Batman #500 - DC Comics [Part Two]

BATMAN [1940] No. 500, October 1993

Essentially comprising of little more than a twenty-eight page slugfest between Jean-Paul Valley and Bane, Doug Moench’s penmanship for his second storyline inside Issue Five Hundred of “Batman”, arguably sees the Dark Knight at his most savagely brutal. Sure, the cape and cowl are no longer worn by Bruce Wayne, so this comic’s audience were probably expecting some things to change. But few readers were surely anticipating such a marked difference in violence between the original Caped Crusader and the utterly merciless machine which the Eagle Award-winner crafts for "Dark Angel II: The Descent".

To begin with, Gotham City’s supposed guardian appears to no longer care for the innocent lives he’s supposedly protecting whilst battling the heavily-muscled Santa Priscan in this book. Indeed, such is the obsession the masked vigilante has for defeating Bane once and for all, that it’s debatable as to whether he is even aware of the hapless commuters on board the out of control locomotive the pair wind up fighting inside; “We’re gonna crash! We’re gonna die! Why doesn’t somebody do something to stop this train?”

Cleverly though, this passenger imperilled predicament does provide the Boy Wonder with a fair bit of welcome spotlight as he bravely attempts to rescue those Gothamites being frantically ferried around the metropolis before their linked carriages fatally fly off the tracks – something which is particularly impressive considering that Tim Drake is hopelessly outmatched when it comes to this narrative’s main event. Furthermore, the young Robin’s role in “Knightfall” appears to significantly change during this situation, with the colourfully-costumed adolescent taking on the role of a strong ‘moral voice’ to Valley’s disconcertingly dark ‘the mission is all no matter what the cost’ attitude.

Equally as enjoyable as the penmanship behind this white-knuckle ride is Mike Manley’s artwork, which does a fantastic job of depicting a frantic Bane suddenly realising that the armoured vigilante before him is far more dangerous than he ever gave him credit for. The super-villain’s fright at being beaten is truly palpable, and the American illustrator genuinely imbues the thickly-muscled criminal with all the fear a bibliophile may well expect from someone who just moments before thought they were utterly invincible.

The regular cover art of "BATMAN" No. 500 by Kelley Jones & Bob LeRose

Conan: Battle Of The Black Stone - Titan Comics #1

CONAN: BATTLE OF THE BLACK STONE No. 1, October 2024

There shouldn’t be much doubt to anyone reading this “epic new Conan event from Heroic Signatures and Titan Comics” that Jim Zub is quite masterfully manipulating many of Robert E. Howard’s mightiest creations towards some devilish end game like an in-form chess master. In fact, the way the Canadian author manages to quite quickly imbed the likes of Solomon Kane, El Borak, Dark Agnes de Chastillon, and even invalid writer James Allison into this twenty-two page, shadow-laden supernatural storyline is truly impressive; “She closed her eyes and saw a sign. A mark upon her soul. How can she trust her wits or will in the face of such uncontrollable fury.?”

Somewhat frustratingly though, such devotion to giving this book’s considerable cast quite so much spotlight also means that the periodical’s pacing is debatably a bit disconcertingly choppy in places – such as when a certain “Tudor-period Puritan adventurer” is drawn to the sigil within the space of a handful of panels, or a dumbfounded Dark Agnes apparently slaughters someone in the wilds, east of Grenoble, without any memory of why she has done so. These short-lived sequences may well generate a sense of intrigue or mystery within some bibliophiles. But in all likelihood the majority of readers would probably have preferred to have more closely followed the Cimmerian’s exploits in the savage lands of the Picts, or Professor John Kirowan’s superbly atmospheric visit to a salubrious speakeasy in 1936 Chicago.

Furthermore, the handling of Francis Xavier Gordon, and apparent horrific demise of Allison at the publication’s conclusion, may well perturb many a fan of Howard’s original literary works. El Borak’s portrayal as a dishonest heavy-drinker, who shakes at the mere mention of the aforementioned occult sign etched in black stone doesn’t ring particularly true with the “Texan gunfighter from El Paso who had travelled the world and settled in Afghanistan” penned by the late, great father of Sword and Sorcery. Admittedly, the American adventurer is now a much older, presumably less-audacious man, who relies upon his past exploits to fund his ‘retirement’. Yet, it would surely have been more in character for him to stern-facedly warn his guests as to the deadly nature of their enquiry, rather than cowardly deny having ever “seen that thing before.”

Quite possibly this comic’s biggest hook therefore lies in the layouts of “Jaunty Jonas Scharf”, whose raw energy genuinely adds to the sheer physical presence of Conan whenever the barbarian makes an appearance. Furthermore, the smell of cigarette smoke, alcohol and ancient artefacts is truly palpable from the pencils depicting Gordon’s covert club, and helps make the predominantly sedentary setting both believable and thoroughly enthralling.

The regular cover art of "CONAN: BATTLE OF THE BLACK STONE" #1 by Gerado Zaffino

DC Vs. Vampires: World War V #2 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 2, November 2024

Containing such an impressive variety of twists and turns that it might make even the most ardent of fairground ride fans somewhat queasy, Matthew Rosenberg’s script for Issue Two of “DC Vs Vampires: World War V” rather cleverly still makes this comic’s complicated narrative extremely accessible, courtesy of simply telling the story in sequence as events take place. In fact, with the exception of Mister Miracle’s all-too brief plot thread, each incident is arguably handled in its entirety before the reader is moved on to a new development somewhere else within this mad Elseworld.

Just as notable as this pulse-pounding pacing though is the intriguingly palpable presence of the planet’s truce between humanity’s survivors and the blood-drinkers who at one point appeared destined to conquer the Earth. This political nightmare, supported by the likes of Lois Lane and apparently despised by Black Canary, permeates almost every panel, and leaves the audience in absolutely no doubt that just one move by either side will probably result in another massive battle between the two sides; “Don’t take it personal. Some people only understand war.”

Easily this twenty-four page periodical’s highpoint however, has to be Wonder Woman’s rule-breaking incursion into a League Of Shadows safehouse, and the undead Amazonian’s utterly wicked skirmish with Talia al Ghul. The gloves really are off for this particular conflict due to the American author imbuing the dread Princess Diana of Themyscira with a truly disconcerting adoration of sickening violence. Such a dramatically different incarnation of William Marston’s co-creation is incredibly intriguing to see, as is the writer’s shock conclusion when Alfred Pennyworth desperately attempts to thwart the inhuman killer by donning the late Hal Jordon’s Green Lantern ring.

Adding plenty of visual plausibility to all these blood-curdling confrontations and divisive arguments are the pencils of Otto Schmidt and colours of Pierluigi Casolino. Together the two artists really manage to make this publication a feast for the eyes by somehow bringing the stark light of day to the streets of Dakota City, and freezing chill to the snow-covered roads criss-crossing Johnstown in Pennsylvania. Furthermore, it’s difficult to imagine a more terrifying yet seductive version of Wonder Woman patiently picking apart the Daughter of the Demon's Head or calmly enquiring with Bruce Wayne’s former butler just how he wants her to kill him.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #2 by Otto Schmidt

G.I. Joe: A Real American Hero #306 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 306, May 2024

There’s so many plot-threads, character development arcs and treacherous treble-dealing taking place inside Larry Hama’s storyline for Issue Three Hundred and Six of “G.I. Joe: A Real American Hero” that doubtless a fair few franchise fans’ heads were left spinning in May 2024. Indeed, considering the sheer scope of the numerous plot-threads on show within an ordinary twenty-page periodical, it’s incredibly impressive that the Inkpot Award-winner is able to pen so many utterly enthralling moments – not least of which is the incredibly gut-wrenching demise of poor Dawn Moreno’s well-meaning parents at the hands of some super-jumpy Cobra guards; “She’s going for a weapon!! BLAM! BLAM! BLAM!”

Perhaps foremost of these pulls is just how overconfident Serpentor Khan has become in his covert dealings with both Alpha-001 at Revanche and Destro. “The resurrected being of Genghis Khan and leader of Cobra” is shown to be so bombastic that he arguably verges on the comedic. But that shouldn’t arguably stop many a bibliophile from genuinely looking forward to seeing the physically-malformed monster get his just comeuppance in a future edition.

Quite possibly this book’s best action-orientated moment though comes with witnessing Snake Eyes absolutely annihilating his wooden opponents whilst acing the Urban Interior Combat Simulation range. This adrenalin-drenched sequence is wonderfully paced, and provides Scarlett an opportunity to (admittedly somewhat clunkily) list all the various state-of-the-art weaponry, as well as an “old Uzi”, which the faceless ninja currently carries with him into combat.

Impressively adding an extra layer of exhilaration to all of Hama’s sense-shattering shenanigans is penciler Paul Pelletier, whose ability to imbue all of this publication’s considerable cast with plenty of emotion is absolutely first-rate. In fact, one of the highlights of this comic is being able to actually see the nervous tension taking place within a panel by the uneasy, physical movements of the figures filling them. This element really helps convince the audience that the events they are are witnessing have an actual physical consequence for its participants - for example the terrified, haunted look in the somewhat elderly Mister Moreno’s eyes when he’s suddenly stopped in Springfield on a routine police check, or Zartan’s almost nonchalant, matter-of-fact reaction to being sicced by a cruise missile whilst speeding through the Bayou.

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #306 by Andy Kubert & Brad Anderson

Batman #500 - DC Comics [Part One]

BATMAN [1940] No. 500, October 1993

Containing the final chapter in the "Knightfall" Saga, and a crucial development in Jean-Paul Valley’s thinking when it comes to being Gotham City’s latest incarnation of the Dark Knight, it’s arguably pretty clear just why the collector's edition of this publication was the seventh best-selling book of 1993 – at least according to “Diamond Comic Distributors”. Indeed, the super-sized periodical’s opening alone makes for a scintillating read as Bruce Wayne’s replacement quite coldly calculates what aspects of the Caped Crusader’s legendary costume is potentially going to cost him his life, and subsequently allows the sinister subconscious “System” to help him redesign it; “The cape becomes a drag on his momentum, a hindrance.”

In addition though, Doug Moench’s script for Issue Five Hundred of “Batman” also begins putting in place an environment which will disconcertingly allow “the Angel of Death” to break so many of the boundaries that his predecessor meticulously put in place, such as Mayor Armand Krol’s willingness to turn a blind eye to the vigilante’s utter ruthlessness. Such decisions are obviously made in complete indifference to Valley’s already obsessive determination to be a better ‘Bat’ than the billionaire who passed him the mantle. Yet will still allow the somewhat inexperienced youth to believe the dark, unrestrained violence he is planning to inflict upon the criminal fraternity is entirely permissible – and quite possibly even endorsed by the metropolis’ more hard-lined politicians.

Similarly as intriguing is debatably the early signs of weakness seen in Bane. Up until this point the super-villain has been depicted as a “super-intelligent world-class fighter and tactical genius” who has always been one step ahead of Wayne’s fight for justice. In fact, the vast majority of Bruce’s recent dilemmas have been solely caused by the mask-wearing Santa Priscan. In “Dark Angel: The Fall” however, Batman’s decision to severely cut him with a handful of throwing blades clearly shakes the Venom-enhanced brute, and results in him desperately seeking another source of his precious steroid before he bleeds out.

Helping to make this storyline stand out even more so are the layouts of Jim Aparo, who does a great job in making Jean-Paul’s Dark Knight appear physically different from the former man behind the cowl, despite their attire being pretty much identical. The New Britain-born artist is especially good at illustrating Valley’s much grimmer jawline, and disturbing sneer whenever he feels someone is being weak in his presence.

The regular cover art of "BATMAN" No. 500 by Kelley Jones & Bob LeRose

DC Vs. Vampires: World War V #1 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 1, October 2024

Despite a truly soul-shaking opening which sees a pair of dutiful Green Lanterns falling slap into the hands, or should that be fangs, of an undead Wonder Woman and her ever-hungry super-powered minions, a fair portion of Matthew Rosenberg’s narrative for Issue One of “DC Vs Vampires: World War V” is actually extraordinarily sedentary. Indeed, the action doesn’t arguably really pick back up until this thirty-two page periodical’s shocking last minute conclusion when Barbara Gordon is sent into a flaming death-dive from atop her Gotham City-based ‘ivory tower’ by a duplicitous Hush; “You misunderstand. We simply came to bring you a message.”

However, for those readers able to set aside any sense of disappointment about such a situation, the American author’s ability to pen a wonderfully intriguing political drama is debatably just as entertaining as watching numerous meta-humans physically go toe-to-toe against a planet partially consumed by murderous Nosferatu.

Foremost of these 'hooks' has to be the precarious string of agreements, treaties, truces and laws which this comic's considerably-sized cast must abide by so as not to plunge the planet back down into chaotic carnage. The resultant arguments, threats, and concessions provide a palpable sense of fear throughout all the conversations, and make it intriguingly dangerous to second guess the true motivations of a fair few ordinarily entirely trustworthy characters.

In addition the writer also introduces a third party into the mix, by way of Damian Wayne’s breakout vampire rebellion. Unwilling to bend the knee to Batgirl and the likes of her ambassador Gorilla Grodd, Robin appears intent on carving out his own kingdom from civilisation’s remaining population – and whilst this might seem like a good idea to begin with, the immortal boy’s guerrilla fighters might actually be just the spark to pit human against blood-drinker once again.

Equally adding to the success of this “smash-hit series” is Otto Schmidt, who does a stellar job of imbuing all the antagonists infected by the curse of the undead with just the sort of emaciated hawkishness a bibliophile may well associate with Dracula’s kith and kin. Furthermore, the Siberian illustrator somehow manages to make the likes of Grodd appear even more dangerous than ever before, with many in this comic’s audience soon realising just how deadly quick a vampire can actually be if hungry (or angry) enough to disregard the fragile armistice currently in place.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #1 by Otto Schmidt

Black Widow & Hawkeye #1 - Marvel Comics

BLACK WIDOW & HAWKEYE No. 1, May 2024

Announced in November 2023 by Marvel Comics Editor in Chief C.B. Cebulski whilst at the Lucca Comics & Games festival in Italy, Stephanie Phillips’ opening instalment to this “action-packed” sixty-year celebration of Black Widow and Hawkeye certainly seems to have had a fairly solid storyline lurking within its twenty-four page plot. Yet due to some quite questionable decisions as to this book’s pacing and persistently changing time zones, many a bibliophile probably gave up looking before reaching its rather startling conclusion; “I was on the rooftop across from the ceremony. I am sorry, Nat. The Russian minister… I shot him.”

To begin with however, “Broken Arrow” certainly seems to start off well enough by depicting “a symbiote-equipped Natasha Romanoff” consigning a Soviet assassin to a truly-dreadful death in Siberia. This disturbing scene, which offers no explanation as to just how the Black Widow became a host for her new alien friend or just why Clint Barton is suddenly the target of an Eastern Bloc hitman, ensnares the reader with a hefty veil of murderous mystery, and should've caused a fair few within the mini-series’ audience to yearn to know precisely as what mischief the sharp-eyed archer has recently caused to warrant such terminal attention.

Unfortunately though, this is debatably where the “fan-favourite” creator makes something of a misstep, by insisting on telling her tale back-to-front. Such penmanship may well work for the adrenalin-fuelled action sequence involving the Avenger and aforementioned Cold War killer in Madripoor – especially when it is so energetically pencilled by Italian illustrator Paolo Villanelli. But subsequent head-spinning trips back thirty-six hours, forty-eight hours, forty hours and twenty-eight hours will surely make even the most ardent roller-coaster enthusiast both disorientated and dizzy.

Somewhat more successful is the oddly-placed four-page bolt-on yarn which strangely follows this comic’s “new chapter in the (titular) pair's storied legacy!” Set way back when the two super-heroes were first establishing themselves within the Marvel Universe, and resultantly featuring the Black Widow wearing her original 1965 Don Heck designed strapless unitard costume, this no-nonsense ‘short’ shows an infatuated Hawkeye risking all against Snapdragon so as to prevent “the Red Spy” from being forcibly returned to her Russian masters.

The regular cover art of "BLACK WIDOW & HAWKEYE" #1 by Stephen Sergovia & Jesus Aburtov

Titans #14 - DC Comics

TITANS No. 14, October 2024

Wonderfully paced and containing the odd misdirection which will surely catch out this comic’s audience, Tom Taylor’s twenty-page plot for Issue Fourteen of “Titans” certainly seems to show just how dangerous Trigon’s daughter could actually be if she were to fully embrace the devilishly dark magic which flows through her veins. In fact, it’s probably difficult for even the most ardent fan of the titular characters to recall Marv Wolfman’s co-creation being quite as all-powerful as she is in this comic; “Broadcasting on emergency channel Omega. This is Nightwing. We need reinforcements. We need every hero on Earth.”

Intriguingly though, the prodigious penmanship on show throughout this book should still convincingly persuade the audience that Dick Grayson’s super-team are about to take the empath down, and if not them, then certainly the “divine entity representing vengeance” himself - The Spectre. For whilst some may well doubt Tempest’s ability to “break the soul gem” and release Rachel Roth from her ruby-red prison, few bibliophiles would surely wager against the nigh omnipotent Ghostly Guardian from defeating the demonic hybrid – especially after he’s quite literally cut her in two with a giant flaming sword.

Also adding a genuinely touching moment to all these nerve-wrenching situations is Beast Boy’s heart-warming concern for his beloved “Rae”, and the shapeshifter’s subsequent horror when he realises a supposedly bested Dark-Winged Queen was actually just fooling with him. Garfield Logan’s emotions are clearly running high for the possessed Azarathian Cambion in this publication, and his concern that she’ll be permanently injured as a result of the Changeling’s comrades-in-arms is evident for all to see - even during the opening when he utters a desperate, tearful plea for Raven not to attack Nightwing in a highly dramatic flashback sequence.

Aiding and abetting Taylor with his storytelling is Lucas Meyer, whose pencils clearly add to the increasing sense of tension permeating this periodical. In addition, the illustrator’s concluding panels do a truly astounding job of depicting Trigon’s apparent victory, and Grayson’s convincing concern that his friends need every helping hand they can get from across the planet (and maybe beyond) if they’re to tackle the two “extinction-level beings” before him and Swamp-Thing.

The regular cover art of "TITANS" #14 by Lucas Meyer & Marcelo Maiolo

G.I. Joe: A Real American Hero #305 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 305, March 2024

Focusing upon the various covert operations Serpentor Khan has put in place within his numerous enemies’ headquarters, Larry Hama’s narrative for Issue Three Hundred and Five of “G.I. Joe: A Real American Hero” arguably does a good job in showing just how many pies Doctor Mindbender’s mutated creation has his dirty fingers in. True, many of the murderous madman’s cybernetically-enhanced agents come to a truly sticky end within the twenty-pages of this publication. But the sheer scale of his fiendish infiltrations is still breath-taking, especially once it's revealed that the grotesque-looking villain has even managed to penetrate both the Revanche facility in Baton Rouge, as well as Castle Destro.

In addition though, the American author also pens a genuinely moving scene for Dawn Moreno involving the Joe’s parents, who despite living well inside Cobra Commander’s community, still refuse to betray their daughter to arrogant neighbour Fred 23. The pair’s willingness to batter the Crimson Guard unconscious so as to allow their offspring to escape Springfield is extremely well paced, and will doubtless have many a bibliophile a little concerned as to whether the duo will actually manage to successfully “slip out of town tomorrow” before their assault-rifle toting prisoner can raise the alarm.

Equally well worth a mention is the tense action depicted when Spirit attempts to thwart a trio of Khan’s operatives trying to find the trap door down to the Pit. This already dynamic sequence is made all the more readable by having one of his foes pull the pin from a deadly nerve gas grenade during their struggle. Due to his opponent’s sinews and tendons having “been replaced by steel cable”, it does not look too good for Charlie Iron-Knife’s chances of permanently preventing ‘the spoon from flying!’ And yet, that is precisely what Lady Jaye attempts by shockingly unloading her entire side-arm into their assailant’s head.

Providing all these marvellous moments with plenty of convincing vitality are the layouts of Chris Mooneyham, who does a terrific job in showing just how increasingly concerned the supreme leader of Cobra has become following the revelation that his recent rally was witnessed by Mindbender’s traitorous minions. The artist also is excellent at showing the feelings Moreno’s family have for Snake Eyes III, with the somewhat elderly couple touchingly cuddling her just moments after they’ve savagely brutalised Fred 23 with a seriously winding body blow and lamp-stand across the bonce; “You didn’t think we’d turn you in, did you.?”

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #305 by Andy Kubert & Brad Anderson

Moon Knight: City Of The Dead #2 - Marvel Comics

MOON KNIGHT: CITY OF THE DEAD No. 2, October 2023

Revelling in a series of somewhat surprising and horrific revelations, David Pepose’s script for Issue Two of “Moon Knight: City Of The Dead” should certainly have kept its audience completely captivated. Indeed, every time a reader probably felt they finally had a grip on Marc Spector’s bizarre adventures down in the Egyptian-flavoured afterlife, the American author throws them a wicked curveball - Whether it be the terrifying reason behind why the Jackals are killing runaways in the real world, or just how much the titular character can actually trust his now deceased lover Layla El-Faouly.

To begin with however, the “award-winning writer of Punisher” provides an instant hook by showing the “Lunar Legionnaire” and Scarlet Scarab ransacking a rather anachronistic night club packed full of tommy-gun toting ushabti bodyguards. This marvellously manic punch-up not only shows just how determined the former U.S. Marine is in locating the lost soul of young runaway Khalil Nasser. But also allows them to demonstrate just what transformational powers his “unlikely source for aid” wields as protector of the grisly metropolis.

Intriguing though, having shown just how formidable the pair can be when fighting back-to-back, such a scintillating action sequence additionally makes El-Faouly’s subsequent shocking betrayal all the more impactive. In fact, despite the Fist of Khonshu encountering an entire “murderers’ row of dead super villains who he helped put in the ground”, there still seems to be every chance that Spector will survive the deadly ambush as long as Layla has his back; “I wish I could have saved you too. Turns out you were right. This really was like Damascus after all.”

Standing right alongside Pepose with such intense storytelling, and adding plenty of “Kroom”, “Brakka” and “Whudd” for your buck whilst he’s at it, is Marcelo Ferreira. The Brazilian penciler definitely brings his ‘A-game’ to this twenty-page periodical, to the point where some onlookers may well actually be able to hear the sound of bullets winging past Moon Knight’s constantly moving form, or feel their surroundings shake as a modern-day truck somehow comes crashing straight through one of the walls of the City Of The Dead, and sends all the combatants flying for cover.

Writer: David Pepose, Penciler: Marcelo Ferreira, Inker Jay Leisten, and Color Artist: Rachelle Rosenberg

Conan The Barbarian #14 - Titan Comics

CONAN THE BARBARIAN No. 14, September 2024

Frustratingly trying to fill in some of the gaps of Robert E. Howard’s 1953 tale “The Frost-Giant’s Daughter”, Jim Zub’s storyline for Issue Fourteen of “Conan The Cimmerian” can certainly be seen as an attempt by the Canadian author to pen a prologue for that particular adventure. Indeed, the entire twenty-two page plot is dedicated to explaining how the young, heavily-muscled traveller just happened to be stood one day upon a snowy field in Nordheim when he first laid eyes on the bewitchingly white form of Atali; “Together we’ll bring those red-haired whoresons a feast of vengeance true!”

Yet whilst such a notion is arguably laudable, the writer does resultantly make a few bemusing decisions so as to ensure that the central protagonist quickly ingratiates himself with his would-be murderers to the point where he can then ‘lead’ them into battle. For example, having been ambushed by a trio of disagreeable Aesirmen, who mean to steal his food and at the very least physically maim him, the barbarian only defends himself with his bare fists – despite carrying a sword (and later hand-axe). This scrap is definitely well-paced. However, many a reader may well be left scratching their heads as to why the headstrong hero didn’t just gut the long-bearded and overconfident raiders as he would ordinarily have done..?

Furthermore, having been forced to surrender the huge bear he single-handedly killed in exchange for his own life, the audience are then expected to believe Conan would willingly join Wulfhere's Aesir in chasing down a Vanir war party who’ve just destroyed one of the yellow-hair’s settlements. Admittedly, in doing so the “the wolves of Bragi” do break one of the Cimmerian’s more well-established codes of conduct by slaughtering women and children. But even so, the sudden successful attack upon a partially fortified wooden hamlet may well land a little unconvincingly with this comic’s audience as a genuine motivation for the warrior to accompany his former foes in their blood-soaked revenge.

Quite possibly just as sceptical as to the logic of some of these events is Doug Braithwaite, whose pencilling is somewhat ‘hit and miss’ throughout the publication. The British artist’s depiction of the climactic battle is absolutely first-rate in its sheer brutality and savagery. Yet this heady bout of gratuitous violence isn’t quite proficient enough to wipe away the memory of a rather impotent-looking barbarian supposedly wearing bulky armour for the first time…

The regular cover art of "CONAN THE BARBARIAN" #14 by Jae Lee

Werewolf By Night: Red Band #1 - Marvel Comics

WEREWOLF BY NIGHT: RED BAND No. 1, October 2024

Billed by “Marvel Worldwide” as so intense that it requires both a Parental Advisory and polybag “to keep those weak of heart from experiencing it”, Jason Loo’s script for Issue One of “Werewolf By Night: Red Band” probably didn’t strike its audience as being anywhere near as vicious or gruesome as its New York City-based publisher had hoped. In fact, arguably this thirty-page periodical’s greatest horror is found in the comic’s pacing, as the author abruptly breaks up a somewhat charming insight into Jack Russel’s life as a low-key ferryman with what turns out to be an ill-fitting advertisement for the now finished “Blood Hunt” mini-series.

This clunky double-splash genuinely must have been overlooked by a many a reader as it literally leaps out of nowhere with a close-up of the Moon God Khonshu, before widening its scope to show Captain Marvel and some other human mutates, seriously cleaning the clocks of a horde of understandably disgruntled vampires. Resultantly some bibliophiles were probably wondering just why the titular character is one minute stoically trying to safely dock his boat due to day suddenly becoming night, and in the next lying semi-naked near to a hole in his castle’s wall which was previously seen when Mike Ploog’s co-creation encountered a trespassing ‘YouTuber’.

Of course, for those bibliophiles willing to persevere with the publication – either by repeated re-reads or luckily spying a few pieces of text which ineffectively point at the passage of time, the sequence of events does eventually become a little clearer. However, the damage has debatably already been done to the point where few will properly enjoy this comic’s highlight of Elsa Bloodstone paying her old friend a visit, only to find him unable to control his savage hunger; “You’ve been a busy wolf. And not in the nicest way. There’s a trail of maulings that led me right back here.”

This book’s sole success can surely therefore only be found in the lavish layouts of Sergio Davila, who appears to be at the very top of his game when pencilling the likes of Ghost Ryoshi foolishly disturbing Jack whilst he’s busy cleaning up his high-walled home in the Rockies, Colorado. Furthermore, even during this comic’s more sedentary scenes, such as Russell transporting his passengers up river, or The Hood acquiring Count Dracula's "old crib", there is always plenty of detail in every panel to momentarily hold the eye and add a little bit more interest to what is going on.

The regular cover art to "WEREWOLF BY NIGHT: RED BAND" #1 by E.M. Gist

Moon Knight: City Of The Dead #1 - Marvel Comics

MOON KNIGHT: CITY OF THE DEAD No. 1, September 2023

Energetically advertised by its New York City-based publisher as featuring “the debut of the new Scarlet Scarab”, David Pepose’s opening instalment to “Moon Knight: City Of The Dead” probably deserved to be the twelfth best-selling comic of July 2023. In fact, the thirty-page periodical is so packed full of various pulse-pounding proceedings, such as the heart-wrenching demise of adolescent Khalil Nasser at the hands of a cold-blooded cult or Marc Spector’s horrifying excursion down to a dismally dark place “where souls go to be judged”, that it’s arguably pretty near a perfect example of proficient penmanship.

Foremost of these successes is debatably the mini-series’ initial set-up, which sees a poor young street orphan being brutally gunned down during a sadistic sacrificial rite in an alleyway. So tragically sad an event on its own may well have been enough to see the titular character risk all by travelling to an ancient Egyptian afterlife. But the “former crime reporter turned Ringo Award-winning comic book creator” ramps up the masked crime-fighter’s angst ten-fold by having his comrade-in-arms, Doctor Badr, take him on an additional guilt trip over the boy’s violent death.

Just as well written though, is how disconcertingly big Moon Knight’s destination appears to be, with the author even touching upon the heavily-built monuments, luxurious palaces and numerous multi-story buildings being home to “a thousand generations” of the dead. So grand a metropolis would be impressive enough in its own right. However, the sheer scale of the land is broadened even further when the reader is shown just what sort of Crocodilian monster stalks just beneath the surface of the sand dunes outside the city’s walls; “N-No -- I take it all back! P–Please -- Anything but this -- !”

Undeniably adding plenty of dynamic energy to all these sense-shattering shenanigans is Marcelo Ferreira, who does a terrific job in depicting Spector’s emotions as he tries to hunt down Nasser’s lost spirit. Ably aided by the likes of inker Jay Leisten and color artist Rachelle Rosenberg, the Brazilian illustrator also imbues the faces of Marc’s foes with some genuine-looking terror - especially once it becomes clear to the would-be child-murderers that the “Lunar Legionnaire” can take a punch as well as dish them out.

Writer: David Pepose, Penciler: Marcelo Ferreira, Inker Jay Leisten, and Color Artist: Rachelle Rosenberg

Titans #13 - DC Comics

TITANS No. 13, September 2024

Essentially comprising of Beast Boy and Cyborg confronting a green-skinned shape-shifter in the Principality of Kravia, Tom Taylor’s storyline for Issue Thirteen of “Titans” probably pleased the majority of its readers by tapping into the pair’s well-established and engaging friendship. Indeed, it’s arguably a pity that the good-natured partnership doesn’t actually last a little longer, as Victor Stone is forced to single-handedly ‘Boom Tube’ Marco Savic to safety whilst Logan battles Apex Ava alone; “Get the President to a hospital. Take his guards with you.”

Of course, the resultant scrap between two walking, emerald-hued menageries is without a doubt the highlight of the twenty-page periodical, particularly as it contains all the sense-shattering shenanigans first seen during Merlin and Madame Mim’s morphing duel in Disney’s 1963 American animated film “The Sword In The Stone”. But many bibliophiles may well have additionally yearned for the Australian author to follow up the comic’s opening sequence, where “Gar” and “Cy” inadvertently stumble upon a demonically-possessed Raven choking Nightwing to death in the very heart of Titans Tower. Instead of simply having that adrenalin-fuelled reality immediately be ret-conned by the magic of Trigon’s daughter. 

However, almost as enthralling as the assassination attempt in Kravia is debatably Hera’s trip down to Hell to speak to the dark domain’s current ruler. This rather furtive trek to visit the extra-dimensional demon Blaze by the Queen of the Gods drips in powerful subterfuge and devilish double-dealing. Plus it contains a seriously surprising cliff-hanger when the Ancient Greek deity suddenly summons the Spirit of Vengeance to help thwart the Dark-Winged Queen from reigning all.

Quite remarkably adding a palpable aura of animation to all these proceedings is the “co-creator of Seven Secrets by Boom! Studios”, Daniele Di Nicuolo. The Italian illustrator’s art style genuinely makes many a panel appear to have been directly lifted from a roll of film stock, and impressively causes a fair few scenes to hark back to the days of Glen Murakami’s 2003 “Teen Titans” cartoon series. In fact, some within this book’s audience will most assuredly hear the show’s iconic theme song performed by Puffy AmiYumi blazing away in the background during certain segments of the action.

The regular cover art of "TITANS" #13 by Chris Samnee & Matheus Lopes

Blood Hunt: Red Band #5 - Marvel Comics

BLOOD HUNT: RED BAND No. 5, September 2024

Despite comprising of more tie-in issues and spin-off limited series than your average Marvelite can shake a pointy stick at, this final instalment of “Blood Hunt” probably still felt somewhat rushed to many of its readers in July 2024. True, the super-sized thirty-three page periodical does manage to pull many of its numerous plot-threads together for a sort of satisfying resolution. But, having an infected Miles Morales prove to be the improbable hero of the day, when the likes of the mighty Thor, invincible Iron Man and Captain Marvel appear disconcertingly impotent, is arguably a bit of a head scratcher; “I had only one weakness, Avengers. The girl. The bloodline. And she’s not here.”

Furthermore, it’s not entirely clear whether Stephen Strange’s “dread bargain” with Doctor Doom actually has any impact upon the final result. Having successfully stabbed a possessed Blade through the chest with a sword, many a bibliophile probably felt the battle was already won, and that once the Daywalker was free of Varnae’s malign influence the Darkforce surrounding our planet would return to its own dimension. However, before such an event can occur Victor casts his pre-fall Atlantean spell, supposedly brings sunlight back to the half the world, and diabolically solidifies his stance as” Earth’s new, Superior Sorcerer Supreme” – which somewhat cynically leads into another “Marvel Worldwide” major event “coming in November…”

For those onlookers able to ignore these quibbles though, Jed MacKay’s penmanship certainly still delivers a pulse-pounding experience, with much of this comic focusing upon the Avengers' fisticuffs against the dread Bloodcoven. These toe-to-toe confrontations between some of the publisher’s most popular protagonists is genuinely enthralling, especially when the God of Thunder manages to finally summon Mjolnir whilst battling the first of all vampires.

Equally up to the task of pencilling all this adrenalin-charged action is Pepe Larraz, who should genuinely cause a few painful gasps from those witnessing poor Vision losing a limb in a truly horrific manner to Bloodstorm One. In addition, ably supported by color artists Marte Gracia and Fer Sifuentes-Sujo, the Spanish illustrator impressively manages to imbue the scenes featuring Doctor Strange with a noticeably different, though far from off-putting, ambience, which speaks of the ancient and powerful magic being depicted in the panels.

The regular cover art to "BLOOD HUNT" #5 by Pepe Larraz & Marte Gracia