Lynx #5 - G-Man Comics

LYNX No. 5, August 2024

Tackling the rather enthralling (and arguably disconcerting) question as to whether a known child killer should “face the justice system or street justice”, Rik Offenberger’s narrative for Issue Five of “Lynx” quite understandably contains some deadly serious set-pieces. True, the American author does inject this comic with the occasional moment of humour, such as when Mateo Martinez wishes he owned an actual ‘Lynxmobile’ with which to drive into action. But the central theme ensures that much of what takes place within its twenty-pages is delivered with plenty of gravitas and solemnity.

For openers, the relationship between the colourfully-costumed Federal Agents and Police Department appears to be as prickly as a reader might expect, especially when the titular characters are authorised to take over a local officer’s investigation. This tension is so well-written its palpability quite literally leaps off the printed panels, and it should come as absolutely no surprise to the audience that the disheartened cop turns to some distinctly shady help in order to rectify the situation; “Mascaras Asesino is killing kids in the neighbourhood and you’re drinking coffee. I don’t want your money, and we aren’t friends.”

Equally as well penned though is debatably the handling of Hombre Pinata, who considering is dressed like a walking, papier-mâché container crammed full of sweets, is completely convincing as the resident vigilante who is determined to ensure that Columbia Height’s latest mass-murderer doesn’t slaughter any other adolescents. In fact, Jorge Pérez’s colourfully-costumed alter-ego, and his no-nonsense ‘rule of law’ will doubtless resonate with many a bibliophile whose own faith in their judicial system has taken a bit of a battering.

Undeniably doing their part to help Offenberger sell the sheer brutality of “Retribution” are Alan Faria and colorist Teo Pinheiro, who together provide this publication with plenty of beguiling visuals, including somehow imbuing the aforementioned Senor Pinata with all the physical heft of a genuine neighbourhood heavy. In addition, it will be difficult for some in this comic’s audience not to wince when Pérez attacks “the man who killed Ricardo Tapia’s daughter” with a barb-wired baseball bat, and quite literally puts the sports accessory right through Asesino’s torso.

The regular cover art to "LYNX" #5 by Alan Faria

Nightwing #106 - DC Comics

NIGHTWING No. 106, November 2023

Whilst neither Nightwing nor Batgirl really “sail the high seas” in this twenty-two page publication as “DC Comics” solicitation suggests, it doesn’t mean for a second that Tom Taylor’s storyline is any less riveting. In fact, “The Crew Of The Crossed” still contains an abundance of swashbuckling saltiness with which to ensnare the audience’s imagination, and keep them utterly hooked as they’re plunged neck-deep in the mysteries of the Quartermaster’s enigmatic Hold; “Oh, it’ll be worth it. This is beyond anything you’ve ever seen. We’re talking generations of wealth in one -- It’s gone.”

Furthermore, this pirate-flavoured periodical also provides plenty for the adrenalin-junkies out there, courtesy of a pulse-pounding set-piece which sees the titular character and Barbara Gordon’s more sedentary alter-ego chasing down an ambulance through the busy streets of Bludhaven. Such a headlong dash could easily have become a somewhat typical affair as seen in many a comic book. But such is the Australian author’s skill that he imbues Dick Grayson will plenty of panache as he holds a polite conversation with his distant lover whilst simultaneously battering a pair of overconfident body-snatchers.

Similarly as successful as this tome’s penmanship is its pencilling, with Stephen Byrne providing its layouts with lots of shadowy subterfuge and secrecy. Indeed, considering that Ruben Blüd’s costume simply consists of the former Captain wearing a sailor's sou'wester and waterproof jacket, the actual character generates a spellbinding air of ambiguity which makes him utterly convincing as the pivotal protector of an ancient secret society, who seemingly knows the location of several highly sought-after safes.

Far more tongue-in-cheek, though potentially just as deadly for Nightwing as this comic’s main tale, is Michael Conrad’s short “Breakfast For Dinner”. Initially dealing with Richard just teaching Cassandra Cain how to make his famous pancakes in her flat's kitchen, this somewhat harmless undertaking may well be seen by some bibliophiles as something of a ‘filler’. However, throw in a well-dressed, professional assassin who plans to kill Grayson just as soon as the right moment presents itself, as well as two incarnations of Batgirl, and this tale contains some unexpected bite which should cause most Bat-fans to promptly visiting their local book shop to ensure they've pre-ordered a copy of its next instalment.

The regular cover art of "NIGHTWING" #106 by Bruno Redondo

Never By Night: Disturbing Passages Into The Unknown - SnowyWorks [Part One]

NEVER BY NIGHT: DISTURBING PASSAGES INTO THE UNKNOWN, October 2024

Opening up this “newest annual event read” with a twenty-three page trip down into the murky depths of a small town’s dirty, disused garden pond, Jonathan Chance arguably seems able to conjure up the atmosphere of Rob Reiner’s 1985 teenage boy drama movie “Stand by Me” combined with a healthy dose of bone-tingling terror. Indeed, despite many in the audience probably guessing the future fate of poor Arthur Rogers, having earnestly promised the murderous monster he encounters that the lad won’t ever return to tentacled gestalt’s deadly abode in Fairhaven, there’s still plenty of narrative and grisly-goings on to enjoy inside “If I Never Come Back.”

For starters the story’s first half, which depicts three children bravely forgoing an over-packed swimming lido for an ill-advised dip in a fenced off pool, contains everything a fear-fan would want from such a familiar horror setting - including the so-called protagonists being so busy goading one another to dive in that they never truly appreciate why none of the other locals have never thought of visiting the same place. In addition, once one of them finally makes the plunge, the storyline solely focuses upon the youth scrambling for a solution to his dire predicament on his own, courtesy of his supposed friends quickly leaving him to potentially a fate worse than death; “I’m sorry Arthur.”

This bargain with the devil beneath the water's surface is then subsequently explored, as the incredibly lucky survivor risks a fleeting visit to the completely renovated municipality some thirty-two years later so as to settle things with his former pals. As aforementioned, it’s pretty transparent that somehow the now bespectacled father of two is going to somehow inadvertently enter the dread beast’s submerged lair once again, so the writer’s skill comes with him wrong-footing the reader in predicting just how this catastrophic confrontation will occur.

Definitely adding plenty of gratuitous physical mutilation to these published proceedings is Dell Barras, whose pencilling quite wonderfully captures both the wide-eyed innocence of youth in the trio of boys, whilst simultaneously showing a former victim of the skull-faced water creature getting his head squished flat with a multi-suckered appendage. Admittedly, some may struggle to realise that the beast rises to the surface during its early conversation with Arthur, as that sequence isn’t perhaps as clearly sketched as some might like. But there’s no doubting overall that the illustrator does a good job in drawing the hair-raising events as they transpire, and quite unnervingly captures the stark terror on the central character’s face when he realises that he is once again nose-to-nose with the entity that has for so long haunted his thoughts.

Written by: Jonathan Chance, Illustrated by: Dell Barras, and Colored by: Davi Comodo

G-Men United #3 - G-Man Comics

G-MEN UNITED No.3, October 2023

Containing five stories, or six if the rather mischievous Editor-in-Chief is to be believed in his foreword, there can surely be little doubt that Issue Three of “G-Men United” certainly gives plenty of bang for its buck. Indeed the anthology comic is an excellent example of Rik Offenberger’s ever-expanding universe, with all manner of imaginative costumed crime-fighters, demi-gods and deities depicted battling fire-breathing dragons, fending off murderous forest beasts, and even becoming the centre of attention for an unscrupulous boss of the Federal Bureau of Investigation; “She could be the world’s greatest champion, or the end of all life on Earth. I’m only going to have one chance to win her trust.”

Foremost of these adventures though is undoubtedly “Fire!” which sees the Agent cajoling poor Maya Santiago into mentoring the potentially deadly Atomik Bombshell. Penned across just eight pages, this yarn does an excellent job of showing the super-heroine’s nervousness at tackling such a great responsibility, as well as quickly hurling the audience into a seriously high-octane scrap against an impressively sketched giant winged serpent – complete with Sister Flag trying to blow the mythical beast away with a hand-held bazooka.

Somewhat slower paced, simply on account of Taranis excitedly showing his beloved Dara the splendour of his “long-missed home”, Avalorr, is Eric N. Bennett’s fantasy-based tale “The Eyes of Esh-Kar”. Rather intriguingly touching upon the central protagonist’s chauvinism, or perhaps his lady’s ungratefulness at being rescued just prior to her being mauled to death by a sharp-toothed monster, there’s a fair bit of character development to be found within its dungeon & dragons-flavoured doings which helps bring artists Ron Williams and Victor Raniery’s wonderfully sketched medieval metropolis to vibrant life.

Lastly, many a bibliophile may well be enthralled by the third instalment to “The Night Lili” due to the ongoing narrative quite neatly dealing with both the aftermath of the True Knight’s injuries battling against a dark-hearted demonette, as well as setting the super-heroes up for a rematch. Initially, this refight appears to be a bit of a one-sided affair, courtesy of Red Halo’s involvement. But all is not what it seems when it's revealed that the original Astor’s body is disconcertingly “beginning to be someone” else, and resultantly the nefarious Lili can’t simply be banished to another realm just yet.

The regular cover art of "G-MEN UNITED" #3 by Stefani Rennee

Daredevil [2022] #7 - Marvel Comics

DAREDEVIL No. 7, March 2023

Containing an interesting take on the titular character’s personal war against the “Laws of Man”, as well as setting up a potential roller-coaster of a ride for its subsequent instalment, it is easy to see why Issue Seven on “Daredevil” was the sixth best-selling comic in January 2023 – at least according to the online trade magazine “ICv2.com”. Indeed, despite the Man Without Fear teaming up with a band of minor league super-villains against Charlotte’s Police Department during an eviction exercise, there probably wasn’t many within this book’s audience who were particularly supportive of the ‘Thin Blue Line’ as the authority's threaten, bully and batter the unhappy occupants of a high-rise flat.

In addition, Chip Zdarsky’s script does a first-rate job in showing Matt Murdock’s costumed alter-ego using his ‘supporters’ to the best of their special abilities, such as when Speed Demon is directed to defuse a series of explosive charges set up throughout the building just before they’re detonated with the tenants and cops still inside. This command clearly comes rather easily to a seasoned crime-fighter such the red-hued Defender. But it isn’t penned too over dramatically, at least until Hornhead ‘spots’ an unfound bomb on the roof with just seconds to spare, and simply just shows Bill Everett’s co-creation taking on the additional responsibilty of leading an army in his stride.

Likewise, this twenty-page periodical’s plot provides its readers with plenty of evidence as to just how good the blind lawyer can be by having him tackle Castlemax’s illegal eviction notices at both the source, and in the courts. This two-pronged attack appears to work really well, and again adds an element of legitimacy to Matt’s somewhat ‘holier than thou’ claims that he is now answering a far higher calling than simply being the protector of Hell’s Kitchen; “Sometimes fear is the only weapon -- The gentlest weapon. We needed to stop him from doing more harm.”

Similarly as successful as Zdarksy’s penmanship is the artwork of Rafael De Latorre and Marco Checchetto, who along with inker Elisabetta D’Amico and colour artist Matthew Wilson, manage to imbue all the outraged and angry residents with a palpable sense of injustice. Furthermore, the illustration team impressively imbue the oafish government officials with all the arrogance required for so-called justice department agents to justly receive the odd smack in the mouth and kick to the head – especially when they’ve pencilled whacking a kid just because the adolescent bit one of them in defence of his terrified mother.

Writer: Chip Zdarsky, and Artists: Rafael De Latorre & Marci Checchetto

The Batman And Scooby-Doo Mysteries [2024] #6 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 6, August 2024

Despite the rather enjoyable premise of Mystery Incorporated being used by the master villain of the piece to accidentally commit their nefarious crimes for them, courtesy of the fiend concocting a “sleuthing competition with a huge prize”, the pedestrian pace of Amanda Deibert’s twenty-page plot won’t have arguably excited many of this mini-series’ readers in June 2024. Furthermore, the storyline disappointingly relegates the Dark Knight himself to a rather disagreeable secondary character, who just ‘bookends’ this publication to initially arrest the hapless teenagers, and then later captures the true crook at its end; “Just as I suspected.”

Debatably this narrative’s biggest annoyance though can be found in Velma Dinkley’s holier than thou haughtiness, and the young girl’s obsessive compulsion to solve a riddle - even when it’s abundantly clear to the audience that the knee-high sock-wearing sleuth is being set-up. Such a fixation also requires the “New York Times bestselling comic book writer” to pen many a contrivance so as to let the young girl reach her goal, with the most notable being when the team are allowed to just walk past a national bank’s security unit straight to its central vault, and crack its lock so they can peruse its numerous safety deposit boxes.

Of course, many a bibliophile will need to be mindful that this issue’s more ludicrous sequences were probably written with humour in mind, such as Shaggy Rogers replacing Scooby-Doo at a dog grooming salon whilst the others explore the shop for evidence. But it’s hard to ignore the likes of Fred Jones fortuitously finding a stethoscope in a flower pot right beside the strong room just after he had successfully completed “an online safecracking course this summer while I was bored.”

Disappointingly adding to this overriding feeling of lethargy are Dario Bruizuela’s layouts, which apart from an initial flurry at the start when Daphne Blake is sketched running for her life from a ghost inside Huntingstun Library, generally struggle to add any adrenalin to the periodical’s proceedings. In addition, many of the panels appear disconcertingly empty apart from the figures of the central cast, with the scenes set inside the bank’s safe looking particularly plain and uninteresting.

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

Uncanny X-Men #3 - Marvel Comics

UNCANNY X-MEN No. 3, November 2024

Delightfully crammed full of pulse-pounding action, along with some utterly enthralling insights into both the “completely untrained young mutants” who Rogue has promised to coach, and the truly terrifying Hag, Gail Simone’s narrative for Issue Three of “Uncanny X-Men” should genuinely take long-term fans of the super-group’s franchise back to it’s ‘Golden Years’ under Chris Claremont’s prolific pen. In fact, the twenty-page periodical’s plot is pretty near perfect, with the American author even somehow managing to convincingly convey Anna Marie LeBeau’s deep-rooted love for Gambit within the space of just a few text boxes; “And I wouldn’t trade this bed nothin’. Nor this fella its loaded with. My rambunctious boy.”

Furthermore, the comic should keep any new readers hooked with its barbed warnings concerning Corina Ellis’ relationship with Sarah Gaunt’s emaciated alter-ego. Up until this point the good Doctor and her Sentry Team have been depicted as being all-powerful, most notably in their complete overhaul of Xavier's School for Gifted Youngsters mansion. However, despite all the so-called “most sophisticated A.I. security ever conceived”, it appears evident that the Hag can simply move from cell to cell without any problem whatsoever – an ability which intriguingly bodes ill for Captain Erza, or anyone else who may stand in the self-proclaimed witch’s way in the future.

Of course, the meat of this super-heroic sandwich rests with Nightcrawler testing out the Outliers remarkable abilities, whilst simultaneously giving the audience a little bit of background as to where the adolescents come from. This action sequence is really well paced, with Deathdream’s powers particularly proving memorable after the boy almost throttles poor Kurt Wagner to death. Indeed, the entire ensemble are all shown to be quite dangerous once the red mist of battle falls over their eyes.

Also worthy of a mention has to be David Marquez, who provides this publication with some proficient pencilling and well-planned layouts. The initial horizontal panels used for the comic’s dialogue driven opening set an even pace for the various conversations taking place, and doesn’t truly stop until Rogue takes her new charges in-hand with a dynamically-drawn farm-based interpretation of the famous Danger Room – complete with haystacks, a ship’s mast and plenty of wooden stakes.

The regular cover art to "UNCANNY X-MEN" #3 by David Marquez & Matthew Wilson

The Incredible Hulk [2023] #17 - Marvel Comics

THE INCREDIBLE HULK No. 17, November 2024

Described by its New York City-based publisher as beginning ‘the crescendo to Legacy Issue Nine Hundred of Incredible Hulk’, Phillip Kennedy Johnson’s opening for “City Of The Idols” certainly should have utterly enthralled any Hulk-heads with a genuinely touching tale of two girls being lured to a truly unpleasant fate in Las Vegas. But whilst the destiny of the wannabe actresses easily holds the attention, especially once its revealed that they’ve inadvertently walked straight into the heart of an underground vampire coven, the rest of this twenty-page periodical’s plot is arguably far less surprising; “I knew you nearly four thousand years ago. We died together. Our bones were entombed together.”

For starters the titular character simply just walks straight through “the Entertainment Capital of the World” without so much as batting an eye, right up to the entranceway of Lycana’s subterranean temple, and is then rather disappointingly just invited down to meet Eldest. Such matter-of-fact penmanship undoubtedly allows the central antagonists to lock horns as quickly as possible. However, it must surely have made some readers feel the American author had missed a trick not to show the founding Avenger facing off against some of the foul fanged-fiends which he had just established litter the dark streets of the gambling metropolis.

Likewise, the actual battle between Bruce Banner’s alter-ego and his regrettably ordinary-looking female foe may strike some as being a rather ‘fight-by-numbers’ affair, seeing as it’s already been established in past instalments, and then reinforced in this actual publication, that the Hulk cannot physically hurt his opponent. This knowledge, driven home by Eldest’s disagreeable haughtiness, always points to the anti-hero’s human side caving in to her demands to sacrifice the Green Goliath so as to save poor Charlie Tidwell, and resultantly this book's narrative delivers no shock whatsoever when the gamma scientist does just that.

What does strike home though are Nic Klein’s layouts, which try to hold the audience’s eyes with a staggering buffet of physical horror, emotional despair, and bold-faced brutality. Indeed, in many ways it’s a pity the illustrator didn’t stick to showing Eldest in her more Lovecraftian-manifestation, rather than return to pencilling her as a simply smartly-dressed individual whose hands just happen to transform into pointy tentacles similar to James Cameron’s mimetic polyalloy T-1000 shapeshifting assassin.

Writer: Phillip Kennedy Johnson, Artist: Nic Klein, and Color Artists: Matthew Wilson with Nic Klein

Conan The Barbarian #16 - Titan Comics

CONAN THE BARBARIAN No. 16, November 2024

Considering that the entirety of this twenty-two page periodical explores the titular character’s shocking belief that Crom doesn’t actually exist, it’s difficult to imagine all that many readers of “The Hidden World” will wholly agree with the British-based publishing house's claim that this book forms part of a “triumphant new era of Conan”. In fact, Jim Zub’s tampering with one of the fundamental foundations of Robert E. Howard’s most famous literary creations could well be seen as fairly sacrilegious by some dog brothers and sword sisters; especially when the Canadian author suddenly seems to double-down on his anti-deity narrative by proposing that the barbarian’s father also had his doubts as to Cimmeria’s indifferent god.

Furthermore, the Animex Honorary Award-winner wraps the young adventurer’s doubts regarding his people’s religion around an arguably unconvincing plot which depicts Osmin seeking revenge for not being chosen to accompany Wulfhere’s doomed band of warriors. Admittedly, the bearded bully is evidently full of drink and misgivings as to just why his fellow fighters have ‘adopted’ the black-haired Outlander so willingly into their midst. But his brutal, out-of-the-blue attack upon an unarmed, and frankly distracted Conan, still smacks of the writer needing some contrived spark with which to imbue his script with some much needed action. Indeed, up until the point where the drunkard suddenly emerges from the trees vehemently questioning the barbarian's manhood, the majority of this tome’s audience probably thought the disagreeably arrogant Aesir had been killed as part of the lost patrol.

To make matters worse though, once the Cimmerian has defeated his foe, courtesy of Doug Braithwaite pencilling him splitting the fool’s head with a small hand-axe, the camp’s reaction is to immediately blame the "savage" for the death and cast him back out into the winter wilderness. Considering just how hard the heavily-muscled protagonist has fought for these people of Asgard in the past, and that it was Osmin who first cowardly clubbed Conan from behind to (re)start their non-canonical grudge-fight, such an illogical reaction appears to have been manufactured simply so the future King of Aquilonia can once again be sketched wandering the snow-covered countryside on his lonesome; “I gave up my hunt, doused your enemy’s fire, fought in your damned blood feud… of that’s not enough, step forth and try to take more.”

The regular cover art of "CONAN THE BARBARIAN" #16 by Colleen Doran

Creepshow [2024] #1 - Image Comics

CREEPSHOW No. 1, September 2024

Pushed by “Skybound Entertainment” as being “creepier than ever”, this opening instalment to the third volume of “Creepshow” probably struck many a reader as being a rather hit and miss affair with its supposedly spine-chilling contents – most notably due to the arguable lack of logic or dread occurring within its first story by Chip Zdarsky. In fact, “Let ‘Er Trip” is debatably just plain odd as a desperate mother tracks down her errant eighteen-year old daughter to a local cult, and then inexplicably guts all of the sect’s knife-wielding zealots using the repressed power of her mind; “I shoulda lowered my dosage -- GK!!” 

True, the Canadian writer’s script certainly allows artist Kagan McLeod to pencil plenty of decapitations, eviscerations and innards-splattering sequences towards the tale’s cataclysmic conclusion. But just why taking a mouthful of mushrooms should suddenly imbue the housewife with such phenomenal powers is never properly explained, even by the Creep, and certainly doesn’t seem to live up to the publisher’s “guarantee” of this Eisner Award nominated horror anthology comic book actually scaring its audience to death.

Much more successful however, is James Stokoe’s fish-filled, foul-smelling “Scrimshaw”, which atmospherically evokes all the suspense a bibliophile may well expect from an isolated island whose sole source of income lies in trawling its waters. Somewhat reminiscent of actor Christian Slater’s character talking one-on-one with Louis de Pointe du Lac at the start of the 1994 movie “Interview With A Vampire”, this ten-page plot does a great job of quickly building up an almost mesmeric ambiance, as well as swiftly misdirecting the attention away from the grizzled storyteller with an enthralling old fisherman’s myth so as to provide a genuinely nerve-shuddering shock at its end.

Alongside such intriguing penmanship, the author/illustrator also provides his yarn with some incredibly detailed panels, which really help paint a vividly vibrant picture of an isolated world where hand-carved human body parts occasionally wash up upon the coastline, and are treasured by an increasingly wide-eyed murderer who enthusiastically searches the shore for just such grisly treasure. Furthermore, the concept of a mysterious Scrimshander, shrouded in the ocean’s detritus, is particularly well-depicted, with the creature's disconcerting demeanour easily captivating the eye whenever it makes an appearance.

Writers: Chip Zdarsky and James Stokoe, and Artists: Kagan McLeod and James Stokoe

Dune: House Corrino #5 - BOOM! Studios

DUNE: HOUSE CORRINO No. 5, August 2024

There’s arguably something of an uneasy feeling concerning Brian Herbert and Kevin J. Anderson’s penmanship for Issue Five of “Dune: House Corrino” which smacks of the collaborative partnership simply hurling elements into their overarching narrative to see what successfully sticks. Admittedly, some of these new plot-threads, such as the Bene Gesserit having actually had an operative who aided C’Tair in his early rebellion against the Tleilaxu on Ix, are rather intriguing – especially when Sister Crystane is sent to replace her lost compatriot Miral Alechem. Yet others, like Gurney Halleck conveniently spotting some old smuggler friends aboard a Guild Heighliner, who just also happen to be carrying enough melange to rescue the lost vessel, feel far more forced and unconvincing.

Furthermore, these surprising developments hurl a bevy of new characters at the reader when they’re debatably already snowed under by an incredibly large cast, and resultantly can cause the likes of prominent personalities such as Duncan Idaho, Peter De Vries and Count Hasimir Fenring to get somewhat lost within the script’s ever-swirling morass of humanity. Indeed, early on within the thirty-three page periodical it appears that the comic will be focusing upon Lady Anirul’s discovery that her husband has brokered some “vile plot with the Tleilaxu.” However, this entire storyline then suddenly disappears beneath a wave of competing machinations never to be seen in the publication again.

Quite possibly this book’s biggest bemusement though rests with the aforementioned salvaging of a disorientated Spacing Guild starship, which had been powered by Saddam’s unsuccessfully fabricated spice. Luckily for all concerned, one of the transport’s passengers is Prince Rhombur Vernius of Ix, who despite originally being incognito, happily announces to all that he knows the fast route through the vessel’s giant substructure and security restrictions so as to reach the dying Navigator’s chamber. In addition, the cybernetically-enhanced commuter is also the only person able to physically exist inside D’Murr’s melange-filled cell in order to ascertain what the problem is and determine a solution; “I remind you that I no longer have human lungs.”

So many implausible, manufactured moments featuring an incredibly long roster of different personas may also account for Simone Ragazzoni pencilling the odd unimpressive-looking figure, most notably that of Glossu Rabban, whose gaunt, almost vampiric visage appears far from the physically intimidating “Beast” ordinarily envisaged by fans of Frank Herbert’s science-fiction franchise. The illustrator clearly digs deep into his skillset so as to give everyone something different in their demeanour, facial configuration or dress. But by the time Leto Atreides’ disgraced mother makes an unwelcome return to his throne room, some bibliophiles may well mistake her for simply another in a long line of Bene Gesserit witches, as opposed to the black-gowned murderer of “the Old Duke.”

Written by: Brian Herbert & Kevin J. Anderson, and Illustrated by Simone Ragazzoni

Nightwing #118 - DC Comics

NIGHTWING No. 118, December 2024

Despite this twenty-four page periodical certainly living up to its promise of taking its audience “on an exhilarating journey through the streets of Blüdhaven as we bid a heartfelt farewell to the dynamic duo of Tom Taylor and Bruno Redondo”, the fact that the Australian author swiftly summarises the rest of the Bat-family tracking down the city’s kidnapped children could well still be seen by some as something of a missed opportunity. Indeed, the notion of the titular character teaming up with the likes of Tim Drake’s Robin, Cassandra Cain’s Batgirl or even the Dark Knight himself for a lengthy, possibly even issue-long, infiltration of Shelton Lyle’s covert organisation to discover the incarcerated kids' secret whereabouts would surely have provided some additional sense-shattering shenanigans for the original Boy Wonder to navigate.

Such a minor quibble aside however, there’s debatably not much else to complain about when it comes to this “epic conclusion” of the creative team’s “award-winning run”, as Dick Grayson embarks upon an almost entirely successful campaign to publicly clear his name of any criminal wrongdoing, ensure that Heartless’ reign of terror is brought to a swift end, and reconcile with the ghosts of the former circus performer’s deceased parents. True, the body of Gerald Chamberlain is never shown being recovered from the river into which he fell – which strongly suggests the deranged butler may well return to revive his supposedly dead master in the future, and Nightwing’s poor, three-legged dog takes a bullet meant for her owner. But overall, the book ends on a surprisingly neat shot of Bruce Wayne’s heir canoodling up to the love of his life watching the night stars.

Just as enjoyable as this comic’s script though are also its layouts, with Redondo giving the super-villain’s flight from Blüdhaven some breath-taking pace, as well as an awed “How?” moment when the mass-murderer’s colourfully-costumed pursuer plummets from a bridge to strike him straight in the face with a well-placed foot. This incredibly engrossing sense of speed then continues, with the “double Eisner Award winner” prodigiously pencilling Haley quite literally coming out of no-where to bite Chamberlain’s gun-toting forearm and Grayson providing his arch-nemesis with a truly memorable lesson in unarmed combat; “You thought you could buy strength. But you didn’t put in the work. You bought brute force. But that doesn’t make you powerful.”

The regular cover art of "NIGHTWING" #118 by Bruno Redondo

Blood Hunters #2 - Marvel Comics

BLOOD HUNTERS No. 2, November 2024

Whilst it’s hard to say with any real certainty that Erica Schultz set out to make Elsa Bloodstone as utterly unlikeable as the American author could, she definitely appears to do just that with her writing for Issue Two of “Blood Hunters”. In fact, probably a fair few readers of this twenty-page periodical wanted the former “staff member of the Braddock Academy” to suffer a good beating or two at the hands of Miles Morales or Bloodstorm One's Bloodcoven, simply so the insufferable, holier than thou monster hunter could be taken down a few pegs; “I must say… I am disappointed with your performance…”

To make Dan Abnett’s co-creation even more unbearable though, once the self-righteous super-heroine does allow her bloated ego to once again get the better of her already questionable decision-making, and finds herself a captive of Smoke Eater, the member of the Midnight Sons quite outrageously thanks a wandering cat for rescuing her, rather than her true saviour – Spider-man. Such an utter disrespect for facts genuinely grates upon the senses, and arguably will leave many a bibliophile desperately hoping that Ulysses’ foul-mouthed daughter is ultimately abandoned by her team-mates for a far more agreeable character.

Quite possibly this comic’s only distraction from the selfish scoundrel comes with the intriguing Hallow’s Eve, who repeatedly demonstrates her bizarre ability to pull magically-enhanced masks from out of her scarlet-coloured saddlebag. These face-coverings really help add some extra surprises to the script, and despite being perhaps a little too gimmicky or contrived, definitely help lighten up an otherwise almost unbearably deplorable spotlight upon Bloodstone’s rude, all-knowing attitude towards anyone even remotely undead.

Furthermore, Robert Gill debatably does a first-rate job in depicting all of Elsa’s ill-placed misgivings, almighty lectures, and “all vampires deserve to be dusted” attitude with just the over-the-top conceit an onlooker would expect from some hot-headed show-off armed with a shot-gun. In addition, the artist’s layouts are great at imbuing scenes with either the confrontational stance or fast pace, pulse-pounding action which they require; most notably when Miles Morales sets aside any issues he has with his would-be-murderer to save her from another violent pulverising by Unusual of the Bloodcoven.

The regular cover art of "BLOOD HUNTERS" #2 by Ema Lupacchino & Guru-eFX

Conan The Barbarian #15 - Titan Comics

CONAN THE BARBARIAN No. 15, October 2024

Whilst many a fan of Robert E. Howard’s sword and sorcery hero may well acknowledge Jim Zub’s bravery in attempting to pen another comic book adaption of “The Frost Giant’s Daughter”, especially when the publication’s own afterword dutifully doffs its cap to Roy Thomas and Barry Windsor-Smith’s ‘beautiful’ reconstruction for “Savage Tales” in 1971, a fair few readers were probably also rather disconcerted by the Canadian author’s decision to radically alter Atali’s motivation for goading a battle-weary Conan into following her lithe form across a wintry wasteland. Indeed, much of this twenty-two page periodical’s plot suggests that the “unearthly beauty” wanted the Cimmerian’s heart for herself, as opposed to the original short story in which she knowingly leads the fast-fatiguing fighter into an ambush.

Such an alteration (or arguably aberration) is perhaps understandable given the writer’s evident desire to add his own twist to the tale, or at the very least make “Gods Of The North” a little different to what many in its audience were expecting. Yet in doing so, it’s debatably difficult to shake off the notion that the Eisner Award-nominee is tinkering with a narrative best left well alone, unless he wants to suggest he knows how to improve upon an already much beloved storyline penned by “the father of the sword and sorcery subgenre.”

What does seemingly work within this script though, at least to begin with, is Zub’s predisposition to tell the tale from the reddish-blonde haired woman’s perspective. This insight into her motivations, desires and machinations certainly holds the attention up until an angered Ymir suddenly intercedes in the chase by causing a non-canonical firestorm, and the 'acclaimed creator' perturbingly steers his literary ship away from the established novella and into waters both new and unconvincing; “F-Father? N-No! I found him! I brought him! He… He’s mine by right!”

Adding plenty of gore to this comic’s gruesome opening, and then titillation throughout the scantily-clad female’s flight, is Doug Braithwaite. The London-born illustrator appears intent on pencilling every voluptuous curve he can cram into a panel, rather than rely upon any bibliophile’s imagination as to Atali’s physical form. But it is the artist’s fearsome-looking giants which probably most capture the eye, with an astonishing attention to detail in their clothing, accoutrements and weaponry.

The regular cover art of "CONAN THE BARBARIAN" #15 by Mahmud Asrar

Uncanny X-Men #2 - Marvel Comics

UNCANNY X-MEN No. 2, November 2024

To be honest, many an X-fan was probably a bit despondent having read the opening half to this twenty-page periodical. Sure, Gail Simone paints a wonderfully touching picture of how a young Charles Francis Xavier found his first love whilst at University. But alongside this heart-warming flashback the titular characters’ are disconcertingly mullered by a group of young mutant children who simply walk up to them during the dead of night and deck Wolverine with just a single punch.

To make matters even muddier though, this initially one-sided fracas in the swamps of Louisiana is due to the super-abled adolescents claiming they want help from Rogue’s freshly-formed squad, and then almost unforgivably give in to their unfounded fears that the heroes are actually going to harm them; “You see it, Ember? They’re mean. Like mother said. Goblins.” Such an irrational assault upon the X-Men debatably makes the Outliers particularly dislikeable, adding to the audience’s sense of woe when even the likes of Gambit are bested by a boot to the face by the somewhat scatty-brained Jitter.

Happily however, the stunning situation is eventually taken well in hand by James Howlett’s team-mates, and the newcomers are shown how to chew on a knuckle-sandwich or two. This ‘victory’ is arguably made all the sweeter by the arrival of Jubilee, and the potential promise of both Cyclops and Nightcrawler joining the comic to form a truly classic line-up. Yet, the ill-will lurking within the minds of some bibliophiles may well make the notion of the still fractured protagonists taking their “uncontrollable and wild” attackers under their protection sting quite a bit – especially when the majority of the unruly quartet come with a disagreeable attitude too.

Pencilling all this pugilism with great aplomb is David Marquez, who imbues Ransom and Deathdream with all the haughtiness expected from a pair of teenagers who apparently feel they can take on anybody; even after just being beaten by them. Of particular note though has to be the American illustrator’s marvellous pencilling of Xavier’s aforementioned romance, and the soft-looking visuals he creates for these tender scenes with the help of Matthew Wilson’s subtle colorwork.

The regular cover art to "UNCANNY X-MEN" #2 by David Marquez & Matthew Wilson

The Incredible Hulk [2023] #16 - Marvel Comics

THE INCREDIBLE HULK No. 16, November 2024

Containing a somewhat anti-climactic conclusion to “Lament For A Fallen Crown”, in that Eldest is simply bested by the One Below All by ill-advisedly coming within his sight, Phillip Kennedy Johnson’s narrative for Issue Sixteen of “Incredible Hulk” still arguably manages to hold its audience’s attention due to the readers’ desire to witness just how the firstborn of the Mother of Horrors is going to get her well-deserved comeuppance. In fact, the sheer unadulterated hubris of the “most powerful of Earth’s ancient demigods” is utterly enthralling, especially once the deceptively potent young girl somehow manages to push Enkidu’s personality into a dark corner of his mind, and arrogantly unlocks the Green Door in the guise of the first Hulk; “Awaken little brothers. This is a day most joyous. Open the way to our mother’s prison for I now hold the key.”

Equally as intriguing though, is the way the fallen city of Nineveh is depicted by the “American Eisner-nominated comic book writer”, with the ancient metropolis’ once beautifully adorned, bustling streets now writhing with a mass of ill-looking demonic entities. The Bull-Man of Akkadia’s grim exploration of this municipal is powerfully-paced, and also does a good job in showing just how strongly settled Eldest’s malign influence was some 3,600 years ago – something which is particularly noteworthy once the wicked wrongdoer’s hold is no more, and humanity quickly recovers its unchallenged sovereignty so as to adorn the brave Tammuz’s tomb with the various bones of the God Child’s devilish disciples.

Finally, despite the aforementioned lack of battle between the tale’s two central characters, this twenty-page periodical’s plot does include a brief glimpse of Enkidu's physical might, when the green-skinned monstrosity is told by an even larger purple-hued, multiple-fanged fiend that a group of caged humans are not for sale. This brutal slug-fest is sense-shatteringly savage due to some fearless pencilling by artist Danny Earls, and demonstrates just how the Hulk has managed to wander so far into the Assyrian capital without being previously challenged by one of its hellish inhabitants. In addition, the sequence quite cleverly starts the notion that a few mortals may well be already re-arming themselves against Eldest, as the Irish illustrator almost covertly sketches a handful of escaped slaves collecting fallen weapons and quietly following in the Bull-Man’s thunderous footsteps to the palace.

The regular cover art of "THE INCREDIBLE HULK" #16 by Nic Klein

Teenage Mutant Ninja Turtles [2024] #2 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 2, September 2024

Apparently the thirteenth best-selling comic of September 2024, at least according to “Icv2.com”, Jason Aaron’s script for Issue Two of “Teenage Mutant Ninja Turtles” surely thrilled fans of the ninja-fighting media franchise with its marvellous mix of tongue-in-cheek humour, suddenly all-too serious shenanigans, and plenty of utterly enthralling action. Indeed, considering just how big a cheer many a bibliophile must have made when Michelangelo finally shakes off his celebrity funk to fend-off a deadly squad of black-clad assassins, this twenty-two page periodical probably deserved to be even higher up the online trade magazine’s chart; “Go! Go! Extreme green ninja teen! Party dude supreme! You are the pizza master!”

Helping this book’s enjoyable assault upon the senses is the American author’s decision not to dwell too long upon Mikey’s high life as a big television star, and instead just swiftly establish the character’s increasing disillusionment with fame. Such succinctness, courtesy of a montage or two, genuinely sets the scene for the subsequent brutal battering the lone fighter faces, without bogging the audience down with any dialogue-heavy, dreary discussions about how the turtle misses his brothers, and yearns to be wielding something much more formidable than foam rubber nunchakus.

Furthermore, the Alabama-born writer quite neatly explains just how so lethal a combatant can nowadays be easily ambushed by having “everyone’s favourite” jokester’s regular convenience store pizza poisoned. Combined with his lack of recent combat experience, this plot device is pretty convincing when it comes to the wisecracking warrior initially getting his clock well and truly cleaned. However, once the martial artist begins to feel better, and desperately grabs a pair of diamond-encrusted hand-weapons, the fight most readers would have been anticipating is most definitely on.

Noticeably providing Michelangelo with a palpable longing for his former heroes in a half-shell is Rafael Albuquerque, who wonderfully pencils the ‘aging actor’ slowly realising that he is fighting for his very life. In addition, there’s a genuine ‘thud’ behind all the punches, kicks and strikes taking place within Mikey’s Tokyo apartment, which are so convincing that letterer Shawn Lee clearly felt that he didn’t need to add any SFX to these pulse-pounding panels.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #2 by Rafael Albuquerque

DC Vs. Vampires: World War V #3 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 3, December 2024

Haphazardly throwing its audience all over the show with a twenty-four page plot that arguably rarely reaches any sort of conclusion with its various sedentary scenes and action sequences, Matthew Rosenberg’s storyline for Issue Three of “DC Vs Vampires: World War V” probably struck many readers as being something of a mess. Sure, the American author does a fairly solid job in progressing Aquaman’s attempt to put an end to Damian Wayne’s unruly rebellion against the now dead Vampire Queen Barbara Gordon. But even this ambush is debatably hamstrung by its events suddenly being cut short by an unlinked, dialogue-driven interlude concerning John Constantine and the Black Canary back at the Headquarters of the Human Council.

To make matters even more bemusing though, apart from the comic’s opening, which presumably depicts the creation of the mysterious “Miracle Child” ten months ago, there isn’t a great deal of direction as to just how much time passes in between set-pieces. These time jumps cause the likes of Arthur Curry and Dinah Drake to seemingly pop up all over the place, with Green Arrow’s partner in particular appearing to be knee-deep in snow and blood-drinkers on the streets of Newark, New Jersey one moment, and then almost randomly appearing alongside an inebriated “Hellblazer” to give him some sort of earful in the next; “I didn’t know you could do magic drunk.”

Resultantly, it’s possibly only this publication’s aforementioned focus on Robin and his heavily-bandaged renegades’ battle against the vampire army which properly holds the attention. However, having witnessed Batman’s former protégé being saved at the last minute from Cassie Sandsmark’s clutches by Batwoman bravely sacrificing herself, any engaged onlooker is then left wondering exactly what happened next, as the story suddenly shifts elsewhere, and when it does return, Damian is strangely hiding alone from Black Adam deep inside a snow-laden forest somewhere.

Perhaps somewhat discombobulated by all these somewhat senseless shenanigans is Otto Schmidt, whose pencilling occasionally appears to be surprisingly rushed and undisciplined. Furthermore, the illustrator’s layouts debatably don’t tell the entire tale, such as when a blood-drinker somehow manages to wrestle from out of Ted Grant’s grip so as to slay a “traitor” spilling his guts, or Zealot apparently turns upon a horde of biters unwisely stalking her down some streets so as to slay them.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #3 by Otto Schmidt

Conan: Battle Of The Black Stone - Titan Comics #2

CONAN: BATTLE OF THE BLACK STONE No. 2, November 2024

Considering that Jim Zub already has the entire cast of characters created by Robert E. Howard to utilise as best he can for this mini-series’ lengthy storyline, his decision to still crowbar a Gurian tribeswoman of his own making into the already over-populated mix must have perturbed some within this comic’s audience – and potentially smacks of a little hubris creeping into this project..? Sure, the savage fighter’s sudden appearance from out of no-where certainly helps ramp up the publication’s pulse-pounding pace as she viciously wounds a multi-limbed monstrosity who is mercilessly murdering as many occupants of the Wanderer’s Club as it can catch. But surely the likes of Dark Agnes de Chastillon, the adventuress Valeria, or even Red Sonya of Rogatino making a timely entrance would have been far more in keeping with this ‘dedicated event to Howard’s literary works’, rather than one of the Canadian author’s concoctions - especially when it appears evident that at least three of Howard’s fantasy figures would have fatally fallen if not for the spear-slayer’s intervention.

Similarly as disconcerting is debatably the Web Cartoonists’ Choice Award-winner’s decision to grotesquely kill-off a badly debilitated Francis Xavier Gordon, having robbed the once mighty El Borak of his famous physical speed through a combination of heavy drinking and age. Indeed, unlike the rest of the sword and sorcery maestro’s handiworks, the Texan gunfighter from El Paso is shown as being far past his prime, foul-mouthed and something of a burden to his comrades-in-arms once wounded; “Mister Gordon’s condition is unstable and getting worse! I fear he’s having a cardiac arrest!”

Happily however, Zub does appear to give the reader some notion as to how formidable an explorer "The Swift" was when he travelled throughout the Arabian Desert during 1919 A.D., by means of an incredibly well-penned flashback sequence. Deftly depicting Francis utilising his trademark sharp-shooting against the seemingly self-same demon he’d face in his later years, this sense-shattering sequence should also completely catch a fair few onlookers off-guard with the confrontation’s cataclysmic conclusion.

Lastly, Jonas Scharf and Jao Canola’s artistic contribution to this twenty-four page periodical cannot be overlooked, as their pencilling and colours bring even some of the script’s less-convincing elements to vivid life. Of particular note is the horrified wonder and fear etched across the faces of Howard’s heroes as they face down the terrifying foe hunting their souls through time, as well as the aforementioned insight into El Borak’s battle, which somehow imbues the moustached man carrying a curved scimitar with all the confidence and bravery a pulp fiction fan would expect from someone who lives exclusively upon their wits and physical prowess.

The regular cover art of "CONAN: BATTLE OF THE BLACK STONE" #2 by Roberto De La Torre

Batman #501 - DC Comics

BATMAN [1940] No. 501, November 1993

Apparently “the first issue of Mike Manley's run as penciler and inker on Batman”, this twenty-three page publication’s plot certainly seems to show just how markedly different Jean-Paul Valley’s brutally brusque incarnation of the titular character is compared to Bruce Wayne’s much more intelligent crime-fighter. Indeed, the cape and cowl’s latest incumbent even angrily derides his predecessor’s more mentally acute attitude towards solving investigations by destroying the Bat-cave’s chemical analysis equipment; “I’ve never cared for clues. And detective work bores me.”

Instead, Doug Moench pens an intriguing piece where the Caped Crusader foolishly relies upon his new frightfulness to scare a local mob boss into doing his bidding, and inadvertently brings the majority of Gotham City’s underworld leaders together against him – including a well-armoured assassin who will apparently stop at nothing in order to kill his quarry. This mishandling of Don Mercante proves a terrific example of Azrael’s disagreeable overconfidence, and arguably adds an extra, enticing element of uncertainty as to just how events will actually pan out between the various rival parties.

Of particular note though has to be the appearance of the “self-made perfect assassin” Mekros – who, donned in a somewhat clunky-looking suit of bright armour, initially comes across as a bit too gimmicky a villain to be taken all that seriously. However, by the time the clearly deadly killer has started wading through Santos Verona’s numerous bodyguards with bloody aplomb, this opinion should have changed, and the “former mercenary in covert operations that got interested in the potential of MK-Ultra” can swiftly be seen as being just as savage and vicious as the vigilante he’s being paid one million dollars to mercilessly murder.

Helping the American author sell Batman’s various mis-steps throughout this story is the aforementioned Manley, who pencils a stunning introduction to Mercante’s evil empire inside an Italian diner, courtesy of a sense-shattering, though ultimately unsuccessful, shooting. The Detroit-born artist is also very good at pencilling the pensive attitudes of the various crime family heads as they discuss just how to rid themselves of the Dark Knight, as well as withstand any further moves by Verona’s hired guns to lift him to the very top of the high table.

Writer: Doug Moench, Artist: Mike Manley, and Colorist: Adrienne Roy

The Mighty Thor #445 - Marvel Comics

THE MIGHTY THOR No. 445, March 1992

For those Thunder God fans not following the New York City-based publisher’s “Operation: Galactic Storm” multi-title event, Tom DeFalco’s opening to Issue Four Hundred and Forty Five of “The Mighty Thor” probably brought them bang up to speed with past incidents, courtesy of some fast-paced dialogue and a momentary “spacequake!” Indeed, the American author sets out this twenty-two page periodical’s stall rather nicely, and soon throws his audience into a truly titanic tussle between two of the Avengers’ strongest members and a disagreeably arrogant Gladiator; “For the safety and security of my people, I cannot suffer this interloper to live!”

One of this comic’s biggest draws however, is arguably the uncertainty surrounding Eric Masterson’s place within the supergroup’s roster, and his lack of belief at successfully wielding Mjolnir. This internal struggle really lies at the very heart of “The War And The Warrior!” by depicting Ron Frenz’s co-creation as battling both his own inner doubts and demons, as well as the formidable superhuman strength of the Shi'ar Empire’s egotistical Praetor of the Imperial Guard.

Likewise, there’s arguably a fair amount of satisfaction to be had in this book’s later stages by witnessing the utterly insufferable Kallark getting his clock well and truly cleaned by the titular character. Admittedly, some bibliophiles may well point out that the extra-terrestrial probably didn’t deserve the death which the new Thunder God momentarily had in mind for him - having allowed his towering rage to blind him from sound reasoning. But the Gladiator definitely deserves a good beating bearing in mind he completely refuses to listen to a surprisingly reasonable Wonder Man in the first instance, and then goes on to covertly conclude that Masterson must be executed immediately due to the human having too much power for the extra-terrestrial’s grand civilisation to permit.

Undeniably imbuing all this pulse-pounding pugilism with plenty of “KRAK!”, “TWAKK!” and “SPWATT!” are Patrick Olliffe’s pencils and Al Milgrom’s inks. Together, the duo make every punch thrown and hammer-blow landed reverberate within the readers’ minds, and help sell the notion that this tale features some seriously sturdy powerhouses trading shots with one another which would easily flatten an ordinary hero within mere moments.

Story: Tom DeFalco, Pencils: Patrick Olliffe, and Inks: Al Milgrom