Creepshow: Joe Hill's Wolverton Station #1 - Image Comics

CREEPSHOW: JOE HILL'S WOLVERTON STATION No. 1, February 2024

For those “kiddies” somehow able to navigate their way through twenty-four pages of abhorrent, expletive-laden dialogue, this comic book adaption/expansion of Joe Hill’s 2014 E-book set “in a dog-eat-dog world” probably never lived up to its pre-publication hype. True, the New York Times bestselling author’s narrative most definitely contains plenty of gratuitous violence and body horror thanks to a pack of hungry werewolves chomping their way through a number of hapless commuters and leaving their dinner scraps all over the place. But besides these momentary gore-fests, this “special presentation” overall is arguably far from convincing; “Americans don’t smell like cheeseburgers. We smell like winners.”

To begin with the sole reason for crooked businessman Saunders to even climb aboard a terrifying train to Wolverton Station is because there’s apparently no limousine drivers available in England to drive him to Buckinghamshire. This rather implausible national strike will surely test the audience’s willing suspension of disbelief straight from the start, and seems to have been crowbarred into the plot solely to ensure that the rich entrepreneur “obsessed with classic Horror memorabilia” uses a particular form of public transport.

Furthermore, the lead character appears unaware that the majority of passengers around him are actually hulking great werewolves, even when they’re ferociously feasting upon the innards of their partially disembowelled victims, or noisily chasing him through the carriages towards First Class. Such a lack of recognition really is quite bemusing, and appears especially strange once the fellow becomes both noticeably sickened and petrified by the numerous mass-murders occurring throughout his train ride. In fact, even after a close call with three ravenous lycanthropes near the toilet, the American still just returns to his seat beside a well-dressed man-wolf and continues with their earlier conversation.

Much more impressive is arguably Michael Walsh’s artwork, with the illustrator’s somewhat roughly-hewn sketches adding plenty of raw energy to the skin-shredding shenanigans occurring aboard the blood-soaked InterCity. Of particular note is how the penciller depicts Saunders becoming increasingly dishevelled physically as his nerve-jangling trip plays out, and he resultantly transforms from the arrogant, all-powerful tycoon into nothing more than a truly desperate taxi-fare who has unwittingly fallen into Sol’s grisly plan for revenge…

The regular cover art of "CREEPSHOW: JOE HILL'S WOLVERTON STATION" #1 by Michael Walsh

Blade #8 - Marvel Comics

BLADE No. 8, April 2024

Considering that this comic’s basic premise concerns the titular character journeying down into Hell so as to recruit an army of the Damned, Bryan Hill’s unsatisfyingly sedentary script for Issue Eight of “Blade” doubtless frustrated the vast majority of its action-anticipating audience. Indeed, despite Eric Brooks encountering the giant, one-eyed undead guardian known as Abrath the Collector, the Dhampir never even swings his famous sword in anger; “Something in the living world is upsetting the balance.”

To make matters worse though, none of the American author’s storyline arguably makes much sense whatsoever anyway, as it’s never made clear just why the Day-walker thought he’d have any leverage against the demonic deity he faces. Sure, the half-vampire might have a valid point that Adana might “replace this Hell with her own.” But that argument hardly seems persuasive enough to win him the legion of unholy warriors he urgently needs to send against an all-powerful foe who has already previously demonstrated her ability to massacre multiple supernaturally-enhanced opponents single-handedly.

Furthermore, Blade’s trip to the outskirts of the Circle of Desolation and back again appears remarkably easy to achieve, thanks to Satana Hellstrom simply performing “just a bit of magic.” So basic a ritual genuinely saps any excitement straight out of the narrative, and makes it appear that there is absolutely no cost or risk to the dangers both Brooks and the succubus are facing. In addition, it makes Rotha’s requirement to quietly sit alongside them in order for the young cultist-turned-assassin to tenuously tie Eric’s soul to the mortal realm a bit of a mockery, and appears to have just been crowbarred into the plot for the poor girl to shockingly see her dead father’s ghost appear at the book’s conclusion.

Sadly, Elena Casagrande’s artwork debatably doesn’t do much for this publication either, with the artist’s rather static-looking style failing to inject many a panel with any actual dynamism - even when the likes of Draven are momentarily tussling with Abrath. Such listless pencilling was debatably never going to succeed with so dynamic an anti-hero as Marv Wolfman’s co-creation. However, due to a fair bulk of this book lamentably relying upon various splash-pages to pad it out, the Italian illustrator’s layouts probably land even more disastrously.

The regular cover art to "BLADE" #8 by Elena Casagrande & K.J. Diaz

Creepshow: Holiday Special 2023 #1 - Image Comics

CREEPSHOW: HOLIDAY SPECIAL 2023 No. 1, December 2023

Most definitely succeeding in its mission “to put the fear in your cheer”, Daniel Kraus’ storyline for “Christmas Man” easily establishes a truly disconcerting foe to murderously stalk Santa Claus during the snow-laden season of giving. Indeed, considering the perfectly plausible background this terrifying tale’s supporting cast make up as to the motivation behind “the Abominable Snowman of the North Pole”, the toe-hungry monster genuinely sounds like something the American author has simply plucked from the mythical stories surrounding Saint Nicholas himself, rather than a foul fiend created specifically for this comic’s ten-page long plot.

In addition, artist Jonathan Wayshak needs a massive pat on the back for his engrossing pencils, which entertainingly incorporate the heavily-stylised sketches of little Esme to help illustrate the child’s traumatised thoughts as to what the fur-covered creature probably looks like in life as it remorselessly follows Father Christmas on foot. These scribblings genuinely help sell the increasing dread flowing through this fairy-tale's impressionable protagonist, and will also doubtless imbue the reader with all the confirmation they need that the child’s mean-spirited siblings have gotten their ‘just rewards’ once the heavily-fanged Yeti has mercilessly devoured all their feet before her very eyes.

Slightly less graphic in its telling, though still containing plenty of removed human body parts, is “Package Thieves” by James Asmus. This “cautionary tale about stealing the wrong parcel” is arguably a little slow in places as Holly becomes increasingly paranoid during her day-to-day thievery, and starts to strongly doubt her life of crime is as victimless as her overbearing partner, Joy, repeatedly claims. But once it becomes clear the pair are specifically being targeted by a homicidal Spirit of Christmas, the pace quite noticeably 'hots up' into a stomach-churning conclusion.

Disappointingly however, “lively” Letizia Cadonici’s layouts probably don’t help with the speed of this predominantly sedentary yarn either, courtesy of the Italian’s somewhat minimalist style (along with Francesco Segala’s colours) making all the figures rather flat-looking and lifeless. Indeed, even the touching despair in the face of a poor father desperate to buy a robot dog back from the woman who stole it from his front-porch, disappointingly lacks a lot of its emotional impact – something which just such a scene should definitely evoke considering its made crystal clear he only wants the toy for his hapless, hospital-bound daughter.

The regular cover art of "CREEPSHOW: HOLIDAY SPECIAL 2023" #1 by Guillem March

Dune: House Harkonnen #12 - BOOM! Studios

DUNE: HOUSE HARKONNEN No. 12, January 2024

Considering that this twenty-two-page periodical is the last instalment to a multi-part mini-series supposedly focusing upon the “heavily industrialised” Great House centred upon Giedi Prime and its floating Baron, Vladimir Harkonnen is noticeably absent from the majority of its interior content. In fact, apart from a nineteen-panel piece depicting the corpulent framed ruler torturing his nephew for cold-bloodedly murdering Abulurd, Issue Twelve of “Dune: House Harkonnen” is arguably much more focused upon a grieving Duke Leto Atreides and the man's desperate gamble that Doctor Wellington Yueh can restore his badly-mutilated friend back from the brink of death using “Suk medical techniques.”

Admittedly, this somewhat slow and distinctly dialogue-driven depiction of Rhombur Vernius' fate does prove rather well-written, with the horribly injured Earl’s devoted wife Tessia receiving some marvellous moments in which her forceful love for her spouse can be brought to the forefront of the story; “All of him is here! All that matters. The rest can be… replaced.” Yet overall the pacing to this comic is painfully slow and oft-times sedentary at best, especially when Leto the Just decides to take the Lady Jessica on a pleasant picnic deep within the lush vegetation of Agamemnon Canyon, and illustrator Michael Shelfer tastefully pencils him spending a blissful afternoon in his concubine’s arms before returning to court for poor little Victor’s heartbreaking funeral.

Sadly, even the shocking demise of Pardot Kynes does little to add any lasting drama to this adaption’s narrative, due to the first Imperial Planetologist of Arrakis being poorly penned angrily arguing with his son beforehand for no discernible reason. And just why the aged agriculturist then decides to stop dead in the middle of a lethal rock-fall to contemplatively pick a handful of fruit whilst those around him are being bludgeoned to death by enormous boulders is arguably any bibliophile’s guess..?

To make matters worse, it’s made clear from the character’s last words that Brian Herbert and Kevin J. Anderson would have their audience believe he was trying to save the bountiful crop from extinction. But surely the bearded visionary could simply have safely obtained new seeds from a wandering trader or well-stocked market elsewhere, and debatably only therefore dies just so the “award-winning novelists” had a reason for his guilt-ridden son, Liet-Kynes, to unconvincingly follow in his dead father’s footsteps by ‘secretly terraforming Arrakis into a temperate planet.’

The regular cover art of "DUNE: HOUSE HARKONNEN" #12 by Raymond Swanland

Daredevil: Black Armor #1 - Marvel Comics

DAREDEVIL: BLACK ARMOR No. 1, January 2024

Announced at the San Diego Comic-Con in July 2023, and set during D.G. Chichester’s “landmark run” with Daredevil, this first in a four-issue limited series arguably does a good job in both updating those readers who aren’t too familiar with the American author’s “fan-favourite era”, whilst simultaneously stimulating those bibliophiles who remember the Man Without Fear wearing his armoured costume with a previously never-before-seen adventure. Sure, it does take the Connecticut-born writer a good ten pages to recount the numerous changes made to Matt Murdock’s character during the Nineties. But that still leaves two thirds of this book with which the audience can be thrown into the “non-stop intense action and brutal fighting” of Jack Batlin’s mission to thwart a series of mysterious abductions across Hell’s Kitchen.

Furthermore, once the storytelling does finally get going it wastes little time in throwing the blind vigilante up against the formidable Sabretooth in a mouth-watering confrontation that arguably shows the mass-murdering mutant at his most terrifyingly savage, and wearing Jim Lee’s “instantly iconic costume” redesign to boot. This sadly short-lived skirmish proves an excellent hook to the upcoming shenanigans, particularly when it alludes to a master super-villain capable of stopping Victor Creed’s ferocious alter-ego dead in his tracks with a single command, and ordering him to “disengage” from a hero who has already humiliatingly battered the brute with his trademark batons.

Just as tensely penned is probably this publication’s almost obligatory exchange with Wilson Fisk, who is seen as a down and out Kingpin of crime scrambling around for a quality limousine in a disreputable garage. Seeming to not know the (new) incarnation of Daredevil isn’t the same blind lawyer he’d repeatedly locked horns with in the past, the dialogue between these two long-time foes is still top-notch, with the once “powerful crime lord” lacing his polite words with plenty of deadly menace and threat; “Time to earn some respect.”

Helping to add plenty of “Snappkt”, “Tnnk” and “Trrk” to the proceedings is the artistic team of Netho Diaz on pencils, J.P. Mayer with inks, and colorist Andrew Dalhouse, who together make Murdock’s “sleek new armoured costume” wholly believable. In addition, some of the splash-layouts showing Matt’s highly emotive struggle with his Catholicism and dedication to the law are incredibly well designed, and provide some wonderful insights into the titular character’s conflicting motivations.

Writer: D.G. Chichester, Penciler: Netho Diaz, Inker: J.P. Mayer, and Colorist: Andrew Dalhouse

Beware The Planet Of The Apes #2 - Marvel Comics

BEWARE THE PLANET OF THE APES No. 2, April 2024

Introducing both a new mutant human settlement which inhabits “the ruins of the old Yankee Stadium”, as well as an enormous gorilla-only civilisation in the Forbidden Zone, Marc Guggenheim’s narrative for Issue Two of “Beware The Planet Of The Apes” probably perplexed those readers who were eagerly anticipating the American author returning them to the science-fiction franchise’s earliest days. True, these “never-before-seen dangers” definitely provide the twenty-page periodical with plenty of mystery. But arguably many a bibliophile will still wonder just why scientists Cornelius and Zira, or even “their human guide Nova”, never mention such evident threats when they later encounter astronaut George Taylor in Franklin J. Schaffner’s 1968 original movie.

Indeed, whilst the Long Island-born television producer at least attempts to tie Mistress Ivana’s gun-toting tribe of telepathic survivors in with Mendez XXVI’s silver screen worshippers of the Alpha-Omega Bomb, plenty within this comic’s audience will probably still feel that the writer’s storyline contains some frustratingly self-indulgent elements of fan fiction; “With our mutation comes certain… psychic abilities. Mine are more attuned than others. Sometimes, with the right stimulus… I can see ahead of things.”

Perhaps the biggest of these inconsistencies lies with Cornelius actually being shot by the facially-disfigured Kennard because the trigger-happy sharpshooter thought “the ape was charging”. This injury immediately fells the hapless chimpanzee archaeologist, and leads to Zira witnessing another human carry out surgery on her beloved’s wounded shoulder – knowledge which the veterinarian would surely carry with her when it later comes to Doctor Galen operating on Taylor later at the Animal Hospital. Furthermore, the sheer size of the Hominidae Empire apparently dwarves that of Ape City, so just how is its formidable presence kept from the likes of Doctor Zaius and the Ministry of Science in the near future..?

Just as bemusing as this publication’s penmanship though are debatably the book’s layouts, which feature a mish-mash of “excerpts from Adventures On The Planet Of The Apes” sketched by the late Alfredo Alcala, and panels drawn by modern-day artist Alvaro Lopez. Perhaps understandably, the two illustrators’ styles contrast with one another quite dramatically. However, due to the dialogue-heavy nature of the script a lot of the current contributor’s side-on illustrations arguably appear rather flat-looking and one-dimensional, especially when compared to the various ‘camera angles’ employed approximately fifty years ago.

The regular cover art of "BEWARE THE PLANET OF THE APES" #2 by Taurin Clarke

Conan The Barbarian #7 - Titan Comics

CONAN THE BARBARIAN No. 7, February 2024

Whilst plenty of this title’s dog-brothers and sword-sisters will probably enjoy Jim Zub’s dalliance with Conan fondly remembering his romance with the now dead Queen of the Black Coast, some bibliophiles perusing the Canadian author’s opening to “Haunted” might feel he’s made Belit a little too bloodthirsty for their liking. Indeed, the notion of the Tigress’ captain suddenly pinning the helpless Cimmerian to the deck with a knife to his heart just after another of their passionate love-making sessions, and subsequently showing how easily she could murder him should the Shemite choose to do so, smacks of an insanity hard-to-abide in the partially-naked privateer - especially when the woman makes it clear that she’d have killed her "lion" with the weapon if he ever dared compare her great beauty to the sparkling treasure their pirating exploits acquire.

Rather pleasingly though, the Honorary Award-winner’s psychopathic depiction of the Barbarian’s one “true love” is soon cast aside in favour of the hideously possessed Chaundra, and the former friend’s terrifying attempt to gut Robert E. Howard’s creation with a small, curved blade. Whether the adventurer’s famous instincts should have forewarned him of the blank-eyed killer’s assault is probably debatable. But the fact the “silent crazed creature” manages to bury her hand-weapon deep into his back, before inhumanly shoving him through their bedroom’s wall, makes for an utterly enthralling scrap; “Her body is now a tool for forces unfathomable…”

Similarly as successful is arguably the tragic fall of the Gloryhounds Thieves Guild to the likes of Kamal and Greff, with the pitiable pair seemingly just as mindlessly cursed as poor Chaundra by Tarim’s Touch. The subsequent battle between the titular character and his bewitched comrades-in-arms is genuinely exhilarating to experience, courtesy of even the “anaemic lock springer who detested combat of all kind” apparently now being perfectly capable of butchering the increasing flagging Cimmerian where he stands.

Quite scarily helping to imbue this comic’s cast with the homicidal physicality needed to convince its audience of Conan’s near-lethal plight is Doug Braithwaite. The British artist does a top-tier job of imbuing Chaundra with all the demonic deadliness a reader would expect from a thief controlled by the power of the undead. Furthermore, there’s a convincing concern etched across the Barbarian’s face throughout this white-knuckle ride which tells of the heavily-muscled man's uneasiness when confronted with the mysteries of the Afterlife, and his sheer desperation to avoid being mutilated by the grey-skinned ghouls he's desperately battling against.

The regular cover art of "CONAN THE BARBARIAN" #7 by Alex Horley

Dune: House Harkonnen #11 - BOOM! Studios

DUNE: HOUSE HARKONNEN No. 11, November 2023

There surely can be no denying the truly palatable pace to this “penultimate issue of the stunning prequel series from Brian Herbert & Kevin J. Anderson”. Indeed, the comic is absolutely packed full of assorted deaths, physical mutilations and various characters conducting their blood-thirsty revenge upon perceived enemies. Disappointingly though, such speed in the storytelling also results in this book’s authors making some sizeable leaps of logic or imbuing various cast members with an impassioned loathing which has never arguably raised its head before.

Foremost of these ‘jumps’ comes at the publication’s start, when Liet Kynes is somewhat shockingly shown marrying his recently deceased friend’s wife and promising to raise the dead man’s newborn son as his own. Such abrupt timing debatably smacks of being in very bad taste considering just how horrific poor Warrick’s demise was. However, the audience are not only then asked to celebrate the Fremen’s wedding. But also support his bizarre holier-than-thou hatred of his hapless dad, when the Imperial Planetologist arrives to congratulate his son, and gets a highly irrational mouthful for doing so; “You never understand anything, father. You’re never here.”

Similarly as unconvincing is debatably this tome’s brief visit to the now decimated Swordmaster School on Ginaz, where the surviving warriors realise that they’re going to need every trained soldier available if House Moritani is to be defeated and their honourable way of life restored back to its former glory. Having spent years relying upon the people there for his intense training, and believing Caladan to be in the safe hands of Duke Leto Atreides, Duncan Idaho still strangely decides to turn his back on his friends’ pleas for help, claiming he’s supposedly needed more on the “lush oceanic world” than the pillaged planet. Such a choice appears utterly contrived in view of the catastrophe Ginaz is facing, and makes him out to be a far cry from the ”admirable fighting man” Lady Jessica would go on to call him. 

Perhaps therefore this comic’s soul redemption lies within the enthralling fall from grace (and sanity) of Kailea Vernius. Having effectively lost both her son and brother to her own evil machinations, the concubine is superbly pencilled by artist Michael Shelfer utterly losing her marbles with those confederates around her. Indeed, armed with a vicious-looking blade and completely psychopathic, the only surprise is probably just how few people she hacks to death before taking her own life.

Written by: Brian Herbert & Kevin J. Anderson, and Illustrated by: Michael Shelfer

Dune: House Harkonnen #10 - BOOM! Studios

DUNE: HOUSE HARKONNEN No. 10, October 2023

Largely focusing upon Leto Atreides and his discontent with the incredibly unreasonable Kailea Vernius, Brian Herbert and Kevin J. Anderson’s penmanship certainly should have captivated the attention of any bibliophile even remotely interested in this science-fiction franchise about ‘noble houses controlling planetary fiefs.’ True, the creative partnership’s twenty-two-page plot does occasionally stray a little far away from the captivating political tension between the two former lovers, such as when Baron Vladimar Harkonnen strangely decides to stick an infant Feyd-Rautha right in front of a Laza Tiger and becomes upset that the baby is positively petrified at the beast’s angry roar. But it soon returns to the Duke’s misery and the reader’s sickening realisation that his concubine means to assassinate him rather than lose out to another woman.

Indeed, this truly horrible betrayal is really rather well-penned as it arguably sneaks up upon the audience, even whilst Caladan’s leader is still desperately attempting to seek some reconciliation with the mother of his son, by having the walls of his palace installed with blue obsidian. Such endearing devotion on behalf of “Leto the Just” makes the moment Rhombur’s sister decides to actually kill the person responsible for rescuing her from a life of slavery, all the more impactive – especially when it comes straight after the news that Earl Dominic has been slain by the Sardaukar and the slim possibility of her turning back to the Duke for comfort in her grief; “My father is dead. I have given up everything in this life!”

Sitting alongside this devious ‘scheme of destruction and death’ is the less successful subplot of Duncan Idaho and his fellow Swordmasters of Ginaz being abducted by a boatload of grumpy Grumman. Just how warriors who are supposedly superior to even the “elite military force of the Padishah Emperor” are so easily captured by a blow to the head from a cut-throat is far from convincing. However, to make matters even more contrived, rather than murder their bound prisoners for supposedly slapping “our Viscount in the face by expelling the students”, prodigious penciller Michael Shelfer is tasked to depict the pirates releasing the detainees whilst at sea, and unsurprisingly then watch as some simply dive into the safety of the surrounding water.

Written by: Brian Herbert & Kevin J. Anderson, and Illustrated by: Michael Shelfer

Murderworld: Game Over #1 - Marvel Comics

MURDERWORLD: GAME OVER No. 1, May 2023

Most certainly bringing “Arcade’s darkest game” to a close with a bit of a bang, authors Jim Zub and Ray Fawkes’ script for “Murderworld: Game Over” probably left many a reader with a rather sore head, thanks to their storyline containing a number of twists and turns which few will probably anticipate. Indeed, this periodical’s twenty-page plot is positively laced with so many surprising demises that by its end it is genuinely difficult to determine just who is going to survive the grand finale and grab the deadly tournament’s “big prize!”

Sadly however, for those bibliophiles able to step away from the insane murders, red herrings, and Life Model Decoy (LMD) units for a moment, the actual logic to some of this book’s happenings doesn’t arguably make much sense from the perspective of its ever-dwindling cast of characters. For example, having saved the last two competitors from the fatal clutches of a robot Moon Knight, it’s soon revealed that the survivors’ saviour Black Widow, is actually just another of the super-villain’s mechanical killers. This revelation would surely only astonish those long-term bibliophiles who have followed the multi-title yarn and knew that Natasha Romanoff was trying to discover the location of the illegal broadcast. Not the badly battered Alex Benavides or Marina Komarova.

From the participants’ perspective, all that has happened is that Arcade has senselessly dispatched another android to stop his previous LMD from ending their lives, so the new one can do it instead..? This situation debatably makes no sense whatsoever, yet somehow still tricks the eventual victor into feeling they need to check the fallen Avenger’s corpse for signs of life just in case his Hydra-sponsored comrade-in-arms has mistakenly brought an end to the super-heroine’s existence; “I let people die here in Murderworld. I killed so many by not helping. But they would’ve done the same to me. Am I wrong..?”

So bizarre a state of affairs also then leads into perhaps one of the publication’s biggest (and potentially unconvincing) shocks when the gambler-turned-adulterer bests an expert in martial arts and close combat in a straightforward fist-fight. True, the Russian agent had just been wounded in an explosion. But so too had Alex, and yet artist Lorenzo Tammetta still pencils the man with no known hand-to-hand fighting skills whatsoever still somehow strangling the supposedly highly-tutored Marina to an implausible death.

Writers: Jim Zub & Ray Fawkes, Layouts: Netho Diaz, and Pencils/Inks: Lorenzo Tammetta

Alien [2023] #4 - Marvel Comics

ALIEN No. 4, April 2024

Having inadvertently awakened “the huge, deadly Winterbeast” following the U.S.C.S.S. Boreas’ wreckage smashing back into Cocito’s frozen surface, many a bibliophile probably thought Issue Four of “Alien” was going to focus upon a titanic clash between the titular characters and the gigantic new alien Kaiju. Indeed, this twenty-page periodical’s solicitation synopsis does nothing but harp on about this native “evolutionary twist” purportedly threatening to bring about the final, fatal end of H.R. Giger’s deadly co-creation on the deserted ice moon LV-695; “Things are in motion, and there’s no stopping them.”

Somewhat disconcertingly however, much of Declan Shalvey’s storyline for this comic actually rests upon the decidedly tense stand-off between synthetic 227-N and the heir to the Yutani throne inside the remains of the Keg research base, rather than the supposed demise of the “apex predators”, and resultantly greatly reduces the savage battle for survival taking place outside in the freezing snow. Indeed, the dialogue-driven forty-year-old feud is easily this book’s biggest highlight, as the two sparring sides repeatedly chide one another for the devastation caused at the mining colony on Cloughleigh in 2168 A.D., and the super-rich youngster’s failed plan of “returning my cousins’ ship them [and] getting in their good graces.”

Disappointingly though, even this titanic tussle of wits ends with a debatable let down, as Zasha’s “Dad” launches a nuke from orbit to destroy himself, his foe and also his adopted daughter. This suicidal strike certainly wraps up the Irishman’s narrative rather neatly with everyone apart from the real Jun being either battered to death or blown to pieces. Yet Cole’s shocking decision to decline the chance to fly her way to safety in a spaceship and instead race back to meet her doom with Dayton, arguably makes little sense considering just how strong the female character’s instinct for survival has always been.

Quite possibly also adding to this aura of bemusement are some of Andrea Broccardo’s layouts, especially those which show the Winterbeast apparently racing straight towards Zahn’s location as if the creature knows it needs to stop 227-N before he destroys the planet. Just why the monstrosity does this, or why an alien chest-burster suddenly stops it dead in its tracks is never explained within this comic, and leaves a number of burning questions as to the entire point of the giant’s appearance in the first place.

The regular cover art to "ALIEN" #4 by Javi Fernandez & Matthew Wilson

Murderworld: Moon Knight #1 - Marvel Comics

MURDERWORLD: MOON KNIGHT No. 1, April 2023

Brazenly boasting that “this penultimate chapter has some of the biggest twists yet”, Jim Zub and Ray Fawkes’ script for Issue One of “Murderworld: Moon Knight” certainly should have satisfied any bloodthirsty bibliophiles hoping to see the Fist of Khonshu savagely batter the few surviving competitors left in Arcade’s “life-or-death game of treachery and tragedy” into a pulpy mess. However, any readers eagerly anticipating that the former West Coast Avenger was genuinely going to appear within this comic’s twenty-page plot and potentially put an end to the insane super-villain’s deadly contest, were probably plenty disappointed; “In the name of the Moon, I’ll punish you!”

Indeed, for some reason the writing pair appear to have preferred to pen the “guy in a cape” as a bemusing mechanical singing simulacrum, who utters some truly trite dialogue, loaded with ham-fisted humour and the lyrics of Andy Williams’ song “Moon River”. True, some within this publication’s audience will doubtless have found this ‘tongue-in-cheek’ take a nice change of tone to an otherwise decidedly dark storyline - especially when the situation is swiftly blamed upon one of Arcade’s henchmen apparently having "trouble sourcing audio for Mister Knight.”. But it’s arguably still somewhat hard to take the deaths of this event’s leading cast even slightly seriously when their robot killer is so laughable.

What does definitely work though is the spotlight upon Marina Komarova, and the Hydra assassin’s mission to compete in Murderworld, “acquire all pertinent data, then destroy the facility and kill the staff so no one may use it” except her paramilitary terrorist organization. This character development even goes as far as to show the Russian agent going against her training to save Alex Benavides’ life, making the deadly hand-to-hand combatant actually quite likeable despite her master’s orders.

Italian illustrator Luca Pizzari also does a commendable job in imbuing all these shenanigans with plenty of pace and frankly, raw energy. Perhaps somewhat disconcertingly, the “freelance cartoonist” does pencil Arcade as looking rather like a Joker-clone, complete with massively oversized hand-gun, insane toothy smile, and flamboyantly-coloured waist-coat, tailored suit, and frilled shirt. Yet such a drawing-style also clearly adds lots of dynamic life and personality to the numerous figures he sketches, particularly whenever the panel zooms in on their emotional faces.

Writers: Jim Zub & Ray Fawkes, Artist: Luca Pizzari, and Color Artist: Matt Milla

Murderworld: Wolverine #1 - Marvel Comics

MURDERWORLD: WOLVERINE No. 1, March 2023

Fans of Stan Lee’s co-creation Leap-Frog will doubtless have taken some satisfaction from Jim Zub and Ray Fawkes’ narrative for Issue One of “Murderworld: Wolverine”, due to the collaborative pair penning an incredibly serious incarnation of Vincent Patilio rather than the ordinarily somewhat tongue-in-cheek criminal. In fact, the revelation that one of Arcade’s “two hundred willing contestants” is actually the failed Daredevil foe from the Sixties arguably soon becomes one of this comic’s biggest moments, especially when the middle-aged ex-con continues to demonstrate some modicum of care for his fellow beleaguered competitors; “He doesn’t ask me why I’m helping. I’m not sure what I’d say if he did.”

So surprising a disclosure, wonderfully exposed via a prison-based flashback sequence and then later reinforced when the crook instinctively leaps away from the deadly claws of a remorseless robot, also strangely appears to act as the cement to bind the rest of the survivors together into a cohesive band. This camaraderie genuinely helps win over the readers’ sympathy for the fast-dwindling cast, and resultantly makes any subsequent deaths or life-changing injuries, all the more impactive. 

Frustratingly, what isn’t debatably quite so enthralling is the use of Wolverine as little more than a mechanical gimmick. The sudden arrival of the “mindless mutant animal” momentarily proves quite mesmerising, as “the best he is at what he does” attempts to skewer Leap-Frog on a snow-caked cliff-top. But this effect is then completely deflated when in the next panel it becomes clear the incredibly dangerous X-Man isn’t actually present, and is just one of several colourfully-costumed robots designed to repeatedly shout the anti-hero’s catchphrase “Bub!”

Perhaps just as ‘hit or miss’ as elements within this publication’s plot is its artwork by Carlos Nieto, which in the main is perfectly proficient to aid in the storytelling. However, doubtless some bibliophiles were slightly confused by the similarities between Black Widow and the design of Marina Komarova, courtesy of the “real piece of work” looking very similar to Natalia Romanova in both hair style and predominantly-black costume. Indeed, if not for the slightly different colours applied by Matt Milla the pair are almost identical.

Writers: Jim Zub & Ray Fawkes, Artist: Carlos Nieto, and Inker: Victor Nava

Murderworld: Spider-Man #1 - Marvel Comics

MURDERWORLD: SPIDER-MAN No. 1, February 2023

Taking the somewhat surprising route of focusing upon side-character Eden Abraha, as opposed to actually living up to its title and containing an actual story featuring Peter Parker’s alter-ego, Spider-Man, this “chaotic contest filled with treachery and tragedy from the minds of Ray Fawkes and Jim Zub” probably still landed reasonably well with its audience on account of the Mixed Martial Arts (MMA) Fighter’s personality being penned so well. Indeed, the level-headed contestant’s sound-thinking and willingness to temporarily surround herself with similarly-skilled competitors arguably makes for compelling reading, especially when she appears to even go so far as to battle one of Arcade’s murderous robotic web-spinners one-on-one in a seriously “ballsy move.”

Similarly as well written though is this twenty-page periodical’s supporting cast, which despite being quite substantial considering this comic’s sizeable kill count, still manage to project plenty of individualism. Of particular note has to be Vincent, who alongside being “old enough to be my dad”, brings with him some formidable survival skills and a canny knack of utilising Murderworld’s mechanical devices to his advantage; “Whoa! Did that old fart disarm one of our survival pack bombs and keep it hidden?! What a champ!!!”

Furthermore, all these sense-shattering shenanigans are imbued with plenty of raw energy, courtesy of Farid Karami and (colour artist) Chris Sotomayer’s lively layouts. The illustrator’s ability to palpably project all the horror slowly dawning upon many of Arcade’s naïve challengers makes for some utterly enthralling storytelling. Whilst the artwork’s bright palette wonderfully captures the suggestion that all the killings are truly taking place beneath the bright lights and cameras of the villain’s criminal organisation.

Sadly, what is disappointing about Issue One of “Murderworld: Spider-Man” is surely the complete absence of this book’s main headliner, with its authors pulling a major ‘bait and switch’ stunt by having Arcade deploy several automatons replicating the wall-crawler’s famous super-abilities instead of including the genuine article himself. Admittedly, this “web of death” certainly creates some enjoyable, high-octane action sequences, as well as a little dark humour when a ‘boring botanist’ has his mouth sealed shut with webbing whilst pontificating about “the lay of the land”. But the ‘fraud’ still must have annoyed many a bibliophile, even if the Black Widow’s sudden appearance midway through the publication, proves a compensatory surprise.

Writers: Jim Zub & Ray Fawkes, Artist: Farid Karami, and Color Artist: Chris Sotomayor

The Incredible Hulk [2023] #8 - Marvel Comics

THE INCREDIBLE HULK No. 8, March 2024

Enthusiastically labelled “the epic conclusion of Hulk’s throwdown with the WWII Ghost Rider and the War Devils” by its New York City-based publisher, this third instalment to Phillip Kennedy Johnson’s “Spirits Of Vengeance” storyline must surely have left a few readers somewhat queasy from all the body horror taking place within its twenty-pages. In fact, some may well find it something of a struggle to imagine a more gory-narrative than this flesh-fest, in which the Green Goliath’s personality somehow manages to recover from being eaten alive by a pack of imaginary hyenas and quite literally seals his overtly open rib-cage through sheer force of will.

Likewise, there’s plenty of mutilation for the blood-hungry bibliophile to enjoy when it comes to the bulk of the book’s script, as the oily, feral-looking War Devils gallop through “a community of migrant workers in Texas” and start scything down its hapless inhabitants with some savage-looking curved blades. This action sequence is admittedly as swift as it is deadly. But it also leads into a ferocious counter-assault by the fiery Second World War Veteran, who has come armed for the fight with a deadly bazooka and his customary Hellfire chain too; “I ain’t been a living man in a good while.”

Intriguingly though, this publication’s finale featuring a “bone-crushing brawl” against one of the Mother of Horror’s more formidably-sized minions isn’t the end of the matter either, courtesy of dead Uncle Sal informing Bruce Banner’s weary alter-ego that he now needs to protect Charlie Tidwell in the same way the motorbike-riding, flame-fuelled protagonist has repeatedly returned to life to save his nephew. Furthermore, the beaten beast partially beheaded by the founding Avenger, also has a few things to say about the challenges yet facing the Hulk, and all of them sound pretty world-ending.

Ultimately however, so much of this comic’s success has to lay at the feet of artist Nic Klein, whose layouts are arguably as jaw-droppingly good as it gets. Of particular note are the aforementioned insights into the gamma radiation scientist’s psyche, which the German illustrator colours himself, and that really help sell the persistent internal battle which rages within the colossal super-hero’s somewhat shattered mind - especially when a foreign influence is desperately attempting to turn the former Defender into a pawn of their own.

The regular cover art of "THE INCREDIBLE HULK" #8 by Nic Klein

Murderworld: Avengers #1 - Marvel Comics

MURDERWORLD: AVENGERS No. 1, January 2023

Described by its New York City-based publisher as “the deadliest game in the Marvel Universe when Murderworld: Avengers Issue One hits stands on November 16”, this first in a series of five linked one-shots certainly should have pleased its readers with its decidedly dark take on the super-villain, Arcade. True, this particular twenty-one-page periodical doesn’t actually feature the Black Widow at all, despite its solicitation synopsis declaring she “has a personal grudge to settle” with the mass-murderer, nor in fact are any of the Earth’s real mightiest heroes. But the narrative’s no-nonsense approach to getting the audience knee-deep in hapless victims and eviscerating explosions probably makes so highly misleading a sales pitch slightly forgivable.

In addition, Jim Zub and Ray Fawkes arguably pen one of the most psychopathic incarnations of Captain America seen since Mark Gruenwald's drug-crazed war veteran in the thirty-year old “Streets Of Posion” storyline. Chillingly singing his Jacques Urbont-composed cartoon theme song whilst scything down some of the annual contest’s hapless competitors with his shield, this life-sized robot is truly terrifying, and undoubtedly provides the comic with its most horrifying highlight; “Stand down, criminal! Liberty must prevail!”

The authors also do a good job in tapping into the modern-day craze of naïve adolescents believing that because they’ve made a fortune streaming content on social media, they’re so much better than your everyday jobber working for a living. Indeed, many a bibliophile may well take some comfort from watching the arrogant Paul Pastor stupidly believe he can trust Arcade to keep him safe, whilst the sadistic criminal swiftly strips the eighteen-year-old of all his broadcasting equipment, lackeys and eventually, even his life.

Resultantly, quite possibly this book’s weakest asset is sadly Jethro Morales’ artwork, which debatably appears a little too simplistic-looking in places to completely draw in the audience. The Filipino illustrator’s pencilling style appears especially odd when used to sketch the main protagonist’s strangely-angular face, and whilst proficient enough to help tell the story, most notably during the aforementioned mechanical Sentinel of Liberty's killing spree, predominantly imbues many a figure/victim with a disconcerting stiffness as opposed to any dynamic life.

The regular cover art of "MURDERWORLD: AVENGERS" #1 by Paco Medina & Jesus Aburtov

Titans #7 - DC Comics

TITANS No. 7, March 2024

Quite neatly bringing Tempest back into the family fold of the Titans, whilst simultaneously dispatching Brother Eternity rather fittingly to the Phantom Zone, Tom Taylor’s script for “Royal Blood” certainly seems to tick all the boxes needed for a successful comic book. Indeed, the Melbourne-born writer manages to imbue his twenty-page plot with a healthy dose of adrenalin-fuelled action as Batgirl single-handedly battles a horde of humanoid animal creatures, some distinctly dark decision-making on behalf of Raven, and even a smidgeon of tongue-in-cheek fun with the ever-dashing Dick Grayson being temporarily transformed into a red-furred specimen of Vulpes vulpes; “Nightwing is a fox. Of course he is.”

Sadly however, much of this publication’s impact is arguably lessened by just how easily the superhero team defeats its foes, starting with “the first Aqualad” - who is almost entirely dismissed by Rachel Roth’s alter-ego during their confrontation, and quickly laid low courtesy of a “flash dehydration”. Likewise, this long-running narrative’s main protagonist, the treacherous Tamaranean Xand’r, appears to completely fail in his plan to command the technologically-advanced Cyborg into doing his evil bidding, and is unflatteringly clobbered unconscious with a single punch from Starfire.

This sense of underwhelming achievement even debatably extends to the savage, seething mass of monsters who recently broke into the team’s base of operations and appeared to be on the verge of clawing all its occupants into tiny pieces. Rather than generate any lasting threat, at least once Barabara Gordon is shown bravely battling a trio of these nightmarishly fanged creatures in a partially submerged corridor, the audience are simply assured that the Flash has “rounded up all the beast people in the tower and contained them in the sub-basement.”

Ultimately, a lot of this lack of urgency or raw energy, may well lay at the feet of artist Travis Moore and colorist Tamra Bonvillain. There’s little doubt that the pair do a perfectly proficient job in depicting this book’s storyline, with Batgirl’s aforementioned fight whilst being waist-deep in water probably proving its highlight. Yet, there’s just something about the somewhat flat-looking, listless layouts which frustratingly doesn’t appear to imbue the panels with much in the way of palpable dynamism.

The regular cover art of "TITANS" #7 by Clayton Henry & Marcelo Maiolo

Alien [2023] #3 - Marvel Comics

ALIEN No. 3, March 2024

Considering that instead of depicting the fatal fall of Weyland-Yutani's base camp in any great detail, Issue Three of “Alien” starts with a terrified Miguel simply smashing his two-seater spacecraft straight into the sea of LV-695, many a collector of this four-part mini-series probably thought they’d either inadvertently skipped a page or a complete edition of this publication somewhere. Sadly however, this feeling of 'missing out' on action sequences occurring 'behind the scenes' only gets progressively worse, as the submerged survivors also suddenly become haplessly involved in some interplanetary species war between the original Xenomorphs and their frosty-white kin who were born on the deserted Ice Moon; “What in the name of god am I looking at?”

Such utter bemusement arguably sucks away any impact the subsequent battle between the Corporation and the aliens infesting the U.S.C.S.S. Boreas has, whilst also making the team’s decision to raise the huge derelict despite having lost all contact with the exploration squad on board, all the more illogical. Indeed, even the notion that the deadly extra-terrestrials are bound to clamber along the thick tow-cables of the booster ships and decimate their pilots at close quarters, seems obvious from the moment the ramshackle research vessel is raised. Yet the audience are supposed to believe that none of the experienced pilots realise their danger until after Max has stepped outside and started zapping away at the numerous drones with a blaster-rifle..?

Happily though, what perhaps this comic lacks in convincing dynamic action, writer Declan Shalvey makes up for with an intriguing glimpse into Dayton’s past, courtesy of the Irish illustrator himself pencilling the synthetic person’s previous exploits at the Cloughleigh Mining Colony in 2168 A.D. These flashbacks strongly suggest the android was once shockingly willing to ally himself with the Xenomorphs against humanity, and also explains just how Zasha Zahn’s ‘father’ lost his left arm before meeting the central protagonist’s mother, Batya.

Artist Andrea Broccardo also needs to take a bow for the claustrophobic conversation held between the arrogantly leering adolescent Yutani and “the mysterious Cole”, due to their pencilling providing all the cast members involved with plenty of emotion – including unit 227-N, who having permanently jury-rigged himself to a power socket can do little by sit and gape at the company executive, as the baseball-cap wearing boy has his super-strong aide back-hand Zasha into semi-conscious and demand the artificial person’s memory banks.

The regular cover art to "ALIEN" #3 by Javi Fernandez & Matthew Wilson

Conan The Barbarian #6 - Titan Comics

CONAN THE BARBARIAN No. 6, January 2024

Definitely packed full of sense-shattering swordplay, magical mumbo jumbo and a palpable twisted touch of the vengeful undead, Jim Zub’s storyline for Issue Six of “Conan The Barbarian” most likely landed rather well with the majority of its readers. Yet whilst the Canadian writer does an excellent job of capturing the spirit of Robert E. Howard’s Hyborian Age adventurer in this twenty-two-page periodical, he does arguably fall into the trap of depicting the Cimmerian as a literal killing machine, who armed only with a sword is supposedly still able to single-handedly best a small chamber absolutely crammed full of fervent cultists desperate to cut the heavily-muscled thief down with their razor-sharp hand-sickles.

Happily however, this assault upon a bibliophile’s willing suspension of disbelief is probably easy to forgive considering just how incredibly well-penned the rest of "Thrice Marked For Death!" is. Starting with the future King of Aquilonia’s burgling band desperately trying to evade the deadly touch of three screaming spectres, this book’s blistering pace literally picks the audience up and carries them headlong through the Temple of Bel until they’re unceremoniously disgorged from the Den of Deceit along with Conan, Kamal, Greff and Chaundra, via one of its upper-storey stain-glass windows.

Just as enjoyable though has to be the Hounds’ dialogue-driven discourse with Yakur the Found, which intriguingly not only provides further details as to just why Tarim’s Touch is so highly-prized a “remnant from ages untold… carved from starstruck stone.” But also taps into the no-nonsense approach of the titular character himself, who has no time for “conniving city-dwellers and their weasel ways.” Indeed, perhaps one of this comic’s greatest assets is how its author depicts the Cimmerian still being “haunted by his memories of Belit” and the Shemite woman’s horrific death up the river Zarkheba.

Furthermore, it’s difficult to imagine this book’s storytelling being quite as successful as it is without the layouts of Doug Braithwaite and Diego Rodriguez. Whilst some might find the wide-eyed face upon the winged monster which killed Belit rather underwhelming, there can surely be no such criticisms of how utterly terrifying the ghostly spectres look. Nor how convincing the fear is, even upon Conan’s visage, whenever the greenish-hued ghouls make an appearance and lay claim to a person’s “flesh!”

The regular cover art of "CONAN THE BARBARIAN" #6 by Jae Lee