Doctor Who: Free Comic Book Day 2024 - Titan Comics

DOCTOR WHO: FREE COMIC BOOK DAY 2024, May 2024

Apparently penned by Dan Watters whilst listening to English rock band “Adam and the Ants”, it’s pretty clear that the British author was having “a blast” whilst developing this opening instalment to “a brand new Fifteenth Doctor comic series from Titan Comics”. Indeed, despite some disconcertingly dark concepts concerning a viciously-fanged villain who bottles up the dying screams of people and stacks them upon a seemingly endless series of shelves, there’s still a distinctly good-humoured, rather jovial feel to the Time Lord’s trip back to a hangman’s gibbet in Eighteenth-Century Yorkshire. 

Much of this jocularity is undoubtedly caused by the twelve-page periodical quite wonderfully capturing all the energy and roguishness of actor Ncuti Gatwa’s televised portrayal. There’s a genuine joy to the Gallifreyan as he discovers a sound emanating throughout the space-time vortex, and excitedly decides to follow the noise to its source on Earth in the year 1739 A.D.; “All those places… someone’s trying to scare me.”

Such infectious enthusiasm is also on display when the Doctor subsequently encounters Dick Turpin, and wastes no time at all in climbing upon a nearby horse and riding the highwayman down. This tense chase sequence is the highlight of the comic, courtesy of the infamous robber attempting to blast the titular character to bits with a cyber-blaster. Yet its London-born writer still manages to inject some playfulness into the nail-biting action by having the leather-coated time traveller politely doff a semi-conscious soldier’s cocked hat at the start of the pursuit.

Equally as good as imbuing this book with the high-octane vitality of the science fiction programme are artist Kelsey Ramsay, and colorist Valentina Bianconi, who together quite wonderfully capture the physical likenesses of the show’s leading thespians. Admittedly, Ruby Sunday’s role within this particular plot is somewhat overshadowed by the Time Lord’s aforementioned heroic dash to recapture the ‘romanticised horse thief’. But nonetheless the graphic designer still manages to convey the courageous companion’s evident concern at being tied-up by the authorities in the mistaken belief that she is one of Turpin’s accomplices and should therefore be mercilessly hanged alongside him on the local gallows.

Writer: Dan Watters, Artist: Kelsey Ramsay, and Colorist: Valentina Bianconi

Daredevil [2022] #2 - Marvel Comics

DAREDEVIL No. 2, October 2022

Apparently kicking “the next year of Chip Zdarsky and Marco Checchetto’s landmark run on Daredevil off in explosive style”, the plot to this particular thirty-five page periodical predominantly consists of an extremely heated dialogue between the titular character and the enigmatic Robert “Goldy” Goldman. Happily however, the comic’s Edmonton-born author still manages to imbue his narrative with plenty of action, courtesy of Matt Murdock understandably soon losing his temper with his mass-murdering “old friend”, and some insightful flashback sequences. 

Indeed, quite possibly one of this publication’s greatest draws is how the villain almost affectionately remembers his time with the blind vigilante when they first met whilst studying at Columbia, and how the then ‘lawyer-in-training’ unsuccessfully attempted to rescue Elektra Natchios’ father from some heavily-armed kidnappers. This specific scene proves especially poignant as it depicts one of the blind vigilante’s most significant steps towards becoming the Man without Fear, as well as indicates that Hugo’s death was actually as a result of Goldman inciting a “trigger-happy cop on the edge” to fire straight at the hapless hostage, as opposed to the Greek diplomat’s demise simply being a tragic accident.

Equally as intriguing though is the way Zdarksy cleverly shows the audience just how highly Daredevil is thought of by his local community. Trapped beneath a huge pillar of fallen masonry following a catastrophic train crash, the super-hero appears to be completely at the mercy of his so-called guardian angel. But then a group of locals arrive to establish whether any people need rescuing, and bravely see off “Goldy” with a well-placed stone to the head. In addition, this scene shows precisely why the Black Widow’s former partner is so willing to put his life on the line for his people, as they ignore the imminent danger to themselves and unselfishly band together so as to save the partially-crushed crime-fighter; “Ribs have seen better days. No internal bleeding.”

Helping to provide “this oversized epic” with a gritty realistic look is Marco Checchetto, who alongside Flashback Artist Rafael DeLatorre, helps to sell every punch thrown and kick that connects. In fact, the action sequences set high up on an under-construction skyscraper may well cause many a fan of Hornhead to get giddy from the dizzying viewpoint; especially whenever Goldman decides to fall straight backwards and rely upon God to save him from a flattening fate.

Writer: Chip Zdarsky, Artist: Marco Checchetto, and Color Artist: Matthew Wilson

Horror Comics #31 - Antarctic Press Comics

HORROR COMICS No. 31, December 2023

Taking its audience back in time to Fifteenth-Century Romania and the rule of Dracul, Dino Caruso and Shawn Richison’s narrative for Issue Thirty One of “Horror Comics” debatably does a sterling job in convincingly embroiling a huge vampire into the blood-curdling reign of the infamous Voivode of Wallachia. Indeed, the authors’ succinct storytelling as to how ‘Hannibal’ was appointed the Impaler’s “new seneschal” and later was forced to become “one with the shadows” upon his lord’s arrest for treason, is so enthralling that doubtless many a bibliophile was probably a little bit disappointed when the book suddenly jumps a good hundred years into the future.

Happily however Darwin’s plight at the hands of a ‘brotherly’ werewolf soon becomes just as beguiling, especially once it becomes clear the pair share a common, family bond with one another. Of course, the two potential time-travelling horrors also display some significant differences, such as the bald-headed, rebuilt collection of body parts much preferring to eat herbs than blood-drenched flesh. But the connection between these two characters, and subsequently the aforementioned vampire, is so well-penned that the relationship positively leaps off the printed page – even after the lycanthrope petulantly burns all his sibling’s precious plants.

Perhaps far less noticeable though, is the fact that various papers have also travelled along with Darwin from the present day – presumably being notes written by Doctor Liebrandt during his research on resurrecting “unnatural creations”. The wolfman’s interest in these tattered records is quite subtly underplayed for the most part, and largely relies upon visual clues to suggest just how much the lycanthrope hungrily scrutinises the discarded documents. Nevertheless, their contents and the knowledge they’ll impart intriguingly appears to bode ill for anyone attempting to thwart the monsters in their ultimate revenge.

Additionally adding to this publication’s overriding atmosphere of dark-hearted plots and general evilness, are J.C. Grande’s pencils, whose distinctive sketching style imbues the likes of Dracul, his “pet” vampire, and the Werewolf with just the sort of hawkishness a fright-fan might expect from such mass-murderers. Furthermore, the illustrator’s much more round-looking Darwin readily helps set the well-meaning individual apart from his brethren, and provides the somewhat crestfallen fellow with a palpable air of vulnerability not found in the rest of this comic’s cast.

Writers: Dino Caruso & Shawn Richison, Illustrator: J.C. Grande, and Colors: Paul Little

Blood Hunt: Red Band #2 - Marvel Comics

BLOOD HUNT: RED BAND No. 2, July 2024

Pitching the surviving Avengers alongside Count Dracula himself in a highly unlikely team-up against a planetwide invasion of vampires, Jed MacKay’s script for Issue Two of “Blood Hunt” certainly seems to strike a much brighter note as to the Earth’s future fate than this summer event’s deeply dark preceding instalment. In fact, the absolute beating the likes of Bloodstorm One and Megrim take at the hands of Captain Marvel, the Vision and Captain America probably caused the odd reader to leap to their feet in order to cheer the protagonists on; “Here’s our philosophy: We have a lot to avenge.”

Enjoyably however, this twenty-one page periodical’s plot doesn’t simply rely upon an insane action sequence packed full of face-pummelling fisticuffs to entertain either, as the Canadian author also pens some intriguing plot progressions into the comic too – most notably the fact that Doctor Strange is still alive as a wandering spirit despite being disembowelled by Blade. These ‘quieter’ moments are especially impressive as they both provide the writer with an opportunity to bring any bibliophiles unwilling or unable to peruse the almost overwhelming number of tie-in titles bang up to speed with the overarching narrative, as well as provide a modicum of spotlight upon some of the Marvel Universe’s lesser known characters, such as Hunter’s Moon and the Daywalker’s daughter, Brielle Brooks.

Of course, it’s the aforementioned rematch between the “broken” Earth’s mightiest heroes and the Bloodcoven which most Marvelites will probably enjoy though. Having previously defeated the “all-star” supergroup, the vampiric villains are quick to forget that they had a distinct advantage over their opponents in their first fight, courtesy of a thorough briefing and the element of surprise. This time round the creatures of the night have no such benefits, and resultantly their arrogance is quickly silenced by the Vision’s ability to harness the power of solar energy.

Equally as intrinsic to this mini-series’ storytelling as MacKay’s contribution are the lavish layouts provided throughout by Spanish illustrator Pepe Larraz and Mexican colorist Marte Gracia. Together, the two artists genuinely depict a visual feast for the eyes, with perhaps Carol Danver’s socking Vlad Dracula’s gigantic clone squarely on the jaw being this apocalyptic publication’s most noteworthy smackdown.

The regular cover art to "BLOOD HUNT" #2 by Pepe Larraz & Marte Gracia

The Incredible Hulk [2023] #12 - Marvel Comics

THE INCREDIBLE HULK No. 12, July 2024

Initially pitting an enraged Green Goliath against some of Strange Academy’s more cute-looking students, this opening instalment to Phillip Kennedy Johnson’s “Doctor Voodoo And The Soul Cage” storyline certainly seems to start with an enjoyable mix of pulse-pounding pugilism and tongue-in-cheek bravado. In fact, despite the genuine urgency in the Hulk’s mission to find the Master of the Mystic Arts and have him save poor Charlie Tidwell’s soul trapped within a Frozen Charlotte doll, it’s hard not to imagine the odd onlooker laughing out loud as Doyle Dormammu bravely stands before the founding Avenger in an act of insane determination, only to be effortlessly flicked aside by a swipe of the brute’s heavy hand; “Stupid kid.”

Unnervingly though, once Jericho Drumm impressively enters this publication’s proceedings the comic’s atmosphere immediately takes a distinctly dark turn, and not just because the “champion of the supernatural” quite shockingly manages to subdue Bruce Banner’s furious alter-ego with disconcerting ease either. Absolutely dripping in necromancy and adorned with numerous shrunken skulls, the Supreme Houngan appears to be the perfect foil for all the aforementioned frivolity, as he introduces the audience to an immortal flesh-weaver who is imprisoned for all eternity inside an ugly-looking idol as a result of his obscene wickedness.

Coupled with a decidedly deadly Jade Giant finally tearing himself free of Voodoo's restraints, and it quickly becomes clear that the titular character’s “one-way descent into an exorcist’s ancient prison” is not going to be one for any light-hearted reader. Indeed, such is the sudden seriousness of this twenty-page tome’s tone that by the time Banner is seen desperately clawing his way out of a wooden, dirt-filled coffin, few Hulk-heads will arguably even remember the glee generated by Dormammu’s young son trying to stop the thickly-muscled monster with an impotent spout of fire. 

Imbuing all these sense-shattering shenanigans with the prodigious pencilling they all deserve is Nic Klein, whose early layouts depicting the likes of poor Guslaug literally having a tooth knocked clean out of her mouth as the Hulk rampages through Strange’s special school for young sorcerers, is eye-wateringly good. Furthermore, the scent of decay and pure unadulterated rot reeking from the illustrator’s panels set within Sumanguru’s perpetual penitentiary is almost overwhelming, with plenty of multi-legged creepy crawlies scurrying around all over the place to help make the odd reader sickeningly squeamish.

The regular cover art of "THE INCREDIBLE HULK" #12 by Nic Klein

Conan The Barbarian #10 - Titan Comics

CONAN THE BARBARIAN No. 10, May 2024

Arguably relegating the titular character to that of a secondary cast member as his plot predominantly focuses upon the plight of Kull the Conqueror, Jim Zub’s storyline for Issue Ten of “Conan The Barbarian” definitely drives along at a formidable pace. Indeed, for many bibliophiles caught up in the Canadian author’s thrill-laden thrust for the shores of pre-cataclysmic Atlantis, the penmanship is so relentless that many a ‘mature reader’ will doubtless feel they’ve actually physically travelled alongside the King of Valusia themselves; “Keep up, my soldiers! We must not flag in the face of fate!”

Disappointingly though, in order to achieve such a sense-shattering speed the Web Cartoonists’ Choice Award-winner’s sense of logic does seemingly take a fair few leaps, with the City of Wonders’ monarch in particular unconvincingly just ‘waking up’ from the “blind rage” which previously saw him battle both the Cimmerian and Brule the spear slayer. This sudden return to his senses after forty days of devilry for no evident reason genuinely feels forced, and additionally compels the audience to just accept that neither of the other central protagonists hold any distrust or grudge against him for being locked up in dingy cell under sentence of death for days on end.

Furthermore for those “Hyborian Heroes” acquainted with Lyon Sprague de Camp and Lin Carter’s 1968 novel “Conan Of The Isles”, Kull’s horror-filled nightmare, followed by his obsessive flight across the sea to Atlantis, is disconcertingly familiar. In fact, having already accumulated “a backlog of important royal affairs” whilst in his foul-minded stupor, the Atlantean ruler’s urgent desire to leave his courtroom behind and answer the “dark riddles of the past” is highly reminiscent of the way a certain restless future sovereign of Aquilonia will also 'abdicate' so as to once again “sail across the ocean” to Plato’s mythical island in "an age unconquered."

Happily however, this tale does at least feature the exhilarating artwork of Rob De La Torre, whose pulse-pounding pencilling of the Royal gallery being boarded by a party of zombie-like pirates is probably this twenty-two page periodical’s highlight. Admittedly, the physical similarities between Kull and Conan may well lead to the mistaken belief that this book opens with the Cimmerian dreaming of “the beasts of old”. But a careful reread of Zub’s text as to the true identity of the "feral child" stalking alongside the lion and tiger should soon put them back on the right track.

The regular cover art of "CONAN THE BARBARIAN" #10 by Alan Quah

The Batman And Scooby-Doo Mysteries [2024] #4 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 4, June 2024

Despite dealing with the disconcerting notion that innocent Gothamites can turn into grim-faced stone gargoyles at a moment’s notice, there’s debatably a distinct feel to Sholly Fisch’s script for Issue Four of “The Batman And Scooby-Doo Mysteries” that the author is trying to be just a little too clever with his storytelling. Indeed, the very notion that Clayface would conceive of so elaborate a scheme simply so the shape-changer could “steal the Sprang Theatre’s priceless collection of theatre memorabilia at my leisure” is utterly unconvincing, especially as a well-selected disguise would just as easily allow the super-villain to commit the crime with a lot less effort.

Of course, the writer does attempt to tackle so obvious a reproach by having Basil Karlo himself counter such criticism by claiming to Daphne Blake that his convoluted plan would require his “greatest performance” yet. But such an assertion isn’t arguably all that convincing, especially once Mystery Incorporated point out that the spate of terrifying transformations won’t be stopped by the auditorium being specifically closed to the public, so why would the building's owner do such a drastic thing; “There are plenty of grotesques on the outside of the theatre too, not just inside.”

Equally as exasperating as this comic’s manufactured plot though is probably poor Velma Dinkley’s incredibly annoying insistence that every gruesome statue which isn’t sporting a rainspout is not referred to as a gargoyle. This supposedly funny repetitive gag gets annoying very quickly, as everyone from Detective Bullock, Fred Rogers and even Clayface himself, are chided for their incorrect nomenclature. In fact, the so-called joke sadly starts to overshadow some nice nods to the original live-action “Batman” television series from 1966, such as when the Caped Crusader replicates the famous line “Atomic batteries to power, turbines to speed” as the Batmobile speeds away.

Disappointingly also adding to this carousel of criticisms is Megan Huang’s artwork, which whilst providing this comic with some adequate enough visuals, still doesn’t quite capture any of the cast’s appearances correctly. The Canadian artist seems especially shaky at sketching an incredibly square-jawed Bullock, and regrettably infuses every one of the meddling kids with a rather amateurish-look too.

Written by: Sholly Fisch, and Drawn & Coloured by: Megan Huang

Dune: House Corrino #2 - BOOM! Studios

DUNE: HOUSE CORRINO No. 2, April 2024

Neatly bookending this “brand new thirty-three-page, oversized” comic book adaption with a traumatic look at the near-fatal fortunes of Emperor Elrood IX’s bastard son, Tyros Reffa, there’s plenty of political machinations inside Issue Two of “Dune: House Corrino” for any fan of Frank Herbert’s science fiction franchise to enjoy. In fact, there’s so many sub-plots, narcissistic intrigues and diabolical double-dealings contained within this publication that many a bibliophile will probably be hard-pressed to decide just what the narrative’s central storyline actually is; “I must strike fear throughout the great and minor houses of the Landsraad.”

Undoubtedly grabbing a fair amount of ‘screentime’ though, is the “renowned authors” obsession with any and all events transpiring on the seemingly settled Castle Caladan, where for once the Duke of House Atreides appears to be momentarily enjoying his rule. This rather poetically-penned piece concerning the marriage of Prince Rhombur Vernius proves a genuinely heart-warming moment for Leto in an otherwise dark universe, and quite wonderfully contrasts with all the death, destruction and assassinations occurring throughout the rest of the galaxy.

Indeed, despite this comic also catapulting its audience to the Imperial Palace on Kaitan, the Taligari Estate on Zanovar, the Tleilaxu Research Facility on Ix and other less than hospitable worlds under Shaddam IV’s governance, almost everything said and done on these planets appears to somehow link back to Caladan, and the Emperor’s 'out of favour' cousin. So massive a ‘spider-web of schemes’ genuinely proves a mouth-watering experience for any onlooker, with plenty of anticipation slowly being built-up as to just how the Red Duke is going to outmanoeuvre his numerous opponents – when some, such as Lady Anirul, Leto doesn’t even know he’s directly competing against.

What most readers should all agree on however, is just how well House Atreides’ trials and tribulations are pencilled by Simone Ragazzoni, with the “acclaimed artist” from the Power Rangers Universe doing a sterling job in depicting all the explosive catastrophes occurring within this book. Of particular note is the Italian illustrator’s deeply disturbing images of pregnant Ixian women having their wombs unnaturally harvested by Master Ajidica for a more “intense, superior formulation” of his substitute spice – a truly harrowing scene which will most assuredly stay in the mind well after this book has been finished.

The regular cover art of "DUNE: HOUSE CORRINO" #2 by Raymond Swanland

Dungeons & Dragons: Ravenloft Caravan Of Curses #1 - IDW Publishing [Part Two]

DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES No. 1, April 2024

Whilst similar-sized tomes to this “Dungeons & Dragons” anthology might well sag somewhat in the middle, such an accusation surely cannot be levelled against Amy Chase and Casey Gilly’s genuinely gross story to begin this book’s second half. In fact, it’s apparent obsession with a man-eating goddess and her self-harming cult of wannabe mothers probably walks a very fine line between completely captivating its readers’ attention, and causing many to simply put the comic down in disgust; “You must understand that to a child of Viktal, an outsider is no different from wild game.”

Foremost of these disturbing plot threads is that all the women must apparently pluck out one of their eyes if they want to become pregnant, or, in the case of Hesta Sinclove, consider sacrificing a close friend’s baby in order to have one of her own. Coupled with luring strangers to the village so the hapless visitors can be feasted upon, as well as the expectant protagonist developing a craving for bowls of blood, and this yarn is certainly not one for the squeamish, or a bibliophile anticipating having any sympathy whatsoever for the curse’s victim.

By far this comic’s least ghoulish tale is its finale, which somewhat unexpectedly attempts to tie together some of the loose threads left unanswered in its preceding gore-fest whilst simultaneously bringing the crone’s own adventure to a surprisingly sickly-sweet close. Indeed, it’s arguably not until the halfling mass-murderer Wilkis Nettlekettle makes an appearance some seven pages in, that the co-authors’ penmanship thankfully stops waxing lyrical about a carnival worker’s life tending goats, and finally settles down to telling “a new nightmare”.

Intriguingly however, it would seem that the owner of a blade which causes his own body to be cut whenever it is used to even just slice cheese, is an entirely appropriate punishment for its evil owner. And yet that doesn’t initially seem to stop Shortcrust’s owner from ridding the fiendish fellow of his jeopardising jinx so she can trick him into accepting an even worse fate than bleeding to death. This subsequent, shocking transference of ownership of the Caravan of Curses rather neatly brings the anthology to an end, albeit many within the audience may well be left wondering what crime the now rejuvenated Zhyl committed to have “seen all these years of evil” herself.

The regular cover art of "DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES" #1 by Sarah Stern

Dungeons & Dragons: Ravenloft Caravan Of Curses #1 - IDW Publishing [Part One]

DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES No. 1, April 2024

Described by “IDW Publishing” as “an oversized one-shot containing four terrifically terrifying short stories”, this hefty anthology certainly seems to start off well enough, courtesy of a truly torrid tale by Amy Chase and Casey Gilly which is initially set within Tenebrarum Woods. Indeed, if the cackling crone and her decidedly disconcerting maggot baby don’t instantly raise the heckles upon the back of its audience’s necks, then the quite literal buckets of blood which soon follow after the “gang of misfits” encounter the blue-hued Yvelda Bonnefoy, surely will.

Fortunately however, such a grotesque curse as having to pour and drink numerous teacups over brimming with ruddy-coloured gore, hasn’t simply been penned just for its sickening impact upon any perusing bibliophile. But is surprisingly central to an intriguing storyline of royal court politics that depicts a malicious mother-in-law determined to ruin her son’s marriage when he falls for a woman supposedly far beneath him on the social ladder; “The true purpose of the gift is removing any threats to your security and station. I care not for that little opportunist’s feelings.”

Far more flowery word-wise, and ultimately rather disappointing when it comes to the tale’s somewhat uncertain ending, is this comic’s look at an arrogant Elven actor who initially appears to have become the prey of a werewolf-turned-understudy. This deadly threat to Aster’s future becomes increasingly bleak when it appears that the thespian’s foe has deliberately infected him with a deftly placed scratch upon his right shoulder, and many a reader’s heart will surely beat a little faster when his boyfriend finds himself confronted by a pack of potential hungry lycanthropes in the claustrophobic darkness of the understage.

Somewhat frustratingly though, the possibility of a man-wolf or four massacring anyone is eventually shown by the Vistana witch as being an infuriating red-herring, after she swiftly deduces the true cause of the now rapidly aging artist’s dire predicament. Perhaps unsurprisingly, the performer appears eager for the hag to rid him of his unsightly, wrinkly flesh. Yet in doing so it arguably becomes unclear as to whether he will for at least a short time re-tread the boards with both vigour and youth, or rather unconvincingly has agreed to suicidally die there and then with simply an ageless countenance for the worms to marvel at.

The regular cover art of "DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES" #1 by Sarah Stern

Blood Hunt: Red Band #1 - Marvel Comics

BLOOD HUNT: RED BAND No. 1, July 2024

Touted by its New York City-based publisher as “the bloodiest Marvel event ever”, Jed MacKay’s storyline for Issue One of “Blood Hunt” definitely lives up to its promise of vampires slaughtering nearly everyone that they can get their sinisterly sharp claws on. Indeed, whilst many a bibliophile might feel the comic’s ‘explicit content’ sealed polythene bag and repeated ‘mature reader only’ warnings are rather gimmicky, this thirty-two page extravaganza soon causes its audience to be up to their necks in severed limbs, torn-off heads, spilling intestines and literal rivers of icky human ichor.

Furthermore, for those onlookers able to withstand such a stomach-churning assault upon their senses, the Canadian author arguably leaves the best until almost last, by pitching the Earth’s Mightiest Heroes against the “mysterious and deadly vampire faction” known as the Bloodcoven. This battle is as brutal as it is (perhaps somewhat) disappointingly one-sided, with the likes of Iron Man, Vision, Black Panther, Captain Marvel, Scarlet Witch, Thor and Captain America all getting their proverbial clocks cleaned by a strike force specifically designed to exploit each hero’s unique set of vulnerabilities; “Or was a match, I guess. This isn’t conjecture. The Avengers are down.”

However, it isn’t arguably the notion that Stan Lee’s co-creations are soundly defeated which comes as such a surprise. But rather the truly gruesome manner in which it all occurs. Whether it be as a result of a thousand cuts, a crystalline shaft straight through the brain, or a hand tunnelling its way through the stomach, these close combat conclusions are shockingly savage, and jam-packed full of gore-drenched innards. In fact, it’s probably difficult for long-term Marvelites to recall so much physical mutilation being on show this side of a “MAX Comics” imprint – at least until the attention shifts to Doctor Stephen Strange’s horrific evisceration at the publication’s conclusion.

Also presumably being constantly peppered by MacKay to add extra buckets of blood into his prodigious pencilling is Pepe Larraz, who does a stellar job of depicting the sheer scale of the voracious blood-drinkers’ assault across the world. Of particular note is the Spanish artist’s design work on the super-vampires, with Jed himself going on record to state it was the illustrator “who really brought these characters to (un)life, creating an extremely gnarly set of predators!”

The regular cover art to "BLOOD HUNT" #1 by Pepe Larraz & Marte Gracia

Blade #10 - Marvel Comics

BLADE No. 10, June 2024

Largely depicting a four-on-one fight between the titular character, his confidents and the Adana, Bryan Hill’s script for Issue Ten of “Blade” arguably contains an incredibly engrossing finale, which provides any casual reader with several exhilarating examples of all the new powers Eric Brooks now wields following the American author somewhat controversially placing Dracula’s blood in his veins. Indeed, the Daywalker has shockingly been made so powerful in this publication that the vampire-killer’s long-term fans may well be left questioning just what is left within the Marvel Universe’s horror-based roster to challenge the Dhampir in any future comic book series.

Possibly the best example of this near omnipotence occurs during the twenty-page periodical’s opening when the undead Londoner, Tulip, Rotha, and Draven are literally surrounded by a seemingly insurmountable number of thirsty blood-drinkers, who are desperately crawling up the sides of a multi-storey skyrise to kill all the protagonists. Initially, this awesome-looking conflict depicts the ‘friends’ bravely fending off their foes with a mixture of bullets, sword-strokes, and arrows. However, once it becomes clear the rooftop is about to be overrun, Blade simply turns into a cloud of smoke and disintegrates the rest of the fanged fiends in an instant.

Such a disappointing conclusion to so savage an early encounter debatably sticks to the rest of the storytelling like a glob of unwanted glue, and repeatedly resurfaces in the reader’s mind whenever Brooks subsequently utilises a power unconvincingly bestowed upon him by a certain centuries-old vampire from Transylvania. Indeed, the fact Eric even bothers using his famous sword at all makes little sense, if he can so easily rid the world of any and all opponents by just entering their bodies as a murderous mist, or transforming into a frenzied battalion of bats.

What does work however, are the excellent layouts of Elena Casagrande and colours of K.J. Diaz. The creative collaboration genuinely helps sell the sheer terror felt by a mortal Rotha when she believes their flank is about to fall to a ravenous horde of undead. Whilst the pair’s ability to imbue Blade’s battle against the Adana with plenty of pulse-pounding pace cannot be understated, making this final instalment to Hill’s “Mother Of Evil” highly memorable despite any reservations as to the Daywalker’s disconcerting deadliness.

The regular cover art to "BLADE" #10 by Elena Casagrande & K.J. Diaz

Titans #10 - DC Comics

TITANS No. 10, June 2024

Knee-deep in demonic double dealing and the duplicity of treacherous team-mates, most bibliophiles buying Issue Ten of “Titans” must surely have enjoyed Tom Taylor’s take on Trigon manipulating his daughter from the murky shadows of his devilish domain. Indeed, Raven’s extra-dimensional daddy is arguably the star of this twenty-page show, courtesy of the Lord of Madness masterfully manipulating the naïve and grossly inexperienced Trilogy into single-handedly attacking the likes of Nightwing, Donna Troy, Starfire, Cyborg, a ‘mentally readjusted’ Beast Boy, and recently recruited Tempest.

Happily however, when the “New York Times bestselling author” does pen this publication’s big fight mid-way through the comic his writing doesn’t pull any punches either, with Rachel Roth’s diabolical alter-ego demonstrating that she is just as adept at generalship as the sorceress is casting limb-severing spells and the occasional “nonviolent response.” Absolutely merciless towards her physically mutilated brother, the Azarathian Cambion genuinely appears to make the most of her comrades' unique abilities by specifically targeting their strengths against her opponent’s few weaknesses. And only appears to make a mistake when her subsequent coldness towards the group’s well-defeated foe clearly causes a suspicious Dick Grayson’s bat-sense to start tingling.

Likewise, the Australian does a good job of bringing a little humour into “Dark Winged Queen” by having the out of favour Garfield Logan save the life of a petrified protestor, who just moments before had been angrily waving a placard in the Changeling’s direction; “George! Swallow you @#$&#$ pride and get on the damn devil horse!” Coupled with an incredibly brief cameo of Amanda Waller covertly acquiring some assassination android with which to kill the Titans, and these intriguing insights manage to maintain the momentum of certain character’s personal development, whilst simultaneously allowing Taylor is thoroughly entertain his readers with a straightforward smackdown.

Somewhat frustratingly though, Lucas Meyer appears much more at home pencilling demons and their black-hearted spawn, than he is the titular cast. The illustrator does a first-rate job imbuing all of the Hell-based antagonists with plenty of evil haughtiness, as well as jaw-droppingly large muscles when they’re armed with a magic staff. But for some reason debatably doesn’t seem able to be quite so convincing when it comes to drawing humanoid-shaped heroes.

The regular cover art of "TITANS" #10 by Chris Samnee & Matheus Lopes

Moon Knight [2021] #28 - Marvel Comics

MOON KNIGHT No. 28, December 2023

It’s hard to imagine many “Moonies” being disappointed with Jed MacKay’s meticulous dismantling of Marc Spector’s super-powered ‘family’ in Issue Twenty Eight of “Moon Knight”, considering just how well he whittles them down one by one. Indeed, in many ways this nineteen-page plot is perfectly penned as the Canadian author launches the likes of Hunter’s Moon, Eight-Ball and Tigra head-first against a formidable array of Black Spectre’s minions, and then starts methodically isolating them with all manner of mayhem and mishaps; “You got us where we needed to be -- Your job’s done. Lie low until it’s safe.”

Foremost of these sensational subplots is debatably that surrounding Greer Nelson, who may strike the odd bibliophile as being a surprising choice for a strike force against a well-defended multi-storey building when the clock is literally ticking. Admittedly, the were-creature has been “a prominent member of the Earth’s Mightiest Heroes” in the past, and undoubtedly has significant fighting experience. But ultimately the highly acrobatic meta-human is only effective in close combat, whereas the abandoned vampire Reese “can [at least] turn to smoke”, and this weakness is soon highlighted when the ex-Avenger unwittingly steps onto a floor bomb.

Delightfully however, “The Last Days Of Moon Knight” isn’t just about Spector’s full-on assault of the Mount either, courtesy of MacKay squeezing in some ‘screen time’ for Zodiac nonchalantly wandering up to the Midnight Mission armed with a serious-looking crossbow. This momentary diversion, coupled with a few complimentary flashback sequences, help to break up what would otherwise be a ferocious, full-on assault upon the reader’s senses, without either slowing the action down too much, or completely throwing the audience out of the moment.

Lastly, artist Federico Sabbatini and colorist Rachelle Rosenberg definitely deserve a round of applause for adding an extra element or two to this comic’s storytelling. The sheer savagery of the tale’s claustrophobic confrontations are visualised with tremendous gusto, causing any onlookers to doubtless either wince when the titular character shocking takes a long blade in his back, or give a soft sigh as Tigra looks longingly after her boyfriend as he hares off to face the Black Spectre before the mysterious maniac’s “apocalyptic schemes bear fruit.”

Writer: Jed MacKay, and Artists: Federico Sabbatini & Rachelle Rosenberg

Daredevil [2022] #1 - Marvel Comics

DAREDEVIL No. 1, September 2022

Excitedly proclaimed “an all-new era of Daredevil” by its New York City-based publisher, Chip Zdarsky’s storyline for this opening instalment of “The Red Fist Saga” was probably rather positively received by the majority of “Hornheads” in July 2022, as the twenty-page periodical contains a plethora of fascinating plot-threads for them to follow. In fact, it’s arguably difficult to keep track of so many competing narratives, whether it be “Hell’s Kitchen’s guardian devil” departing his stomping ground for the last time, an old law school friend shockingly becoming a seemingly omnipotent villain, or a genuinely scruffy-looking Matt Murdock being repeatedly questioned by a mysterious ‘out-of-shot’ interviewer/interrogator.

Perhaps the most eye-catching scenes though, are those involving your friendly neighbourhood Spider-Man - who both webs his way into an altercation between the Man without Fear and Butch Pharris, as well as accompanies the costumed acrobat on a nocturnal rendezvous with Hammerhead’s criminal organisation. Oozing an almost palpable aura of desperately restrained savagery in their conflict with Wilson Fisk's son and the opposing sides' subsequent stand-off, these extremely tense skirmishes are perhaps only slightly marred by the brevity of their actual coverage in the comic book. 

Given much more 'screen time' is a genuinely depressing demise of a man who is cold-bloodedly shot simply for being in the wrong place at the wrong time, and then Robert Goldman’s aforementioned revelation as some all-powerful 'angel' who plans to look out for the blind lawyer. Pencilled by “superstar collaborator Marco Checchetto”, these events undoubtedly come as something of a surprise to the reader and set-up a captivating confrontation between the two former attendees of Columbia University which helps end the publication with a bit of a bang.

Similarly as sense-shattering is this comic’s secondary tale, “The Island”, featuring Elektra Natchios and Stick. Energetically sketched by Rafael De Latorre, and depicting the two martial arts experts initially tackling a heavily-armed contingent of Soviet Special Forces, before they turn upon each other. This ten-pager is debatably perfect in its mixture of adrenalin-fuelled action and tantalising mystery as to just why Murdock plans to build a secret base in the middle of nowhere.

The regular cover art to "DAREDEVIL" #1 by Marco Checchetto & Matthew Wilson