Destro #1 - Image Comics

DESTRO No. 1, June 2024

Apparently presenting “the next chapter of the Cobra threat”, Dan Watters’ script for Issue One of “Destro” must surely have thoroughly entertained any fans of the “Real American Hero” media franchise with its incredibly engrossing opening featuring an insurgency in the Republic of Darklonia, and subsequent side-plots involving various shady armament dealers. Indeed, considering the sheer scope of some of this mini-series’ numerous storylines, such as the rising power struggle behind M.A.R.S. Industries’ owner and Cobra Commander, some readers will doubtless be disappointed that the title will be limited to just five instalments; “I hope I see you in Hell, Laird Destro.”

Leading this assault upon the audience’s senses is arguably the British author’s excellent handling of James McCullen Destro XXIV, who is initially depicted as the chilling saviour of a population already squeezed dry by the corruption of a greedy Prime Minister. This redemption genuinely appears to be little more than the ‘backwater nation’ exchanging one blood-thirsty ruler for another. But is soon revealed to have also been partly prompted by the weapons manufacturer’s infatuation with both “the emergence of Energon”, as well as the desire to field test his Battle Android Trooper project – something which ultimately fails when it becomes evident the robotic killing machines’ “volatile” programming means “they shoot anything with a face in that face, until they’re switched off.”

Equally as engrossing though are this comic’s action sequences, which hint at just how truly vicious a world the likes of a “blood-soaked” Artyom Darklon dwell in. It takes quite a bit of penmanship to make “the Scottish leader of the Iron Grenadiers” appear to be this book’s heroic saviour – at least to begin with. Yet that is precisely what the writer initially achieves when Destro is compared to a Prime Minister willing to have his soldiers gleefully “gut shot” a few protestors just to show the others how they ‘drowned in their own intestines.’

Likewise, artist Andrei Bressan and colorist Adriano Lucas provide the publication with some marvellously crafted visual pieces, most notably the emergence of a B.A.T. advanced prototype from amidst the insurrectionists, and the Crimson Twins’ massacre of a military infirmary in Sierra Gordo, South America. Packing a far portion of gratuitous violence and physical mutilation, the layouts make it very clear that even the tiniest mistake, whether on the battlefield or inside a politically-charged boardroom, will have atrocious consequences for those making them.

The regular cover art of "DESTRO" #1 by Andrei Bressan and Adriano Lucas

Dune: House Corrino #3 - BOOM! Studios

DUNE: HOUSE CORRINO No. 3, May 2024

Rather neatly encapsulating Tyros Reffa’s unsuccessful attempt to assassinate Shaddam Corrino IV at the Imperial Opera House on Kaitain, this thirty-three-page periodical definitely seems to expand upon “the rich mythology of Frank Herbert’s Dune.” Sure, the oversized comic book also contains quite a considerable number of sub-plots as well, perhaps most notably the Sisterhood's attempt to eradicate any trace of Chobyn’s incredible invisible spacecraft. But many of these ‘side hustles’ should probably be seen as resultant ripples emanating out from the explosive exploits of the Emperor’s half-brother and his Jongleur troupe of actors; “This changes everything! I’m not the only son! I’m not the only hope for House Vernius.”

Intriguingly however, it is perhaps the Fremen’s truly frightful attack upon Rondo Tuek which will linger most in the audience’s minds, especially once they see just how horrifically Stilgar punishes the treacherous Arrakeen merchant. Physically mutilated, possibly beyond recognition, the fiend is left deaf, blind, dumb and handless by the vengeful descendants of Zensunni Wanderers – surely a fate far worse than actual death..?

Much more palatable and easier on the stomach are the authors’ insights into Lady Jessica’s stay at the Imperial Palace, and her respectfully polite relationship with Empress Anirul. Desperately guarding the secret that she is pregnant with Duke Leto Atreides’ son, as opposed to the daughter she was instructed to give birth to by her Reverend Mother, the bronze-haired Bene Gesserit still appears to embrace all the idyllic opulence surrounding her with a child’s voracious appetite, and many a bibliophile surely won’t be able to stop themselves being utterly enchanted by her meeting with the adolescent Princess Irulan.

Undeniably enabling Brian Herbert and Kevin J. Anderson to so entertainingly tell this particular instalment of their comic book adaption is “acclaimed artist” Simone Ragazzoni, whose lavish pencilling really brings all the publication’s considerable cast to animated life. Of particular note is the previously mentioned stealthy infiltration of Tuek’s mansion, where its arguably possible to actually hear the water splashing from poor Rondo’s sacrilegious ornamental fountains, as well as the man’s disconcerting unanswered gurgles as the merciless Fremen’s blades do their savage work in the dead of night.

The regular cover art of "DUNE: HOUSE CORRINO" #3 by Raymond Swanland

Sgt. Flag Meets Tomorrow Girl #1 - G-Man Comics

SGT. FLAG MEETS TOMORROW GIRL No. 1, June 2024

Potentially viewed by some as just a straightforward, tongue-in-cheek romp “across the Indieverse” which highlights the super-heroic rosters of several other self-publishing authors, Rik Offenberger’s narrative for Issue One of “Sgt. Flag Meets Tomorrow Girl” is arguably so much more, largely thanks to the comic’s insights into the likes of Christopher Lewis Squires and Mummy Girl. Indeed, the Federal Bureau of Investigation operative and his four thousand-year-old comrade-in-arms debatably steal this book’s show, with the perplexing pair sticking together through ‘thick and thin’, even after they’re seemingly stranded for all eternity in the Superverse.

Much of this attraction is undoubtedly due to the strong sense of loyalty displayed by Agent Squires, and the heavily-bandaged undead Egyptian’s willingness to sacrifice her supernatural life essence so as to get their profoundly fatiguing joint mission completed. Coupled with some enjoyable, cheeky banter between the duo towards the periodical’s end, and this mutual respect for one another’s strong sense of professionalism and honour quite literally leaps off the printed page.

Rivalling this ‘double act’ though are the titular characters, who provide both a brisk, whistlestop tour of “G-Man Comics” more enigmatic and mythical realms, as well as some genuinely laugh-out-loud one-liners; “Leave me the %@!£*$ alone! I gotta job to do!” The ever foul-mouthed Rob McFarlane proves especially grumpy during the twosome’s furious, headlong chase to capture the fiendishly fast Cockroach, and few bibliophiles will surely fail to take a modicum of pleasure from Sgt. Flag rather satisfyingly winding the criminal teleporter with a brutal blow to the belly, when he finally catches him up.

Probably this publication’s biggest draw however, may well lie within José Henrique Pereira’s marvellous layouts. Richly coloured by Teo Pinheiro, Hique’s prodigious pencilling appears to incorporate as many elaborately attired caped crime-fighters as the Brazilian can muster within each individual panel, and resultantly generates a vibrant, heavily-pigmented feast for the audience’s eyes. In addition, the merging of Tomorrow Girl’s Manga-looking world with the much more traditional sketched style of McFarlane’s universe is achieved with plenty of panache and aplomb, making neither protagonist jarringly stand out whilst residing within the other crusader for justice’s respective dimension.

Written by Rik Offenberger, with Jim Burrows & Eric N. Bennett contributing

Amazing Spider-Man: Blood Hunt #1 - Marvel Comics

AMAZING SPIDER-MAN: BLOOD HUNT No. 1, July 2024

‘Spinning directly out of Issue Forty Nine of Amazing Spider-Man’, this mini-series’ opening instalment perhaps unsurprisingly solely focuses upon Peter Parker’s enthralling excursions “in the era of the vampires”, as opposed to the Wall-crawler’s usual crime-fighting exploits throughout the 'Grid' of the Big Apple. But whilst this comic’s scenario is significantly more blood-thirsty than Web-head’s usual adventures, courtesy of some genuinely gratuitous depictions of hapless New Yorkers being slaughtered like sheep at the hands of numerous Nosferatu, Justina Ireland still manages to imbue the titular character with plenty of his famous tongue-in-cheek wit and repartee to persistently lighten the narrative's mood; “That is a lot of fangs.”

Much of this humour is surprisingly generated by Steve Ditko’s co-creation teaming up with the highly unlikely duo of Misty Knight and the Lizard, who essentially recruit Spidey to supposedly help them rescue Colleen Wing and Doctor Michael Morbius from the clutches of Hemoglobin Incorporated. Perhaps understandably distrustful of his allies’ true motives, as well as realising the deadly gravity of their potentially suicidal mission, the colourfully costumed vigilante appears ever ready to diffuse even the deadliest of situations with either a well-timed quip or barbed comment at his companions’ oft-times suspicious behaviour.

Of course, the biggest draw of this twenty-one page periodical are the layouts crafted by Marcelo Ferreira, Roberto Poggi and Rachelle Rosenberg. Together, this creative team really help bring the insane world of “Blood Hunt” to life, whether it be depicting a seriously formidable-looking Lizard savagely squaring off against an already ticked-off Spider-Man, or the aforementioned poor inhabitants of New York City sadly succumbing to the sharp teeth of the undead in their droves. In fact, the sheer scale of this event’s “eternal night” is really driven home to the audience through this book’s top-notch artwork, with homes, hospitals, tube stations and even churches being viciously attacked.

Impressively though, this comic’s nine-page ‘secondary’ tale is just as good at keeping the reader thoroughly entertained, courtesy of Wing and Morbius desperately attempting to escape the evil clutches of Theocritus themselves. Essentially a well-paced sub-plot which shows the duo tensely exploring Hemoglobin’s headquarters in an effort to find a way out, the pair’s nervous verbal exchanges are easily as enthralling as the adrenalin-fuelled action that kicks off when they inadvertently walk into a room packed full of momentarily shocked vampires.

The regular cover art to "AMAZING SPIDER-MAN: BLOOD HUNT" #1 by Marcelo Ferreira & Rachelle Rosenberg

Union Jack The Ripper: Blood Hunt #1 - Marvel Comics

UNION JACK THE RIPPER: BLOOD HUNT No. 1, July 2024

Undeniably living up to its pre-publication promise of Union Jack painting the United Kingdom red, courtesy of poor English teacher Edward Hardcastle quite literally having his throat torn out by a hungry vampire, Cavan Scott’s thirty-page long trip to Manchester, England, also clearly deserves its “Parental Advisory! Not For Kids!” cover warning on account of its expletive-laden dialogue as well. Sure, most of the actual swear words are scribbled out by the letterer. But even that step doesn’t completely stop the odd coarsely-chosen cuss word from appearing in some of Police Constable Mara Syal’s speech balloons.

In addition, the sheer gratuitous violence on show within this comic greatly outweighs any offense a reader might take from the cast’s verbal improprieties. The gory demise of the aforementioned “Shakespeare nut” is just the tip of the iceberg as far as penciller Kevin Walker’s panels are concerned, especially once Joey Chapman’s alter-ego makes a well-timed appearance and simply coats anyone around him with human gore and mutilated body parts. Indeed, the sheer number of heads which are subsequently lopped off or blown to pieces is probably only matched by the number of bullets the titular character sprays at his blood-drinking enemies.

Astoundingly however, despite this charnel house-like chaos, the Bristol-born author impressively still manages to imbue both the dislikeable Knight of Pendragon and his unlikely entourage with some intriguing character development – most notably one of Greater Manchester Police’s few surviving officers. Furthermore, the sheer presence of presumably orphaned infant Judy (complete with cuddly doll Britannia), appears to repeatedly succeed in adding an extra air of tension to the publication’s already tense proceedings whenever the child is given the spotlight; “I’ll check. You wait here. No running off now.”

Easily this book’s biggest draw though has to be the energetic artwork by its British illustrator. Walker’s incredible eye for dynamic action is easily epitomised by the man’s layouts depicting Union Jack going toe-to-toe with a coven of vampires during an all or nothing rescue mission. Armed with a submachine gun and a double-handed sword, the anti-hero comes across as a homicidal killing machine, who completely loses any sense of humanity due to his battle lust – even when facing certain death having been dreadfully wounded by one his foes.

Writer: Cavan Scott, Penciler: Kev Walker, and Inkers: Craig Yeung & Belardino Brabo

The Batman And Scooby-Doo Mysteries [2024] #5 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 5, July 2024

Considering that this twenty-page periodical’s plot is essentially a retread of “the classic Scooby-Doo, Where Are You episode Nowhere To Hyde”, it still must have landed pretty flat upon its audience in May 2024. In fact, many a bibliophile were probably left scratching their heads as to just what Matthew Cody was trying to achieve with this comic’s utterly lack-lustre narrative, apart from perhaps marking out Velma Dinkley as an arrogant, highly dislikeable amateur sleuth; “That tree looks like every other tree we’ve passed in the last hour, Fred.”

For starters the "brains" of Mystery Incorporated appears to be on some sort of personal vendetta against the quartet's established leader, repeatedly questioning Jones' driving, bravery, and having the unmitigated gall to do “the whole pulling-off-the-mask thing” without her. This 'unfriendliness' is perhaps best demonstrated when he somewhat clumsily fills the reader in as to the background behind the televised cartoon story this adventure is based upon, and Dinkley agrees with Daphne Blake that the ascot tie-wearing detective simply can’t help ‘Fred-splain’ everything – even though without his information an already bemusing tale would arguably prove even more unfollowable.

Similarly as bizarre though is Batman’s surprising decision to offer Velma the job of being his new Robin, as the role’s current colourfully-costumed incumbent “is [apparently] getting older”. This curious conversation comes completely out of the blue and also debatably results in an uncharacteristic unwillingness on the young girl’s part to put any effort into taking the proposal seriously – instead simply using her severe short-sightedness as an excuse to immediately turn it down.

Perhaps this comic’s biggest befuddlement however, is just what Doctor Kirk Langstrom is doing visiting Henry Jekyll’s abandoned laboratory in the first place. There’s clearly some logic to the Caped Crusader wanting to find the scientist’s old notes in an effort to permanently stop the Man-Bat from ever appearing again. But considering Bruce Wayne is a highly accomplished scientist himself, there doesn't seem to be any reason why the Dark Knight would invite the villain to actually accompany him – unless Cody simply couldn't conjure up a valid excuse as to why the monster would inconveniently materialise during this yarn’s sagging middle, and subsequently cause artist Puste to pencil the terrified teenagers making their trademark dash for safety..?

Written by: Matthew Cody, Drawn by: Puste, and Coloured by: Carrie Strachan

Daredevil [2022] #4 - Marvel Comics

DAREDEVIL No. 4, December 2022

Swapping the dangerous streets of Hell’s Kitchen for arguably the even more inhospitable mountains of a secret island somewhere south of Russia, Chip Zdarsky’s narrative for Issue Four of “Daredevil” must have proved a curious experience for long-term fans of Hornhead. Sure, the Man Without Fear is still depicted battling ninjas towards the end of this twenty-page periodical’s plot in a genuinely pulse-pounding finale. But many a bibliophile will also feel as unfamiliar with the super-hero’s new surroundings as a trepidatious Cole North clearly does.

Indeed, one of the Canadian author’s greatest strengths in telling this comic’s story, is by doing so through the eyes and experiences of the “highly regarded detective”. Supposedly ‘stinking of regular people’, the police officer is clearly still unsure as to whether he’s made the right decision by following Matt Murdock’s alter-ego to this isolated location, and this uncertainty, evidently heightened when he encounters the formidably-sized Doc (Samson) Sasquatch, cleverly imbues the audience with similar reservations as to the titular character’s resolution “to leave his city behind” and “save the world from the violent and ruthless Hand.”

Also quite cleverly adding to this atmosphere of unwelcomeness, is the incredibly dislikeable Jab, a mercenary recruited by Elektra Natchios, who clearly feels the need to ‘stamp his supposed authority’ upon the newcomers – unwisely even trying to intimidate Daredevil himself with his fake bravado; “We’re supposed to follow some guy in a Halloween Costume who beats up muggers?” This disagreeable bully is ultimately put in his place by a sense-shattering sock to the jaw by North, after the one-eyed goon stupidly attempts to beat him up in the practice arena, and in getting bested helps settle both the reader, as well as Cole, into the ongoing tale’s foreign environment.

Equally as enjoyable as Zdarsky’s proficient penmanship though is Rafael De Latorre’s prodigious pencilling, which really helps ‘sell’ the unease experienced by Murdock’s friends and allies. In addition, the Brazilian illustrator’s layouts, combining the New York City cop’s fisticuffs alongside Daredevil and Elektra’s vicious scrap against a disconcertingly dark den full of undead warriors, is marvellously handled - imbuing every blow with a bone-crunching reality, and debatably fooling any onlooker into believing they're witnessing Matt overcoming his doubts rather than North.

The regular cover art to "DAREDEVIL" #4 by Marco Checchetto & Matthew Wilson

Titans #11 - DC Comics

TITANS No. 11, July 2024

Despite consisting of the ongoing series’ usual twenty-page long plot and featuring a rather savage battle between the comic’s titular characters and a formidably fearsome, cybernetic killing machine, some readers may well feel that this particular issue of “Titans” is a surprisingly quick read. In fact, Tom Taylor’s storytelling is arguably so engrossing that many a bibliophile will just start coming to grips with Dick Grayson matter-of-factly partitioning a part of his mind during the dead of night, before the book suddenly ends with a mortally-wounded Raven returning to Hell so as to instantaneously heal her horrific injuries.

Such an enjoyably absorbing experience is debatably down to this publication’s Australian author quite neatly breaking his tale into three separate sequences, which subsequently then roll into one another. The first of these, focusing upon poor hapless Vanessa’s desperate desire to become a super-heroine, genuinely pulls at the heartstrings, as the young woman disappointingly discovers that after successfully enduring “twisted” Doctor Morrow’s experimental post-human project, her heart simply cannot take the strain of the body’s modifications and catastrophically just stops; “Save the brain.”

This rather sympathetic character then returns, albeit in a nightmarish heavily up-gunned guise, for the comic’s pulse-pounding finale, following Nightwing’s aforementioned summons to mysteriously enter the Safe Room at Titan’s Tower and protect his thoughts from the duplicitous daughter of Trigon. Now equipped with a number of mechanically enhanced powers and vicious-looking bladed attachments, “Vanadia” attempts to eradicate her former role models in the most savage manner possible, after being reprogrammed on Amanda Waller’s instructions to believe Marv Wolfman’s co-creations are actually evil doppelgangers.

Proficiently pencilling all these sense-shattering shenanigans is Brazilian freelancer Lucas Meyer, whose best moment in this entire book arguably comes when he draws a pair of Grayson-shaped layouts which permit the inquisitive audience to quite literally peer inside the former Robin’s head and see his thoughts concerning Raven. The impressively bulked up “ultimate weapon capable of taking down all the Titans” is also reasonably well-designed, with Vanessa’s orange-skinned form appearing to contain elements taken from a number of the “teen” crime-fighters which served as her motivation to agree to Morrow’s terrifying trials at S.T.A.R. Laboratories in the first place.

The regular cover art of "TITANS" #11 by Chris Samnee & Matheus Lopes

Conan The Barbarian: Free Comic Book Day 2024 - Titan Comics

CONAN THE BARBARIAN: FREE COMIC BOOK DAY 2024, May 2024

Evidently launching an event “which will roll out through late Summer and into the Fall”, this “all-new” Free Comic Book Day one-shot certainly seems to contain all the elements needed to prove a successful draw for devotees of Robert E. Howard’s creations. Indeed, it’s difficult to think of another twelve-page periodical which contains quite so many personalities previously penned by “the father of the sword and sorcery subgenre.”

Perhaps understandably leading this formidable roster is the late great novelist’s Conan the Barbarian, who is portrayed as valiantly fighting off a senseless suicidal Pict assault upon the freshly-established Aquilonian province of Conajohara. This ferocious skirmish, proficiently pencilled by “Jaunty Jonas Scharf”, is as blood-soaked as it well-written, and enjoyably depicts one of those rare moments where the black-haired Cimmerian actually faces a human opponent whose sheer physicality actually gets him to momentarily pause in his death-dealing; “Trees can be cut -- and my axe stands ready.”

Regrettably though, this gratuitous confrontation all-too suddenly concludes with the victorious titular character involuntarily recollecting his devilishly-tainted tales as witnessed in “Titan Comics” current ongoing series. Admittedly, in many ways this publication is just a blatant advertisement “to reach thousands of new and lapsed readers” anyway, so a summary of what an ill-informed bibliophile might have missed when Howard’s heavily-muscled mercenary first glimpsed the multi-tentacled ‘unspeakable evil beneath the dark waters of the past’ should perhaps be expected.

What comes next however is a total surprise, as Jim Zub’s narrative shows that the evil sigil seen by Conan hanging around his dead foe’s neck also haunts the likes of Solomon Kane, Dark Agnes De Chastillon, El Borak, Professor John Kirowan, and even disabled Twentieth-Century author James Allison – whose mysterious disappearance at the hands of some unseen monster conjured up by his imagination neatly bookends the comic. This notion of a single “Howardverse” won't be anything new to those familiar with the “Weird Tales” contributor's tales, as all of the stories concerning Allison are based upon the man recollecting his ancestor’s past experiences during the end of the Hyborian Age. Yet somewhat worryingly, such a potential mass-merging of so many genres into a single, over-arching plot debatably somewhat smacks of being ‘fan fiction’ as opposed to a serious continuation of the pulp fictionist’s numerous notable works.

Writer: Jim Zub, Artist: Jonas Scharf, and Color Artist: Jao Canola

Daredevil [2022] #3 - Marvel Comics

DAREDEVIL No. 3, November 2022

Whilst “Marvel Worldwide” may well have tried to sell this particular publication’s plot to its readers as Daredevil “putting together a team” with which to lead the Fist, Chip Zdarsky’s script is arguably much more about providing an intriguing insight into Luke Cage’s mayorship of New York City. In fact, the former New Avenger probably steals the show from Matt Murdock’s alter-ego, despite never actually throwing a punch in anger at his holier than thou opponents; “I’m not Fisk. I’m actual power. And I have friends with magic hammers. You’ll find my proposal in what’s left of your table. Talk soon.”

Much of this ‘hook’ has to do with how underplayed the human mutate appears in his initial dealings with the Stromwyns. Having been ‘summoned’ at four in the morning to the nefarious socialites’ skyscraper, it would have been so easy for a lesser writer to pen Power Man angrily striding into their office and grumpily making his concerns clear about their housing applications. Instead, the Canadian author merely has Cage politely converse with the criminals until they start to threaten his daughter and son. Only then does he show a flash of temper, and that is limited to him simply pulverising the huge table between them.

Far more adrenalin-fuelled however, is the epic fist-fight between Daredevil and “the woman who trained Elektra.” Impressively putting the Man without Fear on the back foot straight from the start, this skirmish is incredibly well-paced, thanks largely to the pair engaging in a running battle across the Big Apple’s night-time skyline. Furthermore, it seems clear that in his current befuddled condition, Murdock is hopelessly outclassed by Aka – something which probably does not bode well for Cage considering that the martial artist is also apparently the Stromwyn’s personal assistant/body guard.

Working some mesmeric magic on this twenty-page periodical’s layouts is artist Rafael De Latorre, whose ability to pencil both Luke’s internal rage and Matt’s evident physical fatigue adds enormously to the scenes in which these characters appear. Furthermore, the graceful movement of Aka is wonderful to behold, and depicts a warrior at the very peak of her profession, as opposed to a somewhat hapless Hornhead, who seems slow and cumbersome in comparison.

Writer: Chip Zdarsky, Artist: Rafael De Latorre, and Color Artist: Matthew Wilson

V #8 - DC Comics

V No. 8, September 1985

Perhaps somewhat surprisingly steering away from utilising the science fiction television series’ two leading characters of Michael Donovan and Julie Parrish, guest scripter Bob Rozakis’ script for Issue Eight of “V” instead rather enjoyably focuses upon the unlikely trio of Ham Tyler, Robin Maxwell and Chris Farber making their way to Chicago via a Resistance printing plant. In fact, if “Warner Brothers” ever entertained a spin-off series featuring actor Michael Ironside’s former CIA agent, then this comic’s plot would arguably have made for a great introductory storyline; “Hey, it was fun. Right, Chris..?”

Foremost of these successes is how the twenty-three page periodical sets a steady pace straight from the start, as the hitman’s van is unsuccessfully targeted by a patrolling Visitor’s spacecraft, and simply doesn’t stop until the battered white vehicle eventually pulls away from the Spartan Printing Company’s facility at the tale’s end. Of course, it would perhaps be all too-easy to create such a speed by repeatedly just throwing a slew of sense-shattering shenanigans at this book’s “anti-reptile rebels”. But in actuality, the American author pens something of a drawn-out ‘whodunnit’, where the business has been infiltrated by a number of extra-terrestrial saboteurs and poor Robin discovers she’s once again fallen for a man who “turns out to be a Visitor!”

Just as enjoyable though is the relationship between Tyler and his “best friend”, as the duo decide to stay on to convince Skimmer he has a serious ‘lizard problem’. Almost all of the subsequent action in this comic solely rests upon Ham’s shoulders, as he is the one who keeps the desperate aliens' only source of Red Dust antidote pills, and therefore attracts a number of assassination attempts. This deadly situation understandably results in the Resistance leader almost gleefully gunning down a number of Visitors, which inevitable begins to irk Farber, who wants to add to his own tally on this adventure.

Proficiently pencilling all these exploits are Carmine Infantino and Tony Dezuniga, who together manage to capture a little of the various actors' physical likenesses – most notably Ironside. In addition, the pair’s layouts are very good at showing just how close Ham comes to being overpowered by his prey, as Nathan Bates’ one-time employee appears to enjoy getting up very close and personal with the hamster-eating, reptilian extra-terrestrials.

Guest Scripter: Bob Rozakis, Artists: Carmine Infantino & Tony Dezuniga

Conan The Barbarian #11 - Titan Comics

CONAN THE BARBARIAN No. 11, June 2024

Whilst few readers of Jim Zub’s narrative for Issue Eleven of “Conan The Barbarian” could criticise the comic’s breathtaking pace. The twenty-two page publication’s author does arguably seem at times to simply hurl things at his audience to see ‘what sticks’ rather than present a credible chain of events. Admittedly, the odd leap of logic, such as a small army of man-eating hominids implausibly waiting behind a centuries-old, sealed door, definitely provides an otherwise word-heavy book with some much needed adrenalin-fuelled action. But ultimately this lack of a convincing story as to why such bizarre, time-travelling terrors are being repeatedly thrown at the titular character slowly gnaws away at any enjoyment to be had from the plot.

Furthermore, the periodical’s opening flashback to when the Cimmerian re-encountered Yag-kosha in pre-cataclysmic Valusia appears surprisingly superfluous with all its double-talk and “wibbly wobbly, timey-wimey stuff.” The elephant-headed extra-terrestrial from the constellation of Yag repeatedly warns his eventual slayer of the dangers in acquiring any knowledge about future events. Yet still appears to deliberately let on to the black-haired, heavily-muscled mercenary that one day he will be a monarch himself; “Go now, bold one. Be the thief, warrior, killer, and king… as fate demands.”

Equally as bemusing has to be the aforementioned battle between Kull of Atlantis’ scouting force and a significant number of blue-skinned ‘Morlocks’, who thanks to Rob De La Torre’s impressive pencilling, appear to have quite literally stepped straight from the pages of H.G. Wells’ 1895 science fiction novel “The Time Machine”. Unfortunately, just why an entire cannibalistic coven would be waiting to ambush the heroes in a supposedly pitch black cavern is left completely unresolved, as is how Conan’s current lover is tragically slain – unless the female archer was somehow still clawed to death by the ferocious fiends, despite a furious barbarian standing astride her fallen form lopping off the head of anyone foolish enough to get within reach of his hand-axe.

Despite such reservations though, Zub is clearly proficient at providing this comic with a jaw-droppingly good cliff-hanger, courtesy of the Canadian writer resurrecting another of Robert E. Howard’s creations for its climatic ending. Somehow once again whipped up into an inconvenient unfathomable fury, it’s crystal clear to any bibliophile that even an addled Kull certainly shouldn’t be opening the lid of any long-forgotten coffin – especially one miles underground at the bottom of a chaos-themed pit. However, few onlookers will genuinely see what happens next coming, no matter how well versed in the protagonists’ previously published exploits they may be.

The regular cover art of "CONAN THE BARBARIAN" #11 by Alex Horley

Free Comic Book Day 2024: Blood Hunt/X-Men #1 - Marvel Comics

FREE COMIC BOOK DAY 2024: BLOOD HUNT/X-MEN No.1, May 2024

Described by its New York City-based publisher as the “thrilling first steps” into Marvel Worldwide’s “next monumental crossover event”, Jed MacKay’s script for this early glimpse into “Blood Hunt” definitely should have whetted the appetites of any bibliophiles anticipating the Structure’s all-out undead assault upon the living. In fact, the ten-page preamble debatably does an incredible job of informing its audience as to just how the vicious vampires are able to stalk their prey during daylight, and quickly hurling some of the Big Apple’s most recognisable super-heroes headfirst into the frightening fray; “Horray. Another unproblematic win for old Spidey.”

Furthermore, this “Free Comic Book Day” celebration shows straight from the start just how gory this multi-title epic is likely to be, by depicting the Man Without Fear almost nonchalantly disembowelling and beheading his ferociously fanged foes using the cable holding together his billy club. So violent an opening seemingly bodes incredibly ill for the survival rate of those wretched bystanders facing the blood-drinker’s series of “ambitious, coordinated attacks that put humanity on the defensive”, and this strong sense of desperation is only worsened when it becomes evident that Blade’s daughter, Brielle Brooks, is going to have to team-up with her father’s most hated nemesis, Dracula, if she hopes to escape the streets of Atlanta unscathed.

Equally as intriguing as MacKay’s “nocturnal war” though, is this publication’s second yarn “The Fire Still Burns”, which sees Eisner Award Winner Gail Simone essentially pen a solo Jubilee story in preparation for the American author’s upcoming run on “The Uncanny X-Men”. Initially focusing upon the government’s apparent dismantlement of Charles Xavier’s School For Gifted Youngsters, this enticing insight into Chris Claremont’s co-creation could so easily have become a disconcertingly dark reading experience.

Happily however, despite the firework-generating pyrotechnic encountering a rather unpleasant quartet of young mutant-haters in an all-star diner, the story does eventually end on a much more positive note, with the former gymnast finding the motivation she needed to rejoin Wolverine and Rogue. Indeed, coupled with David Marquez pencilling some mesmerising insights into the villainous antagonists now utilising Professor X’s home as their own headquarters, and this “glimpse of the future of mutant-kind” enjoyably establishes the two opposing sides for the battle to come.

Writers: Jed MacKay & Gail Simone, and Artists: Sara Pichelli & David Marquez