for the most part seemingly does a proficient enough job pencilling all the different competing lifeforms. In fact, one of the artist’s biggest successes is selling the surprising difference in size between the Aliens and their much larger intended hosts. This contrast is particularly well envisaged when one of the moon’s carnivores starts biting away at a swarm of incoming face-huggers, and to its horror receives a disfiguring shower of bright green acid for its troubles.

The regular cover art to "ALIEN ANNUAL" #1 by Declan Shalvey

Blade #3 - Marvel Comics

BLADE No. 3, November 2023

Crammed full of magical mumbo jumbo and some extraordinarily violent set-pieces, fans of Marv Wolfman’s co-creation from the early Seventies must surely have enjoyed Bryan Hill’s narrative for Issue Three of “Blade”, even if Eric Brooks’ fanged alter-ego has been somewhat modernised in line with actor Wesley Snipe’s depiction of the Daywalker throughout New Line Cinema’s big screen franchise. Furthermore, the American author has the titular character appear disconcertingly naïve when it comes to his supernatural world and the lore which created it. So much so in fact, that the vampire killer must rely upon the knowledge of “his arms-dealing ex-friend” to ‘fill him in’ on both the enchanted hand-weapon needed to defeat his immortal foe, and where to find it; “You killed Daido. I forked out million-dollar intel. We’re even. Good luck.”

Happily however, such unfamiliarity when it comes to outmanoeuvring “our collision course with Armageddon” is easily set aside due to the sheer pace with which “Mother Of Evil” races along. Whether it be a group of sorcerers in Romania being immolated by Adana, a long-lived Japanese gangster literally exploding into pieces whilst trying to possess Blade, or a flurry of arrow-firing cultist ninjas swarming the diner where Brooks is subsequently eating, this comic rarely gives its readers any opportunity to pause for breath. Indeed, even Tulip’s rather word-heavy explanation as to the creation of Lucifer’s flaming sword, and its fall into the hands of a train-travelling hoodlum who is “never in a country for more than a few days” is told at such speed that the twenty-page plot never falters.

Similarly as successful as this twenty-page-periodical’s penmanship though is the impressive pencilling of Elena Casagrande and Valentina Pinti, who between them add plenty of eye-watering gratuitous aggression to the fighting scenes featuring Adana, Eric and “some literal headhunters.” In addition, the ongoing series’ regular Italian Illustrator also imbues all of this comic’s central cast with some palpable interpersonal tension whenever they are thrown together, especially when one of them is simply trying to quietly consume their bowl of wheat noodles whilst fruitlessly being ‘guilt-tripped’ into helping Blade defeat his new formidably-powered nemesis.

Writer: Bryan Hill, and Pencilers: Elena Casagrande with Valentina Pinti

Unstoppable Doom Patrol #5 - DC Comics

UNSTOPPABLE DOOM PATROL No. 5, October 2023

Decidedly ‘tongue-in-cheek’ when it comes to its humour, Dennis Culver’s penmanship for Issue Five of “Unstoppable Doom Patrol” is arguably a masterclass in how to combine pulse-pounding action with jocular jesting. Indeed, the only disappointment with the American author’s storyline lies in it ending all too soon after just twenty-two pages, with many a bibliophile doubtless wishing the super-group’s enthralling attack upon Metagen’s headquarters in Illinois would've lasted for at least a couple more instalments; “Today’s setback was just an opportunity to learn. The next build will be better, and the one after that more so. Before long you’ll be facing an army of --”

Leading this high-octane assault upon it’s readers’ senses is the writer’s ability to completely catch them off guard with a good old-fashioned ambush, courtesy of the criminal corporation’s “elusive CEO” luring the Chief’s whacky team into a citywide trap. This plot twist is extremely well-timed and occurs just as some within the comic’s audience might actually be anticipating a betrayal by the chairbound Niles Caulder, rather than the sadly short-lived appearance of billionaire Brian McClane and his innumerable mechanical minions – the Robo-Townies.

Just as entertaining though is the combination of machine-busting punches and mental battles which take place throughout the narrative. The likes of Robotman and Elasti-Girl do a first-rate job of holding the attention whilst fending off a veritable army of androids and the formidably-powered heroine Metawoman. However, the original Chief’s invitation to join Metagen and continue his controversial nanotechnology-based work on “generously compensated” volunteers without fear of prosecution is equally as riveting, mainly due to the “expert surgeon” seemingly being staggered at such a once in a lifetime opportunity.

Also adding plenty of hilarity and dynamism into “Assault On Main Street!” is Chris Burnham, whose pencilling persistently adds extra levels to the personalities of all the book’s characters. Whether it be the immature churlishness of Beast Girl, who is unceremoniously left to sit out the fracas aboard Negative Man’s helicopter, or Caulder’s evident disbelief that anyone could understand his metahuman theories, let alone supposedly improve upon them, the Connecticut-born artist extraordinarily brings all their feelings to animated life.

Writer: Dennis Culver, Artist: Chris Burnham, and Colorist: Brian Reber

Creepshow [2023] #1 - Image Comics

CREEPSHOW No. 1, September 2023

Whilst American special effects guru Greg Nicotero is probably right when he states at the start of this comic’s “Creep Corner” letters page that the anthology’s “bite-sized horror jaunts are increasingly satisfying”, it’s arguably difficult to imagine just how this mini-series could get off to a more controversial start than Garth Ennis’ truly disconcerting narrative entitled “Make Your Choice”. True, artist Becky Cloonan luckily never actually pencils any of the incest or the young daughter’s subsequent abortion which forms the backbone of this ten-pager’s plot. But the tale’s sheer assault upon the senses with innumerable blood-splattered human foetuses and unnecessary expletives is probably more than enough to make the yarn utterly unpalatable as it is.

To make matters worse though, the Northern Irish–American author appears to have completely forgotten about the “frequently funny” element to the franchise’s storytelling which made Stephen King and George A. Romero’s original movie “the highest grossing horror film for the Warner Brothers studio” in 1982. Preferring instead to simply pad out the incessant carousel of panels populated by grisly-looking babies with an endless stream of swear words, religious-based profanities, and grotesquely ghoulish mental images; “Oh dear God above, the Devil got into her! The Lord of the Flies, Beelzebub, he got into her when she came of age and he set her to tempt me!”

Slightly more ‘honourable to the genre’ is Phil Hester’s “Fossil Record”, which rather intriguingly follows a distraught palaeontologist down into deep madness following the death of the young man’s mother. Decidedly tongue-in-cheek, owing to both the clumsiness and excitability of August, the Iowa-born writer’s premise that a previously undetected species actually caused the great extinctions of the planet’s past makes for an intriguing read.

However, once the Eisner Award-nominee begins pencilling Professor Heinrich’s underground warren of hand-dug tunnels, things turn much more macabre, with the realisation that the killer species might actually have lured the mentally unstable protagonist to his doom, when it somehow realised he had discovered their shadowy presence. This change of pace is extremely well-penned and leads to an excellent zombie-filled chase back to the graveyard where the elderly Missus Hodgson was only recently buried.

Writers: Garth Ennis and Phil Hester, and Artists: Becky Cloonan and Phil Hester

The Incredible Hulk [2023] #4 - Marvel Comics

THE INCREDIBLE HULK No. 4, November 2023

If the excitement surrounding this comic’s regular artist in its “Gamma Readings” letters page is anything to go, then many a patron of “Riddle Of The Man-Thing” won’t have been terribly pleased with editor Wil Moss’ decision to use a guest artist for its entire publication. Indeed, a good deal of the dark atmosphere generated for this story by Phillip Kennedy Johnson’s narrative is arguably lost in Issue Four of “Incredible Hulk”, courtesy of Travel Foreman’s scratchy-looking scribblings; “First an admission – the Nic Klein art drew me in. His previous run on Thor made me a fan, so I followed him…”

Foremost of these disappointments has to be the unimpressive looking monstrosity which spends much of the book luring unsuspecting victims into the “foggy bog” of Florida’s everglades and devouring them alive. The horrifically painful death of a “blackout drunk” at the publication's start is admittedly more than impactive, with the Hawaiian illustrator doing a proficient job pencilling the middle-aged man’s alluring young love beckoning him into her deadly embrace. But once the supposed “sultry seductress of the swamp” reveals her true form during the conclusion’s cliff-hanger the abrasive drawing style debatably makes the six-legged behemoth appear inauspiciously amateurish at best.  

Likewise, there’s an almost palpable lack of atmosphere in the scenes depicting Bruce Banner’s rather strained discussion with Charlie as to why the young runaway wants to stay with his green-hued alter-ego. This tense relationship between the title’s two leading characters is at the heart of the ongoing series, and reasonably well written by it’s Eisner-nominated author. However, the lack of any backgrounds to many of the layouts, coupled with some disconcertingly flat colours by Matthew Wilson, regrettably seem to strip many of the panels of any dynamism or life – even when the girl is potentially recognised by a diner as a suspect in her father’s murder.

Perhaps therefore this “twisted, two-part” tale’s sole strength lies with the Hulk’s brutal battle against the Man-Thing, and the gamma-irradiated brute’s temporary defeat in Ted Sallis’ fiery embrace. Gripping as it is physically grisly, this pulse-pounding bout of pugilism genuinely captures all the attention, especially once the furious founding Avenger begins literally tearing his way out through from the empathic, swamp walker’s back.

The regular cover art of "THE INCREDIBLE HULK" #4 by Nic Klein