Defenders Of The Earth #1 - Mad Cave Studios

DEFENDERS OF THE EARTH No. 1, August 2024

Starting with the final day of our planet’s war with Mongo in 2020 A.D., Dan Didio’s script for Issue One of “Defenders Of The Earth” probably initially pleased any fans of the 1986 American animated television series upon which this eight-part mini-series is apparently based. In fact, Mandrake the Magician and the Phantom’s deadly encounter with an army of “a thousand strong” Ice Soldiers makes for a riveting read as it becomes increasingly clear that the central protagonists probably aren’t going to survive the confrontation, even after Lothar appears to add some significant strength to their defence.

Sadly however, once this ‘flashback’ has concluded the comic’s narrative debatably nosedives into a bizarre, super sedentary series of set-pieces in which none of the main cast are particularly likeable, and very little in the way of action occurs – apart from an angry Rick Gordon loudly proclaiming to a packed restaurant that his father will be footing all of their meal bills; “Attention! Tonight’s dinner is courtesy of the Defenders of the Earth, and their great saviour, Flash Gordon.” This disappointing reduction of pace appears to have been adopted to allow the American author an opportunity to highlight the sinister corruption seeping into the world’s rejuvenated civilisation. But instead, just makes the titular characters appear selfish, high-handed, petty and shockingly surly.

In addition, the twenty-four page plot suddenly leaps from the intriguing suggestion that Alex Raymond’s creation may well be being diabolically misled by his political advisors to the replacement of a still badly-maimed “Ghost Who Walks” by the masked man's daughter and murderous brother in Bangalla. Many a bibliophile would probably expect such a key revelation to be a major turning point in the comic. Yet instead, it is almost haphazardly mentioned by Lothar as he’s leaving his injured friend, despite Mandrake’s assistant being in his company for some considerable time beforehand.

Sadly, Jim Calafiore’s layouts are arguably just as inconsistent as this book’s penmanship, with the artist’s later panels lacking much of the energy and conviction seen during the heroes’ early battle with Ming’s forces. Indeed, some of sequences concerning Rick’s trials and tribulations to see his father only look somewhat three-dimensional as a result of colorist Juancho’s shading, as opposed to anything the illustrator has actually sketched.

The regular cover art of "DEFENDERS OF THE EARTH" #1 by Jim Calafiore

Nightwing #117 - DC Comics

NIGHTWING No. 117, October 2024

It’s probably a safe bet that many a bibliophile simply enjoyed Issue One Hundred and Seventeen of “Nightwing” because Bruce Wayne impressively dons the titular character’s costume for most of the twenty-two page periodical, and is subsequently shown smacking the hell out of a pair of security guards at Shel Pharmaceuticals. However, Tom Taylor’s script contains plenty more elements to it than just having Batman successfully masquerade as his adopted son’s acrobatic alter-ego; “I patrolled each night. The suit is… snug. I quipped. Twice.”

For openers, the Australian author genuinely deep-dives into the (Teen) Titans' bruised psyche and pens an enthralling insight as to just what makes the Dark Knight’s former sidekick tick. This secondary plot could easily have been handled in a number of sedentary ways, and indeed does to begin with, by having Richard Grayson settle down to some “scented candles and a bubble bath”. But time clearly waits for no-one, especially when they’re desperately attempting to learn the truth behind their parents’ deaths, and soon the reader is witnessing Dick being abandoned for twenty-four hours at the top of a seriously-high, wind-swept mountain with no-where to go but straight down.

Such a terrifying dilemma really helps show the formidable courage of the original Boy Wonder, and leads into a scene which surely had most of this comic book’s audience cheering out loud, as Nightwing triumphantly returns to Bludhaven, brutally batters half a dozen of Heartless’ mask-wearing goons, and then gives his long-term nemesis, Anthony Zucco, a spine-chillingly palpable death stare.

Adding some serious “Crack” to this publication’s more robust action sequences is Bruno Redondo, who miraculously captures all the extra ‘heft’ to a punch or kick an onlooker may well expect from the slightly thicker-set Batman, as opposed to slightly leaner Grayson. In addition though, the illustrator is able to imbue this comic with a surprising amount of physical humour, most notably whenever Deadman is around trying to encourage his one-time protégé to fall, or a nearly naked Richard having a ‘Eureka’ moment whilst running down the hallways of an ancient temple wearing just a blue towel.

The regular cover art of "NIGHTWING" #117 by Bruno Redondo

Destro #3 - Image Comics

DESTRO No. 3, August 2024

Containing an impressively-paced bout of pugilism between the titular character and marvellously mysterious Chameleon, as well as a truly fascinating flashback to the English Civil War when Laird Destro was cruelly first introduced to his family’s now famous metal mask, this comic’s terrific trip into the “Energon Universe” must surely have landed well with any fan of the “G.I. Joe” franchise. True, Dan Watters’ plot for this twenty-page periodical probably only adds to the mountain of questions surrounding the identity of James’ would-be murderer. But frankly such uncertainties only increase the sense of excitement generated by this comic’s conclusion as the advanced weapons manufacturer quite astonishingly turns to General Flagg for help.

Of course, the biggest draw is undoubtedly the aforementioned unsuccessful assassination attempt in the Scottish Highlands, and the way the British author beautifully pens the leader of the Iron Grenadiers constantly defying the odds against an opponent who seemingly holds all of cards. This scrap is tremendously well delivered, and quite wonderfully shows that despite wearing an incredible amount of sophisticated protection about his person, along with “a lot of Kevlar”, Destro is still willing to get ‘close and personal’ when the situation requires it.

Similarly as successful though, has to be the writer’s detour back into the villain’s past to a time when his ancestor was busy supplying weapons to every side involved in King Charles’ eventual removal from the throne. This scene is as impactful as the entrepreneur’s fate is deeply disturbing, and should leave a lasting impression upon the reader as to just where the current Laird gets his seemingly super-human sense of determination from; “They thought to shame a Destro through discomfort. As though discomfort is not a weaponeer’s stock in trade.”

Furthermore, a good deal of gratitude should be given to Andrea Milana, who breathes palpable life into all these sense-shattering shenanigans with her positive pencils. Chameleon’s frantic attempts to kill her quarry are so dynamically sketched that the cold-blooded killer’s frustration at repeatedly failing is clear for all to see. Whilst the heat emanating from the Medieval furnace slowly melting down enough lead shot for a mask can easily be felt by any bibliophile witnessing the diabolical deed unfolding.

The regular cover art of "DESTRO" #3 by Andrei Bressan and Adriano Lucas

Marvel & Disney: What If...? Donald Duck Became Wolverine #1 - Marvel Comics

MARVEL & DISNEY: WHAT IF...? DONALD DUCK BECAME WOLVERINE No. 1, September 2024

Announced in April 2024 at the Bologna Children’s Book Fair in Italy, it was pretty clear straight from the start that Issue One of “Marvel & Disney: What If....? Donald Duck Became Wolverine” would very much be a tongue-in-cheek celebration of the two titular character’s impressively-long anniversaries. But whilst few fans were likely to take Luca Barbieri’s script even slightly seriously, this twenty-five page periodical’s plot still probably didn’t land with its audience quite as well as Senior Editor Mark Paniccia had imagined; “I want to sleep some more… A couple of hours… Even better, a couple of days!”

For openers, it’s never explained just how Pete-Skull has managed to rid Duckburg of both its super-heroes and their various “invincible weapons”, nor how he evidently missed Mickey-Hawkeye, Donald-Wolverine or (Lord help us) Goofy-Hulk during his unstoppable conquest. Instead, the narration simply states it as a fact and then subjects the reader to a long-winded sequence depicting Dick Lundy’s co-creation as a lazy loafer who simply wants to slob in a swinging hammock and eat copious slices of his Granma’s apple pie.

Such a scene is certainly endearing, and simultaneously emphasizes the duck’s ‘fowl’ temper which is at the very heart of the tale. However, it is so long-winded that many a bibliophile will surely have preferred a bit more backstory as to how Pete-Skull and his minions took over the fictional U.S. state of Calisota, rather than witness Donald perform a series of gruelling chores on an idyllic farm.

Furthermore, once the protagonists eventually do arrive at their red-faced foe’s headquarters, they appear to quite literally drive straight up to the Beagle Boys and immediately surrender without the slightest sign of opposition. Of course, this tactic is later shown to be a ruse by Mickey so as to get his feathered friend right beside their arch-nemesis before he bops him with a giant green paint bomb. Yet it also appears to have been another missed opportunity to inject the comic with some much needed action, even if the likes of a grey-skinned Goofy-Hulk were soon defeated.

What does seem clear, and is in many ways this book’s biggest draw, is that all the ‘heavy-lifting’ falls upon the shoulders of artist Giada Perissinotto, who repeatedly pencils Donald performing many of Wolverine’s more iconic poses via flashback sequences. Donning the mutant X-Man’s most famous costumes and guises, these sketches of the adamantium-clawed duck’s greatest moments are just superb and truly wonderful to behold. Though as aforementioned, appear to have been included in this “unexpected mashup adventure” at the expense of any particularly thought-provoking plot or storyline.

The regular cover art of "MARVEL & DISNEY: WHAT IF...? DONALD DUCK BECAME WOLVERINE" #1 by Giada Perissinotto & Lucio Ruvidotti

Nightwing #116 - DC Comics

NIGHTWING No. 116, September 2024

Despite not a single punch being thrown, even in frustration at the sheer injustice of Nightwing’s unhealthy predicament, Tom Taylor’s script for this third instalment to his “Fallen Grayson” storyline should easily have engrossed the vast majority of the comic’s audience. True, the twenty-two page plot is extremely dialogue-driven, courtesy of some lengthy narration as the original Robin stealthily makes his way to the hidden city of Nanda Parbat by boat, car and an arduous hike. But even this word-heavy sequence is arguably an utterly enthralling one, due to the ever-present danger of Bludhaven’s most wanted escapee being suddenly recognised en-route to his first mentor of acrobatics.

In addition, the Australian author seemingly does a very good job of showing the impact of Dick’s arrest throughout the rest of the meta-human community, with the likes of Cyborg offering to “Boom Tube” him out of Police custody despite it making the Titans “appear to be aiding a serial killer!” This sort of situation is rarely shown in a book, and helps establish the concept that the villainous Heartless is actually attacking the super-hero community – something which is later re-emphasised by the murderous maniac threatening to kill an adult every thirty minutes until Nightwing’s team leave the city to his not so tender mercies.

This publication is also very good at rising the blood pressure of its audience to an alarming high through its depiction of the authorities’ blinkered bureaucracy, and just how well Shelton Lyle has clearly manipulated the government, the police and now the general public. Every reader knows that Grayson is entirely innocent of the wrong-doings he’s been detained for. Yet every time the cybernetically-enhanced crook opens his mouth, it appears that Batman’s heir apparent is damned even deeper; “Before any of you does something stupid know that I have many children imprisoned.”

Shouldering a significant portion of the storytelling duties for potentially such a sedentary issue is Bruno Redondo, who somehow manages to imbue the news reporters with all the disagreeably haughty hindsight one would expect from the modern-day media. Of particular note though has to be the multiple Eisner Award-winner’s phenomenal pencilling of Dick and the three-legged Haley walking up to Deadman’s Himalayan retreat – a sequence which is well worth pouring over for a while due to the trek’s ever-changing landscape.

The regular cover art of "NIGHTWING" #116 by Bruno Redondo

G.I. Joe: A Real American Hero #304 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 304, February 2024

Spending a fair amount of time spotlighting Dawn Moreno covertly following a trio of deadly Blue Ninjas in Springfield , Larry Hama’s script for Issue Three Hundred and Four of “G.I. Joe: A Real American Hero” should easily have kept its audience thoroughly entertained. Indeed, the Inkpot Award-winner’s ability to imbue the long-running sequence with a palpable sense of rising tension may well have caused many a reader to exhale in relief when the former Snake-Eyes’ reconnaissance mission is finally brought to an abrupt end, and she can decisively engage her foes with her truly deadly blades; “Come on… Let’s see what else you’ve got!”

Impressively however, this isn’t the only action which the American author is able to squeeze into his twenty-page plot, as the Joes rather naively attempt to recover the remnants of the augmented Blue Ninjas which had previously ambushed Scarlett, only to discover their mechanical corpses were actually only in sleep mode as opposed to being dead. This sudden realisation comes completely out of the blue, and does a great job in giving any onlooker a surprising jolt of adrenaline when they were probably simply settling down to listening to Airtight and Black Hat wax lyrical about reverse engineering Serpentor Khan’s latest minions.

Furthermore, the narrative also contains some nicely penned moments of humour, such as Timber hungrily slurping down the meatballs in tomato sauce Snake-Eye’s used to fake his bloody wounds, and Wild Bill coming to Corporal Kurt Schnurr’s rescue during the Blue Ninjas aforementioned reactivation. Such moments should genuinely prompt a smile upon the lips of any perusing bibliophile, and provide a brief respite from all the sense-shattering secret shenanigans taking place as Cobra faces “an existential crisis.”

Clearly aiding Hama with all this engrossing storytelling is Chris Mooneyham and colorist Francesco Segala, who together provide the plot with some wonderfully convincing visuals. Of particular note has to be their artwork on the three Vipers who penetrate the Pit’s outer security cordon and make their way to Camp Greer’s perimeter. The villains’ desperate dash across open ground to the supposed safety of the complex’s shadows are so well delivered that even the most sceptical of bibliophiles should be able to imagine the stealth agents furtively peeking into the various buildings to establish whether they are occupied or not.

Writer: Larry Hama, Artist: Chris Mooneyham, and Colorist: Francesco Segala

Titans #12 - DC Comics

TITANS No. 12, August 2024

For those bibliophiles who like to be emotionally moved by a comic, Tom Taylor’s uber-sad script for Issue Twelve of “Titans” will undoubtedly pull on their heart strings, courtesy of poor Vanadia’s merciless fate. Sure, the homicidal cyborg constructed by S.T.A.R. Labs initially doesn’t appear worthy of any reader’s pity as she savagely strikes down meta human after meta human inside Titans Towers. But by the time the Australian author’s twenty-page plot has dramatically concluded, there arguably won’t be a dry eye in your friendly local book shop; “Everything I’ve done was to be like you. Everything I’ve become was because of you. You… All of you. You’re my heroes.”

Much of this poignancy is generated by the New York Times bestselling writer’s ability to weave into this publication’s high-octane action a clever flashback to a time when as a fourteen year-old girl Vanessa stood up to some school bullies as she felt that would be what Donna Troy would do. This backstory should strike a strong chord of sympathy with the audience, and once associated with the orange-hued mechanical monstrosity pulverising an octopus-shaped Beast Boy, adds an extra element or two to the supposed villain’s motivation – i.e. she is so determined to kill this comic’s central characters because T.O. Morrow’s tricked her into believing they’re evil fakes. Not because the brainwashed young woman is a criminal herself.

Cleverly however, just as everything appears to be about to pan out for the better, Taylor reintroduces the genuinely wicked Dark-Winged Queen into the mix, who wastes absolutely no time in undoing all the good her ‘team-mates’ have just achieved with the Bureau of Sovereignty’s latest walking weapon. The utterly irreprehensible behaviour of Trigon’s daughter should have many an onlooker screaming at the printed page with just the same anguish as Troy does whilst trying to shatter the sorceress’ energy shield, and whilst the likes of a befuddled Garfield Logan might point the finger towards S.T.A.R. Labs, many will still surely see his demonically-possessed lover as being largely responsible for Vanadia’s tragic demise.

Endearingly adding some extra pathos to this book is also Lucas Meyer, whose marvellous menagerie of Beast Boy transformations alone makes this periodical worth its cover price. Furthermore, the artist does a cracking job in showing the entirely innocent realisation upon Vanessa’s face that she’s been duped into fighting her idols, and the barely controlled fury of Wonder Girl following Raven’s aforementioned rash behaviour.

The regular cover art of "TITANS" #12 by Chris Samnee & Matheus Lopes

What If...? Dark: Venom #1 - Marvel Comics

WHAT IF...? DARK: VENOM No. 1, October 2023

For those readers able to overlook the unconvincing manner in which Ben Grimm momentarily becomes Venom, along with a few other bemusing contrivances, this thirty-page periodical’s plot probably proved pretty pulse-pounding in August 2023. True, the comic arguably focuses more upon the Lizard’s truly savage merger with Spider-Man’s infamous symbiote than it does the titular character. But it still manages to deliver a wonderfully gratuitous conclusion which is genuinely not for the faint-hearted; “You thought I wassss nothing more than a creature. You thought you were the ssssmartest man around when we were sssstuck on Battleworld…”

In fact, such is Stephanie Phillip’s portrayal of Reed Richards as the very worst kind of self-opinionated, holier-than-thou scientist – who at one point quite literally cuts his wife’s sound protestations short with a terse command - that a fair few bibliophiles may well have disconcertingly felt that Mister Fantastic receives his ‘just deserts’ in the murderous maw of Curt Conner’s ferocious alter-ego when artist Jethro Morales prodigiously pencils the large reptile bloodily biting off his head.

Disappointingly though, the actual storyline leading up to the death of the Fantastic Four’s ordinarily super-supple leader is somewhat head-scratching, courtesy of the author turning Grimm into a strangely disagreeable dullard. Of course, many within this book’s audience will doubtless point to the Yancy Streeter’s desperate desire to look human again as being one of the protagonist’s main drives. Yet so experienced an inter-dimensional traveller would surely never simply release the deadly Venom symbiotic simply because it pitifully taps on its glass container when he approaches it..?

To further compound the problem however, the writer would then also have any looker believe that Ben would subsequently turn to the Lizard for help in retaining his new-found good looks in an underground sewer-based scientific facility, and simply allow one of Peter Parker’s most prominent arch-villain’s to surreptitiously snatch the sentient alien from him. This entire scene sadly smacks of Phillip’s just wanting to replicate a similar situation seen in Tim Story’s 2005 “Fantastic Four” movie where the Thing, housed inside a giant glass chamber, desperately needs to revert to his ‘monster self’ before the antagonist defeats both Invisible Woman and her husband, and resultantly begs the question as to just why she didn’t pen for Connors to become Venom in the first place..?

Writer: Stephanie Phillips, Artist: Jethro Morales, and Colorist: Israel Silva

Moon Knight [2021] #30 - Marvel Comics

MOON KNIGHT No. 30, February 2024

In view that this thirty-page plot essentially just focuses upon the last few moments of Moon Knight’s life as he painfully crawls towards the Black Spectre’s sound machine of death, many a reader must surely have been pretty impressed with just how pulse-poundingly paced the publication was. Indeed, as much as Robert Plesko’s explanation as to his sinister scheme steadily holds the interest, it is arguably a bleeding out Marc Spector’s agonising journey across the evil doctor’s floor which proves particularly spell-binding, with every excruciating inch travelled on his belly making the audience wince with sympathy – as literally every second of this journey takes a physical toll.

Furthermore, the frustrated fury of Tigra and the rest of the titular characters’ friends desperately trying to reach him before his end also adds an extra element of urgency to Jed MacKay’s well-penned proceedings. The utter despair felt by the former West Coast Avenger as she savagely turns upon her comrades-in-arms is genuinely palpable, and impressively makes matters even more tense as valuable moments tick by whilst she berates the likes of Soldier for his supposed shortcomings; “Turn into mist and get up there - - Marc needs us! Then what good are you? He’s going to die, Badr! Doesn’t that mean anything to you?”

Debatably this comic’s biggest surprise though arrives with Zodiac making a shocking deal with the Midnight Mansion so as to save the serial killer’s life in return for avenging Spector’s death. Once it becomes clear that the murderous maniac’s sole future ambition is to brutalise Plesko for ruining his own plans concerning the "Lunar Legionnaire", the sinister House of Shadows appears perfectly willing to release its captive. Admittedly, this agreement does mean that both of Moon Knight’s arch-foes are still breathing following his sad demise. But it is clear from Black Spectre’s horrified face that he certainly won’t enjoy whatever the masked anarchist has in store for him.

Undeniably imbuing the “explosive conclusion” to this Battle of the Mount are Alessandro Cappuccio’s layouts. The Italian illustrator manages to let all this book’s considerable cast wear their hearts upon their sleeves, so it’s always evident even to the most casual of bibliophiles just what emotion Reese or Hunter’s Moon are feeling. Of particular note is the artist’s prodigious pencilling during a tender flashback to when the Fist of Khonshu first bonded with his fellow crime-fighters, and how these relationships have only strengthened through time and adversity.

Writer: Jed MacKay, Artist: Alessandro Cappuccio, and Color Artist: Rachelle Rosenberg

Doctor Who: The Fifteenth Doctor #2 - Titan Comics

DOCTOR WHO: THE FIFTEENTH DOCTOR No.2, September 2024

Containing a narrative with numerous ups and downs, it’s arguably not difficult to imagine many readers of this twenty-two page periodical feeling as if they had just stepped off of a rollercoaster ride once they’d finished perusing it. In fact, every time it appears that any of the leading cast have got a handle of the deeply-dark goings on inside the last shopping mall on Earth, Dan Watters cleverly pens another exciting twist which many within the audience might not see coming; “Listen to me, they aren’t real. They aren’t going to hurt anyone. Just close your eyes and… No. No no no! Run!”

The first of these unpleasant shocks is poor Bruce Cotton’s sad demise, who against all the odds actually appears to be about to beat his greatest fear, before quite literally finding the boardwalk he is cautiously travelling along fatally falling away beneath his feet. This action sequence should initially have all but the most cold-hearted of bibliophiles cheering the acrophobic shopper on as he travels to the building’s uppermost level to change a fuse. However, just as everything looks good to go, the British author pulls the rug out from under him, and makes it clear that the diabolical Scream Sommelier is playing a genuinely deadly game.

Impressively though, having established this ‘rule of thumb’, the comic’s narrative then performs a complete U-turn when the Fifteenth Doctor is about to be blasted to pieces by a horde of ultimately illusionary Cybermen. This eventual lack of threat may well prove a tad frustrating at first, as the suspense leading up to the Time Lord’s apparent demise is utterly enticing. Yet this notion that the cybernetic giants from Mondas aren’t really hiding beneath the superstore is shrewdly revisited later on, and then pans out to be an entirely different proposition for the Gallifreyan to outwit.

Prodigiously pencilling all these pulse-pounding proceedings is Kelsey Ramsay, who does a first-class job in ensuring that any onlookers are absolutely convinced that the titular character is about to become the latest member of the Cybermen. Likewise, the illustrator does some great work in imbuing the hapless Cotton with the heart-wrenching haunted look of a man doing something which terrifies every fibre of his physical being.

The regular cover art of "DOCTOR WHO: THE FIFTEENTH DOCTOR" #2 by Roberta Ingranata

Nightwing #115 - DC Comics

NIGHTWING No. 115, August 2024

Crammed full of treachery, misdirection and cold-blooded murder it is easy to see why Issue One Hundred and Fifteen of “Nightwing” was the forty-sixth best-selling comic in June 2024 – at least according to “ICV2.com”. In fact, the breath-taking pace of Tom Taylor’s twenty-two page plot is arguably perfect, as the Australian author whisks his audience up in a firefighter’s lift at the start, and then hurries them through the congested streets of Gotham City back to Bludhaven in a speeding ambulance; “What’s… happening.? Ribs are broken. Sirens.? Where the hell am I.? Something on my face. Hey! Are you okay.? Are --? Oh no.”

Foremost of these wonderfully written action sequences is probably the staged fire at Alfred Pennyworth Foundation gala, which somehow manages to create all the sounds, smells and sense of frantic terror an onlooker may well expect inside a burning building. Fortunately, the entire Bat-Family are there to bring some semblance of calm to the situation as they attempt to ensure all the attendees’ safety. However, it is precisely this desire to protect everyone which the truly Machiavellian Heartless then cleverly uses to isolate his Dick Grayson, and subsequently render his unconscious prey susceptible to his horrific plan.

Likewise, the super-hero’s realisation that he’s somehow being framed as the former whaling town’s number one villain is similarly sense-shattering. Having awoken to find himself somehow standing over the mutilated body of Mister Waghorne whilst simultaneously holding the murder weapon, the sense of sheer panic emanating from the titular character is truly palpable, and many a bibliophile will surely be sucking in great gulps of air in response to him bravely battling against the local police department in an effort to depart the crime scene with his secret identity intact.

Perhaps this publication’s sole disappointment therefore strangely comes with some of the choices made by artist Bruno Redondo when it comes to the physical attributes of the secondary cast - such as the two bogus bearded paramedics who closely resemble one another, or the bespectacled appearance of both Shelton Lyle’s sociopathic butler Gerald Chamberlain and the aforementioned dead fundraising reporter. Such similarities will debatably make some believe a person has already left a scene or already been murdered, and resultantly can cause a fair few moments of confusion as preceding panels are repeatedly re-read for clarity.

The regular cover art of "NIGHTWING" #115 by Bruno Redondo

Deliver Us From Evil #2 - Blood Moon Comics

DELIVER US FROM EVIL No. 2, June 2024

For those biblophiles who are able to withstand this comic’s relentless assault upon their senses, including as many expletives as one can probably muster within a “mature readers” only magazine, its conclusion certainly seems to be well worth the effort. In fact, once the Portal of the Pretender God is finally revealed in all its grotesque, ghoulish glory, along with the antagonist’s sacrilegious mission to “replace Jesus the lamb of God, for a wolf”, this book’s numerous plot-points all impressively click straight into place.

Beforehand however, Peter Breau’s penmanship hooks the audience with a series of mysterious scenes which hint at a truly dark journey being taken through time by an evil, heavily-cloaked coven. Just what the Illuminous One’s purpose is in either physically mutilating the corpse of “one of the most influential scientists” ever born, or just generally traumatising mankind with a plague of red-coloured frogs, harvest-eating locusts, and ferociously feral dogs isn't initially clear. But just as this 'disconnect' is about to become a tad frustrating, all becomes terrifyingly clear with Albert Einstein’s brain having been incorporated into the villain's aforementioned mechanical monstrosity, and the sheer scale of the immortal being’s machinations plainly there for all to see; “Only in the future could we change the past. Destiny awaits.”

Equally as engrossing though is the author’s handling of “the enigmatic Silent Violette”, whose origin story should genuinely create a sizeable amount of sympathy for the tragic-looking character. Furthermore, the writer cleverly casts doubt in the reader’s mind as to whether the facially-disfigured Nun actually even exists by having Constantine Lazar question whether his brief encounter with her in his hallway wasn’t just a figment of an alcohol-fuelled imagination. 

Undeniably helping to add to the palpable darkness of this comic’s storyline are the black and white layouts of Mattia Doghini. The illustrator appears particularly good at imbuing a certain level of seedy sleaziness to poor V’s past, as well as the threat of a chilling death to those panels featuring the hooded man behind all of this book’s bleaker moments. In addition, the artist’s marvellous splash page showing the scoundrel recovering Judas’ discarded silver coins and the Nazarene’s crown of thorns is wonderfully sketched, with the woven headpiece’s spikes simultaneously wrapping themselves around various historical personalities which the wicked wrongdoer has either compelled or ensnared to become his willing instruments.

 The regular cover art to "DELIVER US FROM EVIL" #2 by Stefano Cardoselli 

Civil War: The Confession #1 - Marvel Comics

CIVIL WAR: THE CONFESSION No. 1, May 2007

Considering that this twenty-two page periodical essentially just consists of some conversations between Iron Man and Captain America, it is arguably somewhat impressive that Issue One of “Civil War: The Confession” was the eighth best-selling comic book in March 2007 – at least according to “Diamond Comic Distributors”. Indeed, in principle Brian Bendis’ notion of two characters simply talking to one another about their motivations and beliefs for the entirety of a “Rated T+” one-shot debatably sounds rather uninspiringly dull, and certainly not the sort of publication which would sell a staggering 112,416 copies.

Happily however, such is the penmanship of this title that it succeeds in providing both a genuinely intriguing insight into what made Tony Stark battle against his long-time comrade-in-arms, and that the new Director of S.H.I.E.L.D. seemingly now regrets so zealous a stance following the Sentinel of Liberty’s subsequent assassination. These nagging doubts really are convincingly delivered, as Shell-head initially appears to be trying to once again justify himself to his ‘old friend’, before finally succumbing to the dread realisation that his support of the Superhuman Registration Act and all the horrendous sacrifices he made wasn’t in any way “worth it.”

With such a high bar set, the American author then deep-dives into the psyche of Steve Rogers, and presents a morally-right super-hero, who appears to pity his opponent when he realises Iron Man arrogantly believes he’s won simply because the First Avenger surrendered to the authorities. This contrast in perceptions is particularly well demonstrated when Captain America is first brought to his prison cell and a soldier instinctively still salutes him – as opposed to the reception Stan Lee’s victorious co-creation receives upon arriving on the S.H.I.E.L.D. Helicarrier; “Can you feel it out there? They don’t like me here and they don’t want me here.”

Adding a gritty realism to all these sedentary, yet still pretty intense proceedings, is Alex Maleev, who quite wonderfully shows the weight of Tony’s new world bearing down upon his ultimately unworthy shoulders. The leader of the United Nations Peacekeeping Task Force really looks like the one who has been defeated, whilst ‘Cap’ is pencilled with an evident and energetic chip still upon his broad shoulders. In fact, the World War Two veteran is shown to be the far more dynamic and physical of the two men, with Stark appearing soberingly crestfallen in his treacherous triumph.

Writer: Brian Michael Bendis, Artist: Alex Maleev, and Color Artist: Jose Villarrubia

Daredevil [2022] #6 - Marvel Comics

DAREDEVIL No. 6, February 2023

Featuring an unbelievably tiring thirty-two panel sequence depicting Matt Murdock chopping up some tomatoes in a kitchen, Chip Zdarsky’s script for this comic probably did cause its readers to believe it was “the most shocking issue” of the author’s “landmark Daredevil epic yet”. However, such an accolade is arguably not a good thing when its due to a severely sedentary narrative, which only occasionally pops into life whenever the spotlight moves away from its titular character; “Would you mind prepping some garlic? Knives are to your right.”

Indeed, despite the pre-publication promises of "Marvel Worldwide", the actual highlight of this twenty-page periodical solely rests upon the shoulders of Elektra Natchios’ so-called “international incident” concerning an apparently undead incarnation of the United States Commander-In-Chief. This well-penned and intriguing confrontation between the deadly assassin and Frank Castle's presidential puppet is made all the more dramatic when an overconfident Iron Man smashes his way into the fracas, and gets swiftly ambushed by a pair of stooges armed with one nanometre thick Symkarian steel swords.

Unfortunately though, so pulse-pounding a predicament is just as short-lived as the rest of the publication’s rambling plot is long-winded, so soon gets swallowed up amidst the Man of Fear’s bemusing dialogue-driven desire for redemption with some of the world's more notorious B-List criminals. In fact, many a bibliophile will probably be left scratching their heads in wonder at just what the blind lawyer’s overtly-religious plan is for the likes of Stegron, Speed Demon, Stilt-Man, Agony and Bullet – Unless Murdock genuinely believes in simply busting the mass-murderers out of their lawful imprisonment on the Raft he is somehow doing God’s work..!?!

Desperately attempting to hold the audience’s attention with his drawings is Rafael De Latorre, who appears to squeeze as much action as an artist can manage from the aforementioned broth-making debacle. This conversational piece does admittedly contain one moment of melodrama when the Brazilian illustrator pencils felon Buck Cashman being asked to use a kitchen knife whilst Daredevil has his back turned to him. But even this potential threat is quickly quashed as flat as the vegetables being prepared for dinner once the felon quietly sets about crushing the plant with the flat of the blade.

 The regular cover art to "DAREDEVIL" #6 by Marco Checchetto & Matthew Wilson

Dune: House Corrino #4 - BOOM! Studios

DUNE: HOUSE CORRINO No. 4, June 2024

Excitingly crammed full of misdirection, treachery and double-dealing, Issue Four of “Dune: House Corrino” certainly should have utterly enthralled any bibliophiles even slightly interested in Frank Herbert’s 1966 Nebula Award-winning novel. In fact, considering this comic contains a disconcerting Face Dancer of the Bene Tleilax, a blatant assassination of House Harkonnen’s ambassador on Kaitain, and the catastrophic crash of a Guild Heighliner, it’ll genuinely be difficult for anyone reading this comic to confidently guess just who will survive its thirty-three page plot, and who will die in a particularly gruesome manner; “I’m afraid you have been demoted. The Baron asked me to keep a special eye on… a particular matter.”

Easily this book’s most tensely penned sequences are those concerning Count Hasimir Fenring, and the evil emissary’s decidedly dodgy dealings on the usurped planet of Ix. The nobleman is quite quickly shown to be up to his neck in deadly intrigue when he participates in replacing some Navigator supply tanks with Master Researcher Ajidica’s inferior artificial spice, and at one point it genuinely appears that Padishah Emperor Shaddam IV’s most highly-trusted agent won’t actually survive the mission.

However, the swift rise to power of Project Amal’s utterly immoral leader is similarly as entertainingly told by Brian Herbert and Kevin J. Anderson. Carefully crafted for the pair’s “Prelude to Dune” prequel trilogy, rather than a character found within the science-fiction franchise’s original 1965 narrative, this master of manipulation debatably dominates every scene in which he appears. Indeed, many a reader will surely take great satisfaction in witnessing the disagreeably smug Hidar Fen Ajidica’s smile finally fade from his arrogant face when the grey-skinned genetic manipulator suddenly realises his experimental Amal won’t be superseding “all spice production from Arrakis” after all.

Somewhat disappointingly though, all these sly “plays for power” aren’t pencilled by mini-series regular artist Simone Ragazzoni, with Andrea Scalmazzi taking over the unenviable task of bringing the co-authors' majestic vision to this ‘pulp’. Fortunately, the new illustrator is clearly perfectly capable of providing the likes of Fenring’s brutal battle for survival against a Face Dancer to pulse-pounding prominence. Yet their sketching style is so disconcertingly different to that of their predecessor that it definitely takes a fair few panels before any onlooker can arguably settle back into the comic’s numerous coups.

The regular cover art of "DUNE: HOUSE CORRINO" #4 by Raymond Swanland

G.I. Joe: A Real American Hero #303 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 303, March 2024

This particular twenty-page periodical probably landed rather well with any one already aboard “the G.I. Joe hype train”, or who simply enjoys the more covert aspects of military operations. For whilst a fair portion of the comic does focus upon the different competing forces consolidating what up-to-date intelligence they have upon one another, a considerable amount of sheet space is also dedicated to assassination runs and supposedly secret scouting missions; “So far, they don’t know the extent of the Pit defensive perimeter. Let’s keep it that way.” 

Of particular interest has to be Revanche and Serpentor Khan’s attempt to kill both Snake-Eyes and Scarlett in the doting couple's isolated forest retreat using the latest in heavily-augmented cyborg shadow warriors. This adrenalin-fuelled fight-fest is absolutely riveting, and despite Shana O'Hara’s assurances to young Timber, should genuinely have many a bibliophile worried that the pair might actually be about to meet their match. Indeed, the evident contrast between the protagonist’s ‘old-school’ weaponry and the laser-powered armaments of their attackers seemingly imbues the mechanical would-be murderers with a distinct, visual advantage.

Delightfully though, there’s actually plenty of enthralling fun to be found within this book’s more sedentary sections as well, courtesy of an extremely intriguing conversation between “the resurrected being of Genghis Khan” and Alpha-001. On the face of it a man dressed as a giant snake talking to a large robotic caterpillar could appear extremely farcical at best. However, the well-penned dialogue is so good that any reader should easily be able to suspend their sense of disbelief at its absurdities, and simply go along with one of Serpentor’s cannibal-zombie stooges volunteering to be genetically emboldened inside the cocoon of a surgical bot.

Somehow also adding an aura of authenticity to this publication’s proceedings is Chris Mooneyham. The Kubert School graduate does a superb job of making the hive entity Revanche appear both believable and sinisterly threatening simultaneously. Whilst his layouts for the aforementioned assault upon Snake-Eyes’ log cabin are tremendously well-sketched, and contain plenty of the pulse-pounding speed an audience would expect to see when witnessing “one of the most prominent characters in the G.I. Joe: A Real American Hero franchise” standing toe-to-toe against an “enhanced blue ninja dedicated kill squad.”

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #303 by Andy Kubert & Brad Anderson

Midnight Suns: Blood Hunt #3 - Marvel Comics

MIDNIGHT SONS: BLOOD HUNT No. 3, September 2024

It’s probably a fair bet that many a reader was rather disappointed with Bryan Hill’s script for Issue Three of “Midnight Sons: Blood Hunt”, considering that the vampireless comic doesn’t contain any sort of showdown between Blade and his former comrades whatsoever. In fact, up until this twenty-page periodical’s conclusion – which frankly feels like a bolt-on when the American author realised his ‘play by the numbers’ plot was going to fall significantly short - there’s not even a glimpse of Eric Brook’s sword-slashing alter-ego to be found despite its publisher’s pre-print solicitation promise to the contrary.

Instead, any bibliophiles picking this mini-series’ final instalment up will be faced with the “now (mostly) banded together” titular characters disconcertingly confronting a demonic clown in an Illinois hospital. Admittedly, this bemusing twist definitely contains a few terrifying scenes as Danny Ketch, Vicki Montesi and Johnny Blaze all appear to abandon a local nurse to a gruesome fate (possibly worse than death). But such is the team's confidence to trounce the worm-infested walking cadaver that the storytelling quickly becomes almost sedentary once it becomes clear that the petrified health worker was simply being used as bait; “You are bound. Embodiment of darkness. Bound in this form. And once banished, never shall you return.”

Furthermore, for some utterly bizarre reason Tamlyn Hamato seems to leave the paranormal super-heroes to the battle by ‘exiting stage left’ just as the fearsome fight begins. This baffling departure ‘off-screen’ debatably makes a complete mockery of just why Tulip was brought into the book in the first place, as the three devil-hunting comrades-in-arms all seemed perfectly willing to be drawn together without her influence anyway. Indeed, somewhat uncharitably, the Chicago-born screenwriter could be criticised for including the Japanese arms dealer simply so he could pointlessly pen her walking the sun-drenched streets of Chiang Mai, Thailand some “weeks after the defeat of Varnae and his blood hunt” and finding a heavily-bearded Blade.

Possibly just as perturbed by this bizarre sequence of events as the audience is German Peralta, who pencils some rather lack-lustre, lifeless panels depicting Montesi trying the convince Julie that she needs to face her greatest fear so it can physically manifest itself in our dimension. Some of the illustrator’s panels genuinely look like reused sketches from earlier in the layouts (or even page), and debatably lack a lot of dynamic energy any onlooker might expect from a frightful undead fun-fair attraction stalking the living.

The regular cover art to "MIDNIGHT SONS: BLOOD HUNT" #3 by Ken Lashley & Juan Fernandez

Uncanny X-Men #1 - Marvel Comics

UNCANNY X-MEN No. 1, October 2024

Weighing in at a hefty thirty pages, not including the giant gimmicky QR bonus panels code, Gail Simone’s script for Issue One of “Uncanny X-Men” certainly seems to offer plenty of bang for its buck, courtesy of some disconcerting intrigue, a pulse-pounding bout of pugilism with a giant dragon, and a genuine moment of sadness at the University of Mississippi Medical Centre. Indeed, the comic contains so many enthralling plot-threads that its perfectly clear just why its American author spent so much time “trying to keep my brain from exploding right out of my skull” whilst working on it.

Foremost of these character-driven storylines is arguably that of Rogue, who acts as both narrator and reluctant leader of the scattered super-team. Anna Marie’s doubts, worries and desperate desire for a purpose in her life are clearly causing the mutant all kinds of conflictions, and these misgivings provide the once head-strong slugger into a much better-rounded member of the group. Furthermore, Chris Claremont’s co-creation can clearly still throw a mean punch, as seen when she clobbers the gigantic Sadurang squarely across the Avenue of the Dead in Teotihuacan.

However, it is perhaps this book’s opening which provides the audience with their biggest chill, courtesy of Corina Ellis’ arrival at Xavier’s former school for gifted youngsters. The presumably politically powerful doctor’s dismantling of everything sacred to both the mansion’s former occupants and X-fans alike is as savagely penned as her arrogant authority is all-too evident - with perhaps her utter disdain for Cerebro proving particularly unpalatable; “Building a monument to these people. Their entire cult. Burn it. This entire foul cathedral. To the ground.”

Visually helping Simone in making this publication such a satisfying success is illustrator David Marquez and colour artist Matthew Wilson. Together the creative pair imbue all the central cast with a truly palpable, physical world-weariness, and also depict a truly classic battle sequence between “a core group of essential X-Men” and the aforementioned Asgardian Serpent. In fact, in many ways it’s a pity that the punch-up doesn’t last a little longer, as Rogue frantically attempts to figure a way to defeat the powerful sorcerer from Jotunheim without “ruining the nice cultural treasure” surrounding them.

The regular cover art to "UNCANNY X-MEN" #1 by David Marquez & Matthew Wilson

Conan The Barbarian #13 - Titan Comics

CONAN THE BARBARIAN No. 13, August 2024

It’s difficult to imagine that many who bought Issue Thirteen of “Conan The Barbarian” would agree with “Titan Comics” boast that the book continues the publisher's “triumphant new era” based upon the exploits of Robert E. Howard’s iconic sword and sorcery creation. For whilst Jim Zub’s narrative definitely contains plenty of tense, action-packed moments of ferocious close combat and desperate last minute gasps of barbaric bravado. The twenty-two page plot also depicts a titular character so disenchanted with his people’s belief in the grim and gloomy god Crom, that he foolishly wanders off into the winter wasteland of the North to almost suicidally test his mettle against the savage beasts found there.

Admittedly these ‘trials by combat’ are definitely entertaining, thanks to the Cimmerian repeatedly overestimating his ability with a sword, and subsequently having to resort to feats of supernatural strength so as to save his skin from the likes of a hungry wolf pack. But such displays as the future King of Aquilonia quite literally tearing a fully-grown Canis lupus apart with his bare hands or somehow surviving a murderous mauling by a huge bear when his blade fails him, is arguably the stuff of amateur fan fiction. Not what a bibliophile would ordinarily expect to find within an officially licenced comic book; “Their prey is wounded and ready to fall. They’re wrong. Conan has claimed this territory.”

Quite possibly this periodical’s biggest bemusement though lies with the Canadian author’s flashback to when an infant Conan decides he’s had enough taunting from his father, and unconvincingly bests him in a sword fight. This ‘battle’ stems from the boy’s unwillingness to accept Crom’s existence on the say so of the villagers alone, and supposedly demonstrates that the lad has his deity’s fire inside him after all. Yet, the suggestion that a mere untrained child, no matter how angry, could disarm his significantly larger parent with just a couple of swings of a heavy hand weapon is far from convincing, and again disappointingly smacks of something to be found in a fanzine.

Luckily artist Doug Braithwaite is able to provide this comic with plenty of energetic eye-candy, with his prodigious pencils doing a first-rate job in selling all but the most implausible of the plot's predicaments. Of particular note is how well the British illustrator depicts the young barbarian’s increasing wounds, so by the time the understandably weary hunter has brought his latest prize back to camp, he looks incredibly dishevelled with gore and bloody cuts.

The regular cover art of "CONAN THE BARBARIAN" #13 by Dan Panosian

Teenage Mutant Ninja Turtles [2024] #1 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 1, July 2024

Billed by “IDW Publishing” as both a “new series premiere” and “new jumping-on point”, Jason Aaron’s script for Issue One of “Teenage Mutant Ninja Turtles” probably caught many a fan of the media franchise by surprise in July 2024, due to it focusing solely upon the perilous predicament of Raphael as opposed to all four of the “anthropomorphic turtle brothers.” Happily however, this insight still proves incredibly enthralling, as the Alabama-born author pens a fascinating solo tale involving “everyone’s favourite brawler” deep behind the iron bars of San Quentin State Prison; “At night, the cells go quiet. Unless you’ve got the senses of  shadow warrior.”

Arguably the biggest of this twenty-two page book’s ‘hooks’ has to be the mystery surrounding just why Raph is locked up in the first place. It’s clear that the character has been residing at the correctional facility for some time before “Inmate” begins, and resultantly he has gotten to know the ‘lay of the land’ reasonably well. Furthermore, “the most aggressive of the turtle brothers” is clearly capable of fighting his way to freedom whenever he wants, so just what the Warden’s hold over him is that prevents the mutant from doing so is equally as prevalent in the audience's mind.

Indeed, perhaps the glue that holds this entire publication together lies in the strange relationship between the turtle and Starnes. The prison official is clearly using Raphael’s skills to keep his penitentiary running smoothly - as seen when the super-hero absolutely pummels three potential escapees in the sewers one night. But the open hostility and aggression on display whenever the pair converse also strongly suggests that the vigilante has actually committed some unlawful indiscretion in the past which has provided the Warden with both plenty of leverage, and a locked safe full of paperwork.

Definitely providing this tome with a surreal sense of realism is Joelle Jones, whose pencils provide all the action sequences with plenty of bone-breaking energy and much-appreciated gratuitous violence. Of particular interest is the American illustrator’s willingness to depict the central protagonist being occasionally bested during his fights, such as a shank shattering upon his shell or a blade marginally catching his flesh – something which adds a welcome layer of vulnerability to the battles and keeps the reader heavily invested in the combat’s final outcome.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #1 by Rafael Albuquerque

Midnight Suns: Blood Hunt #2 - Marvel Comics

MIDNIGHT SONS: BLOOD HUNT No. 2, August 2024

Despite starting with a scene seemingly stolen straight out Stanley Kubrick’s 1980 psychological horror film “The Shining”, there’s arguably still plenty to enjoy with Bryan Hill’s narrative for Issue Two of “Midnight Sons: Blood Hunt”. Indeed, no sooner has the audience waded through Victoria Montesi’s blood-drenched nightmare, than they are whisked away to the vampire-stalked corridors of a partially-deserted hospital in Springfield, Illinois for an enjoyable, pulse-pounding confrontation with a skin-shredding revenant; “I have so much pain inside me… Pain I want to share… with you.”

This tense, adrenalin fuelled chase scene genuinely doesn’t look good for the poor female nurse who finds herself at the fanged fiend’s not-so-tender mercy, and right up until the flame-fuelled Ghost Rider makes an impressive last-minute appearance, everything penned by the American author appears to lead the understandably terrified woman towards a truly grisly demise. Likewise things look similarly glum for the titular characters when their former friend Eric Brooks shocking crashes into the middle of their latest congregation and appears on the verge of dispatching at least a couple of the super-powered protagonists with his deadly sharp sword.

Quite possibly this twenty-page periodical’s best moment however, doesn’t come until its very end, when it’s revealed that Blade was merely trying to lure his ex-team-mates away from the infirmary so that some unseen demonic “sleeper of Hell” could cross over into our dimension. So disconcerting a plot twist really is very well delivered by the Chicago-born writer, and debatably occurs just as the audience are probably expecting the supernatural troupe to somehow follow their one-time mentor straight out of the clinic’s smashed multi-storey window.

Proficiently pencilling all this action is German Peralta, whose sketches of the aforementioned vampire literally clawing his flesh off of his head are well worth a “parental advisory” warning alone. Furthermore, the Argentinian artist does a cracking job in making the reader drop their guard with the ‘quiet’ of the hospital’s empty canteen. This serene atmosphere is disconcertingly peaceful, and resultantly makes the Daywalker’s dramatic entrance all the impactive as it completely shatters the calm nature of the moment in an instant.

The regular cover art to "MIDNIGHT SONS: BLOOD HUNT" #2 by Ken Lashley & Juan Fernandez