Creepshow [2023] #3 - Image Comics

CREEPSHOW No. 3, November 2023

Disconcertingly delivered like something out of “Tharg's Future Shocks” than the American comedy horror anthology franchise, Zoe Thorogood’s space-age saga “Eternity, Eternity, Eternity” probably caused a fair bit of consternation to those anticipating a ghoulish tale from beyond the grave. Indeed, arguably the ten-page tale’s sole connection with George A. Romero’s popular series is the obligatory brief inclusion of the Creep as narrator, and several buckets worth of gruesome bodily dismemberment; “With nothing left, I began to deconstruct. Life had won. I lay on the ash covered wasteland I once called home.”

To make matters worse though, the comic creator’s pencilling doesn’t arguably add all that much dynamic life to her adventure about an immortal woman getting thoroughly bored with living forever either, courtesy of some rather flat-looking panels with empty backgrounds. This artistic style does admittedly have its moments, most notably at the story’s start when scientist loses her pet cat and husband through unhappy circumstances. But by the time the illustrator’s main protagonist has injected herself with “only one viable dose of serum” and plucked out an eye in frustration at its singular effect, the sole purpose of many a subsequent picture appears to simply be to shock the audience with another gawdy show of self-mutilation.

Much more mesmerising is “Sacrifices” by Joel Farrelly, which does a cracking job in combining a modern-day crime thriller with a Cthulhu-like deep sea deity. Persistently twisting and turning, the ‘subversive comedian’ repeatedly keeps his audience on the edge of their seats, even when the narrative’s major mobster sniffs out his wife’s treachery and unsurprisingly intercepts professional thief Eddie before the light-fingered rogue can escape off his luxurious ocean-liner with a highly-valuable red diamond.

Admirably helping to sell this tentacle-filled yarn is Goran Sudzuka, whose design for the giant crab creature Ag’Biknoir appears to have been delightfully snatched straight out of the pages of either a H. P. Lovecraft or Jules Vern novel. Furthermore, the Croatian does an excellent job in quickly shifting Berkman’s facial fury in not getting his jewel “by midnight tonight” over to sheer insanity, once the crook realises his god has already come for its sacrifice and he has nothing more to look forward to in life than a brain-splattering thump from a gigantic antsy appendage.

Writers: Zoe Thorogood and Joel Farrelly, and Artists: Zoe Thorogood and Goran Sudzuka

Planet Of The Apes [2023] #5 - Marvel Comics

PLANET OF THE APES No. 5, October 2023

Those readers who stuck around for Issue Five of “Planet Of The Apes” in August 2023 were probably rather perplexed by the comic’s disappointingly palpable, apathetic atmosphere as the Centres for Disease Control and Prevention mission to save mankind supposedly hits another “speed bump”. Indeed, it’s hard to recollect a title where the writer’s narrative arguably smacks so much of them just wanting their story to be finished, and resultantly penning some stunningly underwhelming set-pieces simply to make it happen; “I’d hoped… I’d hoped we were better than them.”

For openers, the desperate struggle for American democracy and the imminent fall of Washington DC., which saw Sergeant Tobon bring her apes halfway across the world from the International Simian Research Centre in Ghana, actually consists of just a dozen or so poorly-equipped terrorists who quickly retreat in the face of a swarm of simians running amok across Duke Ellington Bridge. This highly-anticipated battle is genuinely over before it’s even started, and any suggestion of a nation-wide struggle for survival is quickly scythed down by David F. Walker’s unsatisfactory focus upon a single nearby street being held by four ill-armed combatants.

Of course, the American author does try to imbue some sense of danger and urgency in his (significantly shortened) fifteen-page piece, by having the United Nations Peacekeeper suddenly marry park ranger Omatete, for fear that they might not ever be together again. However, considering that the pair debatably have never before displayed such an inclination, this supposedly emotionally moment sadly smacks of being an ill-thought-out, empty contrivance to just keep the tale going for a few more painful panels.

Unforgivably though, even Juliana’s swift decision to walk out on the victorious United States military and somehow conclude her own adventures by safely trekking all the way to Atlanta without incident, doesn’t come across quite as abruptly as Walker’s conclusion to this publication’s secondary yarn “Pug’s Tale”. The “award-winning comic book writer” doesn’t even bother with a title or explanatory paragraph for this chronicle, and disconcertingly just states that the French gorilla somehow crossed the English Channel into Dorset at the head of a huge Ape army, and defeated all the Exercitus Viri camped there – who were inexplicably holding the land’s inhabitants and children captive for some nefarious purpose..!?!

Writer: David F. Walker, and Artists: Dave Wachter & Andy MacDonald

Blade #5 - Marvel Comics

BLADE No. 5, January 2024

Disconcertingly skipping the much-hyped fight between the titular character and the Adana, this twenty-page periodical’s plot probably had many within its audience surreptitiously double-checking to make sure they hadn’t missed an instalment of Bryan Hill’s lengthy “Mother Of Evil” narrative within mere moments of starting it. True, Issue Five of “Blade” does contain a confrontation between the Daywalker and his supernatural nemesis. But it’s disappointingly set in the aftermath of the pair’s highly anticipated ‘off-screen’ skirmish, and rather disagreeably ends with an utterly impotent Eric Brooks being cast back to our present reality with his tail well and truly tucked between his legs; “Our business is done. This is goodbye.”

To make matters worse though, Marv Wolfman’s co-creation has apparently learnt absolutely nothing from the hell-creature easily breaking his wrist and seizing Lucifer’s Sword – apart from perhaps an ability to behave in an incredibly dislikeable manner towards the Sorcerer Supreme. Everything bad which happens in this book has been as a result of Dhampir’s arrogance and unwillingness to listen to the advice of Doctor Strange. Yet just as soon as the half-vampire can stand again he is threatening to unheroically scythe down the Master of the Mystic Arts because he arrogantly still believes he knows how to defeat the “indescribable, overwhelming power” of his foe.

Perhaps this comic's biggest headscratcher though comes at its confounding conclusion, when Blade willingly kneels in supplication at the feet of Count Dracula, and offers the blood-drinking fiend Lucifer’s Sword if the Transylvanian nobleman will help him better understand himself. This bizarre scene was presumably penned by the American author so as to tap into the old proverb of ‘the enemy of my enemy is my friend’. However, whilst Hill has clearly conjured up a formidable rival for Brooks to battle in the Adana, a partnership with the vampire-killer’s biggest adversary, Vlad the Impaler, is arguably pushing this ongoing series’ logic a little too far..?

Disappointingly, this script’s unwillingness to portray the savage carnage of Eric’s ferocious struggle against werewolf, cultist and demon-spawned creature also means that Elena Casagrande has little to do except pencil him getting madder as he talks with either Stephen Strange or the Adana. This genuinely feels like a real waste of the Eisner Award-winning artist’s talent, which is debatably only given room to manoeuvre when it comes to pencilling the incredibly painful internal struggle taking place between Tulip and the devil now physically residing inside her body.

The regular cover art to "BLADE" #5 by Elena Casagrande & Romulo Fajardo Jr.

Planet Of The Apes [2023] #4 - Marvel Comics

PLANET OF THE APES No. 4, September 2023

Entirely set upon a besieged ocean liner “one hundred miles east of New York”, it is hard to imagine just how a writer could better stir up an almost overwhelming sense of injustice within their audience as David F. Walker does with his narrative for Issue Four of “Planet Of The Apes”. For whilst Exercitus Viri’s merciless armed assault upon Juliana Tobon’s precious passenger ship doesn’t succeed in its mission to wipe-out the world’s last sizable population of apes in captivity. The terrorist’s attack does still cause the sea vessel to be “strewn with blood and death”.

To be honest though, this palpable hostility in any reader towards the irrational anti-simian group is generated well before this comic’s disconcertingly high kill count is even hinted at, and arguably starts with the book’s opening panel as the gas-mask wearing, holier-than-thou pirate leader arrogantly declares that “the human race is depending on us” just as his soldiers’ raid begins. Indeed, the conceit of these fanatics as they mercilessly gun down unarmed chimpanzees is genuinely distressing, and doubtless caused many a bibliophile to involuntarily cheer once the monkeys begin successfully fighting back against the smaller boats surrounding their transportation.

Equally as inspiring as the “award-winning” author’s penmanship however, are Dave Wachter’s layouts, which add a tremendous amount of dynamic and emotional energy to the chaotic scenes breaking out around the ambushed U.N. Peacekeeping force. At one point it shockingly appears to be all over for Tobon, and the illustrator takes this moment to pencil some serious determination upon the faces of the enraged primates as they realise that it is now or never if their species are to survive another day; “No one was giving orders, Everything the apes did – every action they took – they did on their own.”  

Far less pulse-pounding, but just as enthralling, is this publication’s secondary story “The Smartest Gorilla In The World”, in which Walker depicts a now talking Pug realising his band of simians in France need to visit the country’s surviving zoos and animal preserves to protect their inhabitants. Well-drawn by Andy MacDonald, this five-page tale is somewhat sensitively told by having a human prisoner suddenly realise that the Exercitus Viri’s propaganda is wrong and that his captors are neither animals nor savage.

The regular cover art of "PLANET OF THE APES" #4 by Joshua Cassara & Dean White

Dune: House Harkonnen #7 - BOOM! Studios

DUNE: HOUSE HARKONNEN No. 7, July 2023

Taking a somewhat more measured approach to their storytelling than the frantic dash through numerous people, places, planets, and proceedings of this mini-series’ previous instalments, Brian Herbert and Kevin J. Anderson’s script for Issue Seven of “Dune: House Harkonnen” should have maintained the interest of many within its audience upon its release in July 2023. True, the twenty-two-page periodical still slightly suffers with its authors' attempt to absolutely cram as many different politically-based shenanigans as they can within its cover. But the fact that the reader can now ponder upon the various events for a good score of panels every time, at least allows the characters and incidents upon Arrakis, Geidi Prime and Ginaz to increasingly generate an aura of intrigue and excitement.

Foremost of these insights into the “feudal interstellar society” is arguably Gurney Halleck’s decidedly dangerous attempt to escape imprisonment in the Harkonnen slave pits by inciting his savage guards to beat him close to death, and then using his stay at the prison hospital to stow himself away inside an off-world bound cargo of razor-sharp crystals. Well-paced and packed with plenty of tense moments as the unbroken bondsman risks all for his liberty, the talented minstrel’s plight should cause the odd bibliophile to actually hold their breath in case the noise gives the character away to his brutal overlords.

Similarly as heart-stopping and overwrought are the actions of the Ixian rebellion, as they desperately smuggle in weapons and a message from Prince Rhombur Vernius - the planet’s rightful ruler. Again the writers do a tremendous job in making even the most innocuous of daily tasks on the occupied sphere super-edgy, with every citizen encountered suspected of either being a loyalist saboteur or a Tleilaxu spy.

Undeniably the biggest contributor to this comic’s success though has to be the pencilling of Fran Galan, who quite beautifully imbues this publication’s incredibly numerous cast with as much dynamic emotion as a figure upon a printed page can muster. Whether it be Liet’s utter heartbreak at losing the woman he loved to his best friend and departing to “be alone with his thoughts”, or Duke Leto Atreides’ desperate attempt to reconcile with his long-time concubine only to find Kailea more hostile towards him than ever, the illustrator does a fantastic job in bringing each and every character to vibrant life.

The regular cover art of "DUNE: HOUSE HARKONNEN" #7 by Raymond Swanland

The Return Of Superman 30th Anniversary Special #1 [Part Two] - DC Comics

THE RETURN OF SUPERMAN 30th ANNIVERSARY SPECIAL No. 1, December 2023

Opening this anthology book’s second half, Karl Kesel’s "The Metropolis Kid" is probably the comic’s most touching tale, courtesy of a twelve-page script which focuses upon just why Superboy convinced Perry White to believe in him despite the adolescent’s arrogant bravado and cockiness. Indeed, the Ontario County-born writer does a first-rate job in depicting the shades-wearing Kon-El as a well-meaning metahuman, who whilst happy to hog the limelight from a local fire’s real first responders, arguably does so with the best intentions at heart – and even attempts to later make up for what the youth sees as his mistake by flying a replacement skateboard to his “favourite grommet” when the original is blow apart by an errant shot from Bloodsport’s LexCorp-produced firearm.

Nobly assisting the penmanship for this story, especially once the narrative turns in favour of a much more action-packed shoot-out between the genetically-engineered Kryptonian clone and the villainous Robert DuBois, is Tom Grummett, whose energy-packed fight scenes add plenty of “Blam Blam Blam” to the duo’s sadly short-lived confrontation. Furthermore, Superboy’s co-creator appears very good at depicting Bloodsport’s facial horror at discovering that the “microscopic coating of Kryptonite” on his bullet-tips has no effect on the wannabe Man of Steel.

Finishing off “this special that’s sure to be a classic in the future” is "Betrayal" by Dan Jurgens. Initially focusing upon the Daily Planet’s mistake of publicly stating “Superman Is Back” in the guise of Hank Henshaw, this tale eventually moves on to Metropolis’ modern-day problem with the mass-murdering cyborg as he almost effortlessly defeats a combined assault upon him by Superboy, Steel and the Eradicator; “I was afraid this’d be over by the time I got here. Not that I’m hoping for rampant destruction, death, and mayhem, you understand.”

Essentially a somewhat sentimentally sweet apology by the newspaper’s Editor-In-Chief to the genuine Justice Leaguer, this yarn’s already quite palpable sense of drama is debatably doubled once the Phantom Zone-bound antagonist discloses he’s simply seeking a means to reincarnate his dead wife and friends, rather than “create a new Engine City.” Such motivation genuinely causes something of a dilemma, as no reader will understandably forgive Henshaw for “incinerating seven million men, women and children.” Yet, the former Astronaut’s current desire to simply resurrect his ‘loved ones’ is a much more reasonable incentive, and one many a bibliophile might sympathise with.

The regular cover art of "THE RETURN OF SUPERMAN 30th ANNIVERSARY SPECIAL" #1 by Dan Jurgens

Sgt. Flag #2 - G-Man Comics

SGT. FLAG No. 2, May 2023

In many ways a straightforward no-holds barred scrap between the titular character and Pteranodon-like super-villain Omicronbie, Rik Offenberger’s script for Issue Two of “Sgt. Flag” still manages to provide the ex-sergeant in the U.S. Marine Corps with some enjoyable development. In fact, “Virus” seems to show a genuinely remorseful aspect to the ordinarily arrogant special agent’s personality, whether it be his sorrow at seeing the grotesque, crucified corpse of a dead comrade-in-arms, or slightly tongue-in-cheek acknowledgement as to Christopher Squires’ comprehensive clean-up operation following the hero’s most recent mission; “Sorry, didn’t know you were so touchy about the kid.”

Equally as intriguing as Rob McFarlane’s growth though, is the brief insight into the sadly short-lived career of Mister Mystery and the mask-wearing operative’s decidedly deadly first encounter with his eventual murderer. Looking somewhat like an amalgamation of the Green Lantern and Riddler, the FBI (Federal Bureau of Investigation) operative’s special abilities are surprisingly never shown on the printed page. However, even in this comic's fleeting flashback, the predominantly jade-coloured character should still create a few exciting possibilities as to his crime-fighting capabilities in the mind of the more imaginative bibliophile.

Ultimately however, Offenberger’s “love to letter to my favourite Nineties’ comics, with all the macho action that made them famous” succeeds thanks to its breathtakingly frantic finale in which Flag appears to be repeatedly cornered by his would-be-killer, only to snatch up yet another well-placed firearm or grenade. This chase sequence, claustrophobically contained within the gung-ho G-Man’s rental home is absolutely captivating, and will surely force any reader encountering it to hold their breath quite literally until McFarlane has smashed through the building’s upper-floor window and subsequently blown it sky high with a spectacularly 'loud' splash-page explosion.

Of course, adding much of the dynamism to these marvellous moments is Gilbert Monsanto, whose phenomenal pencilling really adds a dangerous raw edge to both Rob’s attitude and belligerent behaviour. The former chief instructor for Whilce Portacio’s comic creation school in Manila makes it crystal clear with his sketching that a foul-mouthed Sgt. Flag is purely out for revenge, and cares little for the chaotic collateral damage his hot-headed plan will cause – except perhaps the non-return of his security deposit.

The regular cover art of "SGT. FLAG" #2 by Mike Gustovich

Moon Knight [2021] Annual #1 - Marvel Comics

MOON KNIGHT ANNUAL No. 1, December 2022

Undeniably containing plenty of spooky shenanigans, courtesy of a script which is chock-full of Werewolves, Vampires and super-heroes, Jed MacKay’s penmanship for this annual must have pleased the vast majority of its audience upon its release in October 2022. But whilst the Canadian writer does a sterling job in setting up a seemingly no-win situation for the titular character as he faces arch-nemesis Jack Russell in a supposed battle for Diatrice Alraune’s life, some of the contrivances which need to occur for the Darkhold’s prophecy to occur and subsequently fail are a little hard to believe; “I’ve come a long way from Malibu, Marc. I realised that this curse wasn’t about me.”

For openers, Marlene’s accusation that her daughter’s abduction at the hands of the original Werewolf by Night is all Moon Knight’s fault is a bit far-fetched, considering she is the person who bought the young girl back to America from the safety of France because “I thought we would be okay.” Sure, the adolescent was kidnapped by lycanthropes in order to impel the Fist of Khonshu into a ‘final’ showdown with the Legion of Monsters member. But none of the events depicted within this thirty-page tome would ever have taken place if the woman hadn’t unwisely chosen to attend her ex-husband’s funeral and brought Diatrice with her.

Furthermore, if all the former West Coast Avenger had to do was wait until “the terrestrial alignment or whatever is over” for Russell’s plan to fail, then why didn’t he do just that once Yehya Badr informed him about the prediction’s crucial planetary orientation.? Instead, this publication’s protagonists recklessly smash a silver-laden automobile straight through the front door of Jack’s hideout, violently wade into a pack of werewolves and resultantly repeatedly risk the girl’s life before she testily admonishes them herself once the configuration is over.

Happily however, those bibliophiles able to overlook these quibbles should still find this comic to be a rather enjoyable, pulse-pounding publication, largely thanks to some prodigious pencilling by Federico Sabbatini. Indeed, the Italian illustrator’s ability to sketch Spector’s shrouded alter-ego smacking both Russell and his fur-covered cronies about is one of the highlights of this book, alongside Khonshu’s evil-looking shadow as the Egyptian deity urges Hunter’s Moon to cold-bloodedly kill Diatrice once he finds her.

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

The Return Of Superman 30th Anniversary Special #1 [Part One] - DC Comics

THE RETURN OF SUPERMAN 30th ANNIVERSARY SPECIAL No. 1, December 2023

Arguably reading more like a memorial to the unconscious, hospital-bound editor-in-chief of the Daily Planet than the actual Man of Steel, this Thirtieth Anniversary Special for “The Return Of Superman” certainly still captures the audience’s attention by having Cyborg Superman shockingly attack S.T.A.R. (Scientific and Technological Advanced Research) Laboratories for no discernible reason. However, Henry "Hank" Henshaw’s treacherous assault upon the advanced scientific research facility is sadly soon side-lined in favour of several authors simply penning a series of short, character-focused yarns that individually target the “Four Supermen [who] Rose To The Challenge” of replacing Kal-El following the Kryptonian’s apparent death over three decades ago.

First up is “Speed!” by Louise Simonson, which depicts John Henry Irons’ armour-encased alter-ego battling a carload of laser cannon-carrying criminals, who unwisely decide that Metropolis’ recent blackout is the perfect opportunity for them to stake their claim on a local block of hapless residents. Prodigiously pencilled by Jon Bogdanove, this fast-paced fight fest is visually somewhat reminiscent of Frank Miller’s more recent art-style and resultantly crackles with raw energy as Steel tackles a pair of toastmasters in front of a cheering crowd; “Bet this’ll stop the bad guys the next time they show up around here!”

Slightly more thoughtful is Jerry Ordway’s “…He Had Me Thinking He Was Superman…”, a twelve-page investigative piece that centres around Perry White’s first encounter with the utterly merciless Eradicator, and shows that the elderly reporter can still ‘follow his nose’ to a good story whenever the opportunity arises. Indeed, in many ways the ancient extra-terrestrial vigilante takes a back seat to the newspaperman, as Lois Lane’s boss not only intercepts the analogue radio wave used by the tale’s arms traffickers. But also interviews enough bystanders to determine where the much sought after weapons shipment is being loaded.

Equally as enticing with his illustrations as his penmanship, the American author/artist does an excellent job of selling some of this one-shot’s contrivances to his audience by repeatedly sketching White as a savvy-headed individual who knows just where and when to be to get a scoop. Furthermore, this yarn’s layouts perfectly portray Eradicator’s machine-like, emotionless pursuit of justice and inhumane willingness to prosecute evil-doers far beyond what is acceptable to Metropolis’ Police Department.

The regular cover art of "THE RETURN OF SUPERMAN 30th ANNIVERSARY SPECIAL" #1 by Dan Jurgens

Blowtorch: Bad Roads #1 - Page1 Comics

BLOWTORCH: BAD ROADS No. 1, November 2023

Described in its solicitation synopsis as “the bare-knuckled, rough and tumble, gritty, bloody crime thriller you’ve been waiting for”, Alex De-Gruchy’s script for Issue One of “Blowtorch: Bad Roads” definitely lives up to its promise of being an utterly uncompromising twenty-two-page periodical packed full of savage violence and edge-of-your-seat shenanigans. In fact, arguably ensnaring something of Derek Kolstad’s neo-noir action franchise “John Wick”, this comic should captivate its audience’s attention just as soon as the ex-military mercenary’s sport utility vehicle is stolen from a petrol station and its owner menacingly vows to track the thieves down.

Delightfully though, Alfred Paige’s mask-wearing creation doesn’t simply wade into the local criminals’ hideout all guns blazing as some less well fleshed out characters might do, and instead initially bides his time watching his opponents – even when the gang’s leader mercilessly cuts the throat of one hapless fellow hoodlum who unwisely was stealing drugs money from him; “Make sure they weigh him down enough, I don’t want his bones ever seeing the light a’ day.” This patient approach makes the subsequent firefight all the more genuine and believable, especially when its generated by the C.H.E.S.S. operative understandably thinking that a helplessly bound boy in a wooden shed is probably a prisoner, rather than the boss’s disconcertingly loyal lad.

Of course the big pull for any perusing bibliophiles is the insane action which occurs once Blowtorch heads for his pilfered vehicle and starts gunning down anyone foolish enough to get in his way. Rather excitingly, this exchange of bullets does not go all one way either, as Richard encounters much more resistance than he was anticipating. Indeed, one of this book’s best moments comes after the cold-blooded killer is back in the seat of his beloved SUV and attempting to make an unsuccessful drive for freedom.

Equally as good at pencilling as De-Gruchy and Paige are story-telling is Igor Kurilin, whose black and white panels add a distinctly dark and foreboding night-time ambience to the publication’s layouts. The illustrator proves especially good at capturing all the last second decision-making that takes place within the former soldier’s mind, as events increasingly grow out-of-hand due to more and more of Conroy’s heavily-armed minions congregating upon his progressively perilous position outside a farmhouse.

Creator: Alfred Paige, Script: Alex De-Gruchy, and Art: Igor Kurilin

Simon N. Kirby, The Agent #5 - G-Man Comics

SIMON N. KIRBY, THE AGENT No. 5, June 2022

Providing an intriguing insight into the technological development of Simon N. Kirby’s cutting-edge super-suit inside the Federal Bureau of Investigation’s Washington D.C. field offices, Rik Offenberger’s script for “Aktion!” must have ticked a lot of boxes for comic book fans who simply enjoy pulse-pounding pugilism and decidedly dirty treachery. In fact, this twenty-page story is arguably pretty much faultless as it quickly grabs the reader by the scruff of neck just as soon as disloyal laboratory assistant Mark Hollister cold-bloodedly murders poor Doctor Haas before the scientist has finished calibrating his latest ceramic trauma plate prototype.

Delightfully though, this publication isn’t simply about having the Rothlander Industries insider tackle the G-Men’s Quantico-educated leader in a one-on-one fist-fight either, with the Swastika-wearing Nazi villain soon being swapped out for the much more formidable Tigerstrike. Able to withstand an early onslaught by a number of the Agent’s best operatives, this villain’s assault upon the best the Super Service can provide is impressively mesmerising, especially once it becomes clear that Tony Tarantino’s striped alter-ego isn’t at all phased by the sizeable number of Kirby’s fellow protagonists confronting him; “Like the man said, I could do this all day!”

Ably adding plenty of “Thwamm!”, “Thwomp!” and “Waauugghh!!” to these Caped Agent Program proceedings are the prodigious pencils of Alan Faria, which do a great job in both depicting the sheer busyness of the brutal battle and the plethora of colourfully-costumed combatants it contains. In addition, the artist is very good at illustrating the sheer sense of betrayal upon the “third-generation” F.B.I. Special Agent’s face and the hero’s determination to best the Aryan Alliance’s disagreeable weretiger before he makes a bold escape underground.

Slightly more tongue-in-cheek is Offenberger’s “Twenty-One Candles”, an eight-pager whose opening birthday celebration scene and subsequent dance sequence at Club Baby Seals noticeably contrasts with the distinctly serious nature of this comic’s main narrative. Proficiently sketched by Dean Juliette, this tale provides plenty of spotlight upon some of the G-Men’s female members, such as Pocahontas, Maya Santiago, and the original Bette Noir. But suddenly turns disconcertingly dark upon the arrival of the colossal Xadrian and the mad deity’s grisly demise via Atomik Bombshell’s deadly microwaves.

The regular cover art of "SIMON N. KIRBY, THE AGENT" #5 by Alan Faria

Unstoppable Doom Patrol #6 - DC Comics

UNSTOPPABLE DOOM PATROL No. 6, November 2023

Packing every sort of super-villain a comic collector could imagine within its twenty-two-page plot, including a walking/talking pachyderm, Issue Six of “Unstoppable Doom Patrol” must surely have mesmerised its audience with its unrelentingly assault upon each reader’s senses. Sure, the pulse-pounding pugilism never stops as the titular characters are “caught off guard” by the Brotherhood of Evil in their very own headquarters. But American author Dennis Culver still somehow manages to provide several of the team’s roster with some notable character development, especially the likes of Niles Caulder, the Man of Muscle Mystery and the members of “the all-new Flex Force.”

Furthermore, this book contains an impressive hook straight from the start in the form of Flex Mentallo providing his fresh-faced, inexperienced trainees with “the ultimate test” against the Chief’s A-listers. This sort of narrative will arguably take many a nostalgia-hungry bibliophile back to the days of Stan Lee’s New Mutants and Xavier’s School for Gifted Youngsters, as the inexperienced squad attempt to “capture the flag” from a determined Robot Man, Elasti-Woman and Negative Man.

However, this publication doesn’t stop there, due to General Immortus launching “his attack against the Doom Patrol right in the heart of their home base, the Shelter” and readily revoking memories of Magneto’s many assaults against the Uncanny X-Men with his Brotherhood of Evil Mutants. So savage a sudden strike allows the writer to pen plenty of the aforementioned high-octane-laced pandemonium, whilst simultaneously intriguing his audience with all the different special abilities the numerous metahumans on show seem to impossibly possess; “Invisibility! Invulnerability! Super-speed! She’s got every power you haven’t thought of, so start naming them! Super-strength! Heat Vision!”

Working his own magic throughout this publication is artist Chris Burnham and colorist Brian Reber, whose talents combine together to create some truly memorable panels, such as when Robot Man absolutely smacks the overly-confident Elephant Man straight into tomorrow with a sock to his tusk-filled jaw. In addition, towards the end of the comic, when the Immortal Flame and Monsieur Mallah seeks to seemingly raise Dorothy Spinner back from the Dead, the illustrators do a marvellous job of imbuing the creepy night-time scene with all the palpable trepidation and strangeness anticipated for so unnatural a sequence.

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