The Thing [2025] #5 - Marvel Comics

THE THING No. 5, November 2025

For those fans looking forward to the much-anticipated “Ben Grimm verses Wilson Fisk” fist-fight promised by this comic’s New York City-based publisher’s solicitation, Issue Five of “The Thing” was probably a major disappointment. In fact, the notorious Kingpin doesn’t even make an appearance in this twenty page periodical until its very end, when an enraged founding member of the Fantastic Four unceremoniously deposits a trussed up Marty Flynn inside the super-villain’s personal office; “Heard you wuz lookin’ fer me. Do I get the $10 million bounty fer bringin’ myself in?”

Instead, Tony Fleecs attempts to pen a pulse-pounding finale between this mini-series’ titular character and a somewhat suped-up Hammerhead – which largely falls flat on its face when its revealed that throughout the adventure Aunt Petunia's favourite nephew has been holding back his super-strength, but won’t be during this particular confrontation. To make matters even worse though, the so-called punch-up doesn’t even last half a dozen panels, and unsurprisingly concludes with the Maggia crime boss flat out on the street.

Debatably this book’s best moment therefore comes when it is revealed that the man who “used to beat up a little kid twenty years ago” was actually behind poor Sara’s abduction in the first place, and only contacted Grimm for help when it became clear he realised he wasn’t going to be an important player in Fisk’s scheme to “scrape people’s powers and use it to make other guys stronger.” This revelation makes Flynn all the more loathsome, and assists the Thing later on in showing his fiery ward just how utterly pathetic bullies are compared to those who genuinely know when it’s “Clobberin’ Time!!!”

Lastly, Justin Mason’s layouts do a fairly sound job of supporting Fleecs with his storytelling – albeit the artist’s somewhat cartoony, ofttimes irregularly angled figures can be a little too jarring for so serious a theme as child kidnapping. In addition, whether intentional or not, the illustrator appears to pencil Ben as being as wide-eyed and circular as possible. Such a style may well suit someone smooth-skinned like the Blob or Volstagg the Voluminous. However, this technique debatably doesn’t work when applied to a meta-human who is supposed to be covered in rock-like armour plates as the lead protagonist is.

The regular cover art of "THE THING" #5 by Nick Bradshaw & Rachelel Rosenberg

Never By Night: Disturbing Passages Into The Unknown #2 - SnowyWorks [Part Two]

NEVER BY NIGHT: DISTURBING PASSAGES INTO THE UNKNOWN No. 2, October 2025

There’s an almost palpable sense of familiarity to the opening of “Video Van Man”, which may well bring back many a nostalgic memory to those readers old enough to remember regularly renting home movies for their videocassette recorder from their local supplier. In fact, for the first few pages of Jonathan Chance’s narrative the central character appears to be a pretty laid back individual who appears to be happy simply bringing joy to children with the latest adult-rated horror flick; “There’s always that eight-year-old kid who gets the 18 Certificate because his dad’s pretty cool.”

However, events soon take on a much darker turn once the seemingly unflappable rental man’s ire is raised, even when it’s something as innocuous as one of his tapes accidentally breaking and having to be cello-taped back together. This transition is remarkably well-penned, as Bob slowly shows his true, malicious nature whenever he is crossed by either a customer ill-advisedly visiting his home, or a nosey neighbour who calls the authorities to report his unlicenced business.

Ultimately though, this eleven-page yarn doesn’t really step into the realm of a truly horrific tale until its finale, when the ‘narrator’ decides to tell the audience what really ticks him off the most. Having somewhat lulled any bibliophiles into a false sense of security with his low-level beatings, thrown citrus fruits and marriage break-ups, the maniac suddenly ramps up the violence ten-fold by merrily hacking to pieces any patrons foolish enough to stop hiring videos from his vehicle. So savage an escalation really will catch many an onlooker by complete surprise, especially when the build-up to the actual act is penned so nonchalantly by Chance.

Proficiently pencilling this descent into cold-blooded murder and chopped up body parts is Mike Bogdanovic. The artist appears particularly adept at making the inside of the van appear both extremely exciting with all the different film titles lined up along its interior walls, and inviting – at least during the yarn’s beginning. In addition, the perpetual sereness on Bob's face should send chills down some spines, particularly when he’s casually cutting his way through a helpless human being with a carving knife just because they've most unwisely chosen not to use his cut-price services any more.

Written by: Jonathan Chance, Illustrated by: Mike Bogdanovic, and Colored by: Theresa Chiechi

Absolute Batman #9 - DC Comics

ABSOLUTE BATMAN No. 9, August 2025

Despite its twenty-page plot being rather devoid of pulse-pounding pugilism until its very end, Issue Nine of “Absolute Batman” still should have kept its audience hooked with the increasing mystery it shrouds the “all new Ark (M)” with. Indeed, the titular character’s carefully planned infiltration of Gotham City’s “fully operational institution” is absolutely packed full of foreboding atmosphere – whether it be simply a tense meeting of minds to discover a suitable entry point, or the deep-sea swim into one of the Nineteenth Century Hospital’s original water pipelines; “Private records show they’ve been working on the site ever since.”

Furthermore, Scott Snyder’s introduction of his ‘reinvented’ Bane is superbly well-penned, with the supervillain causing bloody chaos the moment he appears in the neutral territory of Alegab, Bialya. Massively muscled, it is clear that the masked monster has lost absolutely none of the formidable strength and political savvy which his co-creator Chuck Dixon first imbued him with, and this makes his highly anticipated confrontation with a much less experienced Bruce Wayne all the more foreboding for the cowled crime-fighter.

Lastly, the American author finally appears comfortable to firmly establish Batman’s family for these ‘Elseworlds’ adventures by assembling all of the protagonist’s friends in one room alongside the covert operative Alfred Pennyworth. In addition, it quickly becomes clear that the Caped Crusader has the ear (and loyalty) of former Mayor Jim Gordon’s daughter for the time being, with the street cop seemingly willing to provide the costumed vigilante with all sorts of information from her Police Department’s records.

Also well worth a mention are Nick Dragotta’s layouts, which do a terrific job in holding the readers’ attention. Of particular note has to be the way the artist emphasises Bane’s tremendous size when the deadly combatant first appears at Omar’s peace party, and then how truly talented at martial arts the huge bulk of a human being is when he methodically disables the Dark Knight using a series of simple strikes to the hero’s limb joints. These meticulously precise finger jabs upon Wayne’s pressure points truly smack of a surgeon carefully cutting away at some patient’s disease, and comes before the ferocious felon has even juiced himself up on Venom…

The regular cover art of "ABSOLUTE BATMAN" #8 by Nick Dragotta & Frank Martin

Never By Night: Disturbing Passages Into The Unknown #2 - SnowyWorks [Part One]

NEVER BY NIGHT: DISTURBING PASSAGES INTO THE UNKNOWN No. 2, October 2025

Throwing one and all head-first into the high-pressure world of hosting a popular American chat show, Jonathan Chance’s storyline for this horror anthology's opening trip into terror will surely utterly engross its readers. Indeed, whether it be Dick Halloway’s dream job in television simply being too good to be true, or a sinister extra-terrestrial serpent suddenly screeching down to Earth in a torpedo-shaped spacecraft, it quickly becomes clear that despite all the upcoming celebrity’s aspirations for super-stardom, the young man will instead soon be facing some truly gruesome fate.

Impressively however, rather than simply play this twenty-six page plot out as a straightforward alien possession yarn akin to Jack Finney’s novel “The Body Snatchers”, the author instead rather cleverly taps into his audience’s sentimentality by having the central protagonist’s dying father reach out to his son one last time before succumbing to old age. This dream sequence, poignantly penned by the author, makes it surprisingly clear that Holloway is already doomed. But then still keeps everyone hooked by having his Dad also whisper something in his ear which could yet lead to the unwilling host potentially defeating the ultimate goal of the monster writhing around in his head.

Furthermore, for those fans eager to witness some grotesque-looking physical mutilation and buckets of blood-splattered gore, “Late Night Host” shouldn’t disappoint either. In fact, the longer poor Dick mentally battles the malign entity fighting for control of his body, the more painful and unpleasant his metamorphoses become – with the final confrontation resulting in him savagely tearing himself free of his own skin in a last gasp effort to rid himself of the sinister influence from outer space; "I want my life back!”

Just as successful as this tale’s scary script are Joao Azeitona Vieira’s layouts, which alongside the colours of Ren Spiller, do a fantastic job of illustrating Halloway’s descent into a blank-eyed catatonic state. Of particular note though has to be the way the illustrator manages to pencil the sheer desperation and agony suffered by Ben Conrad’s ultimately unfortunate replacement. The look on Dick’s face during his last rational moments are wonderfully intense, and contrast so well with almost peaceful look he has seconds later when he realises his father was proud of him for fighting off the alien for as long as he could.

Written by: Jonathan Chance, Illustrated by: Joao Azeitona Vieira, and Colored by: Ren Spiller

DC Vs. Vampires: World War V #12 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 12, November 2025

Considering just how merciless Darkseid’s final assault is upon the combined human and vampire survivors, it should come as no surprise to this mini-series’ audience that Matthew Rosenberg’s narrative for Issue Twelve of “DC Vs Vampires: World War V” races along a truly ferocious pace. Yet whilst some bibliophiles may well be merrily carried along with the likes of Swamp Thing nobly sacrificing himself to help feed Cyborg’s so-called miracle weapon, others may well start scratching their head in wonder as to why Kara Zor-El didn’t just pull the Earth closer to the Sun in the first place.

Indeed, this simple solution, admittedly ably aided by Alfred Pennyworth’s Green Lantern ring and some enormous chains, appears so conveniently sudden that it surely would have occurred to some of DC Universe’s bigger brains well before a treacherous Wonder Woman decides to once again murder every single surviving super-hero on the planet..? “Very clever, Supergirl. The sunrise. It is the one thing I missed, Ollie. We’re both warriors. Did you ever think about what you’d do when your war ended?”

Disappointingly however, the American author also decides to blast his readers with a bucket full of bemusing gobbledygook which luckily spurs “the tyrannical ruler of the planet Apokolips” to foolishly take matters into his own hands. Just how Harley Quinn’s Flash-powered robot works is never actually explained, nor why Alec Holland’s massively mutated alter-ego needs to physically possess Mammoth before nonchalantly walking into the automaton's razor-sharp blender. Instead, any onlookers are just told to trust the memories of the former molecular botanist, and accept that by attaching “billions of microscopic biodegradable shells” to “billions of deadly protein strands”, Swamp Thing will somehow kill the New God’s entire invasion force.

Far less manufactured, though just as frantic, is this publication’s secondary story “Heartland” by Andrew Klein. Featuring the Haunted Tank as its unlikely protagonist, this eight-page plot packs a surprising amount of adrenalin-fuelled action, and also provides an interesting insight into Sergeant Jeb Smith’s exploits during the initial Vampire uprising. Impressively drawn and coloured by French Carlomagno, the yarn has an almost animated cartoon look to it, and should certainly convince many who bought this comic to demand the Light M3 Stuart Tank's adventures continue in its own limited series.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #12 by Otto Schmidt

Nightwing #112 - DC Comics

NIGHTWING No. 112, May 2024

Gently reminding the audience just why Bruce Wayne first took up the mantle of the bat, as well as highlighting the motivation behind an adolescent Dick Grayson following in his footsteps, Tom Taylor is arguably at the top of his game for Issue One Hundred and Twelve of “Nightwing” as he cleverly pens a tale which dives deep into the differences behind the original Caped Crusaders. In fact, thanks to Batman’s narration throughout, this twenty-two page periodical’s plot intriguingly shows a seldom seen soft side to the Dark Knight, as he paternally attempts to guide his protégé through his sudden inability to leap from great heights.

Furthermore, this comic provides the titular character with a much more serious edge than is ordinarily shown, once the Teen Titan discovers just how cold-blooded and murderous poor tiny Iko’s uncle really is. This 'change' genuinely appears to make an impact upon the usually quick-quipping crime-fighter, and adds a bit more depth to the former sidekick’s often one-dimensional personality by showing just how calm-headed he can still be when an incredibly volatile situation warrants it; “He took the shot on purpose. Drew the fire. Drew the gun away from the boy.”

Sami Basri should also receive a lot of credit for making this particular publication a veritable feast for the eyes. Of particular note has to be the Indonesian illustrator doing far more than his fair share of heavy lifting to help sell the internal, highly emotional conflict raging within Grayson’s alter-ego. Indeed, not only does he manage to pencil Nightwing with plenty of visible humanity, he also somehow surprisingly imbues Batman with similar virtues too; most notably when the Dark Knight is approached by a clearly intimidated Beast Boy and asked how he handles people hating him.

Somewhat disappointingly though, this book’s secondary tale “The Son Of Grey” probably didn’t land anywhere near as well with readers. Penned by Michael W. Conrad and pencilled by the legendary Francesco Francavilla, this “period saga” doesn’t debatably really end, and instead just raises a question as to what the entire point of the two-part tale ever was. Sure, Grayson successfully tracks down the Joker-like holy man whose minions killed his family. But the young farmer then just mystifyingly lets them all go, even after being traitorously stabbed in the torso by the clownish priest.

Writer: Tom Taylor, Artist: Sami Basri, and Inks: Vicente Cifuemtes

Space Ghost #10 - Dynamite Entertainment

SPACE GHOST No. 10, February 2025

Seemingly setting up the titular character to have a nail-biting battle against a deeply disturbed, mirror image of himself from the future, David Pepose’s penmanship for Issue Ten of “Space Ghost” arguably demonstrates just why “Dynamite Entertainment” refer to him as an “award-winning scribe” in the solicitation synopsis for this comic. Sure, Dax’s plan to use his dark doppelganger’s intimate knowledge of his crime-fighting tactics against him doesn’t actually work out too well in the end. But this decision just confirms in the reader’s mind that they know precisely who is wearing Space Spectre’s costume – and resultantly will be completely blindsided by the American author’s sense-shattering conclusion.

In addition to so stunning a climax, this twenty-two page periodical also delivers an intriguing insight into the cosmic vigilante’s relationship with Robo Corp, and in particular Doctor Xander Ibal. The goatee-bearded boffin is clearly as cold-hearted as his multi-billion business is rich, and yet the super-hero is shown willingly helping him launch the scientist’s suspiciously named Ultima Satellite rather than let his time-travelling enemy destroy it before it can launch. So dubious a decision genuinely adds some depth to the “Hanna-Barbera Productions” cartoon creation, and helps establish things within this publication’s universe aren’t as black and white as some onlookers might think; “If you don’t want to die of radiation poisoning, you’ll do exactly as I tell you…”

Perhaps this comic’s most notable asset though is surprisingly what the writer’s plot doesn’t say. Just as soon as Space Spectre arrives in his past he mercilessly incinerates Doctor Alan Zorket before the debt-ridden “Merrill Prize-winning Geophysicist and Roboticist” has even begun “creating your legion of Rock Robots.” This murder must surely have already changed the future for the better, so just what cataclysmic event is on the horizon which could cause the deluded, former champion of Justice to still try to destroy an entire city with Lucidium Crystals.?

Also living up to this book’s hype is “superstar artist” Jonathan Lau, whose pencils do a fantastic job of depicting all the adrenalin-fuelled action required by Pepose’s script. Of particular note has to be the way the illustrator makes Space Ghost and his identically costumed opponent appear different in their mannerisms, despite the pair obviously looking very similar to one another. These disparities are especially noticeable during Space Spectre’s attack on Robo Corp Tower where the deranged villain is perfectly willing to relentlessly bash Ibal’s bonce against the computer panel until he gives up the rocket’s schematics.

The regular cover art of "SPACE GHOST" #10 by Francesco Mattina

Absolute Batman #8 - DC Comics

ABSOLUTE BATMAN No. 8, July 2025

Scarily super-strong due to having “ice woven into the muscle tissue” and irrefutably insane, Scott Snyder’s reimagining of Mister Freeze will surely capture the complete attention of anyone picking up a copy of this twenty-page periodical. But whilst Victor Fries Junior quite literally looks like he stepped straight out of a first-class horror flick, several other aspects of “Absolute Zero” probably didn’t land quite as well – especially once a thoroughly frozen Bruce Wayne finally manages to free himself from his adversary’s deep-freeze machine.

For starters, the American author’s sub-plot of having Waylon Jones beat-up his crime-fighting friend in a dark alleyway arguably appears a little forced, and tries to suggest that Batman’s previous “suicide mission” to save Gotham City from the murderous machinations of the Black Mask was actually an act of cowardice. Now admittedly, the vigilante is still recovering from that horrendous ordeal, and even wears an arm cast as a result of the injuries he suffered defeating Roman Sionis. But it’s difficult to watch him get so quickly ‘laid out’ by his chum without any sort of struggle, and definitely hard to swallow that the Dark Knight is in any way a quitter.

In addition, some bibliophiles possibly won’t be able to shake off the notion that Wayne suddenly appearing in his full bat-suit inside Fries’ headquarters rather smacks of Tony Stark’s lightning-fast transformation into Iron Man. Indeed, one moment a semi-naked Bruce is desperately trying to escape an air-tight tube half-full of a liquid cooling agent, and then in the next he’s booting down Victor’s door with a miniature flame-thrower strapped to his right wrist; “I heard you like pain.”

Equally as unsettling as some of the penmanship to Issue Eight of “Absolute Batman” are debatably parts of Marcos Martin’s pencilling. The Spanish artist’s handling of this book’s central antagonist is absolutely superb, with the tall, gangly monster moving with all the awkward mannerisms an onlooker would expect from a deranged serial killer whose limbs are twice the length they should be. However, some of the scenes involving Wayne – most notably the flashbacks involving his dead pal Matches – just seem a little too clean-lined for so dark a tale, especially when garishly coloured by Muntsa Vicente.

The regular cover art of "ABSOLUTE BATMAN" #8 by Nick Dragotta & Frank Martin

Marvel Spotlight #33 - Marvel Comics

MARVEL SPOTLIGHT No. 33, April 1977

Featuring both the first appearance of Devil-Slayer, as well as continuing the adventures of Deathlok the Demolisher after the cancellation of “Astonishing Tales”, this seventeen-page periodical’s plot probably proved something of a bemusing mess to many of its readers way back in January 1977 – at least to those who were unfamiliar with Luther Manning’s convoluted adventures in a post-apocalypse Manhattan. In fact, this comic’s opening pages are so primarily focused upon simply squeezing in as much backstory about its two central protagonists as David Anthony Kraft can manage, that it arguably appears that the North Dakota-born writer had scant regard as to just how much information his audience could realistically retain when it comes to the past exploits of Godwulf, Teresa Deveraux’s Central Intelligence Agency on Earth-7484, and Eric Simon Payne’s murderous demonic cult.

Happily however, for those bibliophiles able to navigate their way through such a bewildering morass of time travel, dimension jumping, Hell worshippers and shapeshifting assassins, Issue Thirty Three of “Marvel Spotlight” does contain a genuinely exciting, pulse-pounding punch-up. Admittedly, much of the misunderstanding behind the two anti-heroes locking horns is due to the American author trying to replicate Demon Hunter’s origin from the now redundant “Atlas Comics” so that the character could ‘live again’ under a new guise/publisher. Yet such is the ferocity of the fast-paced combat, that a lot of Devil-Slayer’s abilities appear to simply be on show to demonstrate how formidable Deathlok’s brute strength and computer-assisted skills actually are, rather than a blatant regurgitation of Gideon Cross' special skills.

In addition, the narrative also establishes that the planet’s population is not only under constant threat from extra-terrestrials and super-villains, but also a gaggle of horned, long-tailed ghouls who appear to go about their daily business unnoticed until they suddenly reveal themselves to strike. This notion proves particularly terrifying when the fiends initially encircle Payne’s poor ex-wife in the guise of concerned pedestrians, and then shockingly transform into heavily fanged monsters who plan to slaughter her simply to teach Devil-Slayer a lesson; “Blazes! All yer stinkin’ talk of demons was true!”

What does debatably work against this publication’s success though is possibly its interior layouts, which at times try to tell far too much within too small a space. There should be no doubt that when given the room Rich Buckler, Mike Nasser, Arvell Jones, and Klaus Janson do a splendid job depicting Eric’s increasing desperation to fend off the Demolisher once he realises he may well have bitten off more than he can chew. So it’s a real pity the creative team weren’t given an extra sheet or two so they could much more patiently illustrate the warring pair’s reconciliation, and subsequent team-up against the demons threatening Cory.

Author: David Anthony Kraft, and Artists: Rich Butler, Mike Nasser, Arvell Jones & Klaus Janson

Conan The Barbarian #24 - Titan Comics

CONAN THE BARBARIAN No. 24, October 2025

Containing a genuinely skin-crawling confrontation between the titular character and a disconcertingly dark cavern filled full of Medusa-headed serpents, there probably isn’t any doubt that Jim Zub’s script for Issue Twenty-Four of “Conan The Barbarian” strongly taps into a rich vein of Robert E. Howard’s lore and legacy. But whilst this somewhat contrived situation is both thoroughly entertaining and action-packed, a number of other elements to this comic’s twenty-two page plot might not sit as well with those bibliophiles familiar with the Hyborian Age-based works of the “father of the sword and sorcery subgenre.”

Foremost of these concerns is surely the Canadian writer’s depiction of Zula as a somewhat untrustworthy, shadowy rogue, who cowardly deserts his comrade-in-arms towards the end of this comic just when the Cimmerian has need of his help to rescue poor doomed Livia from Athyr-Bast’s Tower. Indeed, the author quite overtly portrays the shapeshifting magic user as a devious deceiver of men, who even goes so far as to openly admit to the Barbarian that he actually saved the muscular warrior from a snake-borne spirit so he could harness its incredible power in an amulet, rather than simply do the adventurer a morally decent deed; “So your offer to free me from that evil was just a selfish stratagem?”

To make matters worse though, the utterly depressing ending to this book debatably raises the question as to what the actual point of Zub’s multi-part narrative even was – apart from him mercilessly killing off all of the cast members he took from Howard’s 1967 short story "The Vale of Lost Women”. So demoralising a conclusion simply leaves an aggrieved Conan determined not to enter Stygia again, and arguably also puts a significant dampener on the war chief of the Bamulas’ previous 'promise in prose' to innocent Livia that he would safely send her home to Ophir after she was almost sacrificed to the “devil from the Outer Dark.”  

Much more uplifting than this publication’s penmanship is Fernando Dagnino’s artwork. The Madrid-born illustrator does a first-rate job in imbuing the Cimmerian with all the ferocity any perusing bibliophile might expect from the agitated interloper, and impressively captures much of the look of director Ridley Scott’s haunting “Alien” egg chamber when he pencils the birthing lair of Thoth-Amon’s slithering man-serpents beneath the heavily-populated streets of Kheshatta.

The regular cover art of "CONAN THE BARBARIAN" #24 by Dan Panosian

The Incredible Hulk [2023] #29 - Marvel Comics

THE INCREDIBLE HULK No. 29, November 2025

Whilst Issue Twenty Nine of “Incredible Hulk” certainly contains a dramatic, incredibly satisfying bout of fisticuffs towards it end as the titular character savagely pulps a monster unwisely wearing the physical form of Betty Ross' Harpy persona, some readers may well struggle to shake off the feeling that Phillip Kennedy Johnson was simply ‘killing time’ with this specific comic’s script before he could get on to penning the ongoing series’ “explosive” final instalment. In fact, many a critic could probably argue that the vast majority of this twenty-page periodical’s plot could easily have been omitted, and the American author simply just had the Green Goliath encounter “one of the Arachnis Midwives draining the blood and gamma” of his friends (and foes) just as soon as he entered Eldest’s domain.

Such a disappointing viewpoint really seems to take shape straight from the book’s opening with its rather long-winded, and somewhat confusing account of the Mother of Horrors’ origin and her subsequently corrupting “God himself.” Padded out with plenty of large panels by artist Adam Gorham, this entire sequence is debatably a bemusing mess, and certainly shouldn’t have taken up anywhere near as much sheet space as it does; “The One Below All went into the dark and killed all her children he could find… And then he hurt her, worse than anything ever been hurt.”

Furthermore, many within this publication’s audience would surely have preferred the “Eisner-nominated writer of Superman” to have instead provided them with some explanation as to just how the likes of Doctor Voodoo, Betty, Skaar and the Absorbing Man were actually captured by Vinruviel in the first place. Admittedly, the subjugation of a couple of this comic’s notable cast has previously been fleetingly depicted, or at least hinted at. But many an exciting abduction has also clearly occurred off-screen, and without any suggestion as to how these super-powered beings were somehow subdued, the revelation of their evident torment on the Requiem Plain doesn’t really strike as deep as they should – not even when the writer desperately tries to bring everyone up to speed with Eldest’s mass kidnappings via this book’s introductory ‘movie crawl.’

Easily this edition’s biggest hurdle however has to be the interior illustrations, which simply don’t sell the aforementioned origin sequence terribly well at all. Furthermore, despite the giant spider supposedly harvesting the nutrients inside the Hulk’s family and foes looking suitably venomous, Gorham’s decision to have it apparently feeding off its prey by simply sticking its legs straight through their torsos looks disappointingly unconvincing and unimpactful.

The regular cover art of "THE INCREDIBLE HULK" #29 by Nic Klein

G.I. Joe: A Real American Hero #309 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 309, August 2024

Quite simply stuffed with sense-shattering shoot-outs and exciting explosions, many a long-term fan of this American media franchise’s 3.75-inch scale action figures by “Hasbro” must have had their inner child absolutely screaming in delight. Indeed, there’s barely a pause for any reader to breath throughout this twenty-page periodical’s plot, as the likes of Snake Eyes, Scarlett, Storm Shadow, Dawn Moreno and Jinx rather surprisingly help repel an all-out invasion of Springfield by Serpentor Khan’s grotesque-looking mutant soldiers; “Us enhanced cyborgs don’t need no wussy parachutes! Just drop us like the living weapons we are!”

Furthermore, the sheer amount of military jargon on display inside Issue Three Hundred and Nine of “G.I. Joe: A Real American Hero” is absolutely insane and actually gets to the point where Larry Hama actually has to call on the help of letterer Pat Brosseau to populate a few explanatory text boxes every now and then. Admittedly, such a storytelling technique can often ‘pull’ any perusing bibliophile from out of the actual adventure. But on this occasion the odd asterisked codeword provides the dialogue with a convincing level of bewitching realism.

Impressively, the American author also somehow manages to find enough space within his script to provide “Snake Eyes III” with a highly intriguing character arc, as the deadly ninja warrior happens upon one of the local police officers responsible for her parents’ cold-blooded murder. Trapped inside his patrol car and pathetically pleading for help as more deadly mutants fast approach, this tensely-penned situation can potentially only end in one of two ways – and delightfully, this comic’s writer doesn’t say… for now at least.

Finally, the art team of Paul Pelletier on pencils, inker Tony Kordos, colorist Francesco Segala and flatter Sabrina Del Grosso all arguably need a mighty pat on the back for making every gun-shot and barbed comment appear as genuine as is possible when misshapen zombie-like creatures from Cobra Island are crashlanding on a civilian settlement from two thousand feet in the air. In addition, the actual look of the layouts has a truly nostalgic feel to them as every panel appears to have been dithered to imitate the cheap, low-quality printing processes and materials used during the Bronze Age of Comics.

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #309 by Andy Kubert & Brad Anderson

Nightwing #111 - DC Comics

NIGHTWING No. 111, April 2024

Portraying Dick Grayson as a much more emotionally intelligent, thoughtful crime-fighter than his Gotham City-based mentor, Issue One Hundred and Eleven of “Nightwing” is arguably a much slower, more sedentary affair than the former Robin’s usual fast-paced, acrobatic adventures. Indeed, apart from a brief glimpse of Batman battling some goons on the Docks, Tom Taylor relies solely upon conversations and dialogue to push his twenty-two page plot along to a rather startingly cliff-hanger; “The last thing I need is a damn superhero looking too closely!”

However, this slow(ish) speed seemingly suits the nature of the titular character’s investigation into Heartless’ apparent departure from Bludhaven and subsequent incursion into the Dark Knight’s metropolis, as it allows the storytelling to take on an almost police procedural quality. This ‘by the book’ atmosphere genuinely helps sell the trauma experienced by poor little Iko Wahid, whose father has been savagely slain by Shelton Lyle’s deadly alter-ego, and also allows the audience to observe some significant similarities between the Teen Titan’s upbringing under the wing of Bruce Wayne and the orphan’s future in the company of his Uncle Loc.

Furthermore, this comic contains a solid scene between the Caped Crusader and his protégé concerning the former Circus performer’s inexplicable sudden fear of heights. Proficiently pencilled by artist Sami Basri, this discussion atop a high-rise building shows just how vulnerable Grayson has shockingly become without being able to “jump” from any great height, and provides Batman with an opportunity to show his heartfelt concern that he one-time prodigious highflyer is now reduced to simply ‘taking the stairs’ in order to reach the Coroner’s Office.

Quite possibly this book’s biggest draw though may well be Michael W. Conrad’s short story “The Son of Gray”, which comes completely out of the blue to transport this publication’s devotees to Fourteenth Century Normandy during the Bubonic Plague. Reading like an “Elseworlds” tale and featuring both the art and colours of legendary illustrator Francesco Francavilla, this enthralling two-parter sees a revenge-filled “Grayson” facing off against an utterly insane Joker – who sees himself as some sort of pious bishop who has carte blanche to brutally slay everyone in the name of God.

The regular cover art of "NIGHTWING" #111 by Bruno Redondo

Space Ghost #9 - Dynamite Entertainment

SPACE GHOST No. 9, January 2025

Stripped of his famously formidable power gauntlets, David Pepose’s opening for Issue Nine of “Space Ghost” seemingly appears to set up a storyline in which Jan, Jace and Blip will “somehow pull victory from the jaws of defeat” rather than their helpless masked mentor. Indeed, stranded alone without any means of attack, this twenty-two page periodical’s plot appears to be on the verge of completely sidelining the titular character as he becomes increasingly hemmed into the shadows by an endless series of ship-wide robot trooper patrols.

Impressively however, the “award-winning author” instead decides to take a different route entirely by focusing upon the actual human being behind the galactic crime-fighter’s mask, and firmly establishing that the Federation will only be saved through the use of brains as opposed to brawn. This insight cleverly builds upon all the pent-up rage and despair Dax experienced when he first encountered the cold-blooded killer of his biological family, and ultimately replaces the super-hero’s blind, almost reckless hate-filled vendetta into a successful, much more well-thought out campaign which focuses upon the love he felt when he was with his wife and daughter, not their actual loss. 

Of course, that doesn’t mean for a moment that the vigilante’s adolescent crew aren’t also penned being up to their necks in deadly danger on the surface of Cetia-7. Metallus’ murderous assault upon the Galactic Federation’s Homeworld still needs stopping, and enjoyably the American writer provides the trio with a convincing set of circumstances in which they can do so. In fact, Jan’s discovery that a huge electromagnet can completely shut down the would-be space conqueror’s robots quite neatly brings the entire quartet back together again for this comic’s satisfying conclusion; “Nice work Blip -- I always knew you were the real brains behind this operation…” 

Equally as important to the success of this book’s storytelling are Jonathan Lau’s adrenalin-fuelled layouts. The “artist extraordinaire” appears particularly prodigious at capturing all the quick-witted, acrobatic antics a reader would expect of two kids and a cybernetically-enhanced monkey as they strive to stay one step ahead of a fatal laser beam. However, the illustrator is also incredibly adept at even making this publication’s quieter moments all the more thrilling, by somehow capturing the emotions resonating from its cast members – such as when an agitated Lieutenant Transor gruffly questions Robo Trooper H-B-7 over “the equivalent of a door hinge in need of tightening.”

The regular cover art of "SPACE GHOST" #9 by Francesco Mattina

Absolute Batman #7 - DC Comics

ABSOLUTE BATMAN No. 7, June 2025

Despite this being the second best-selling comic book during April 2025, it’s probably a safe bet that a fair few of this publication’s audience were a little bemused by the contrasting quality of Scott Snyder’s penmanship with that of “the one and only super-star” Marco Martin’s disappointing pencilling. In fact, some of this twenty-page periodical’s panels are so disconcertingly dreary, such as its opening sequence which features a close-up of Victor Junior’s adolescent face as he slowly succumbs to “a rare terminal disorder” in Tanzania, that the odd bibliophile may well have been in two minds as to whether they wanted to read on any further.

For those that do persevere however, there is undoubtedly a solid, almost scary storyline to be found inside Issue Seven of “Absolute Batman”, and one which intriguingly transforms the classic character of Mister Freeze from that of a “tragic villain” desperately attempting to save his beloved wife, into a truly disturbing, thin-faced youth who can apparently transform himself into something that wouldn’t look out of place in Motive Studio’s 2023 survival horror video game “Dead Space”. So strong a departure from the ‘norm’ really must have caught a lot of readers off-guard, and (once again) helps the American author provide this ongoing title with a shocking cliff-hanger; “I felt everything. Every moment. And the pain… My god. Ice grinds and twists… The ice isn’t grace. It is fury. It’s reckoning.”

Furthermore, this comic contains some nice examples of how Bruce Wayne’s network of contacts is able to support him in his covert crime-fighting. Admittedly, the absolutely horrific death of poor Mitchell Malone to some face-popping bacteria quite possibly pushes this book’s “Ages 15+” guidance to its limit. But the information “Matches” spills before spontaneously bleeding out on Elliott Bridge also neatly illustrates just how deadly a game the Dark Knight is playing, as well as leads into the Caped Crusader vengefully setting off to V-Core’s company headquarters during a snowstorm without actually knowing first-hand what it is he's actually going to face there.

Disappointingly however, some onlookers may well say that it doesn’t matter how good the narrative may be, if the interior artwork isn’t up to scratch to help tell it, and that’s definitely the problem with “Absolute Zero”. There is no doubt that Martin can sketch both an atmospherically dark conversational piece set within the confines of a Gotham City alleyway, and an adrenaline-fuelled action scene showing Batman ducking the local authorities. Yet, along with some garish palette choices by Muntsa Vicente, a fair few of this publication’s visuals are far more likely to put people off from buying another edition, rather than draw in any new Bat-fans.

The regular cover art of "ABSOLUTE BATMAN" #7 by Nick Dragotta & Frank Martin

Astonishing Tales #36 - Marvel Comics

ASTONISHING TALES No. 36, July 1976

Considering that this comic’s cover proudly boasts it contains “a new beginning for the most action-packed series of all”, it probably came as something of a shock to its audience that Issue Thirty Six of “Astonishing Tales” was actually the title’s final instalment. In fact, the book’s secondary tale – “What To Do After The Apocalypse!”, even ends with a tantalizing cliffhanger as Deathlok disappears alongside the mysterious Godwulf in a flash of light to some other universe, and the periodical’s final panel promises that its next edition will feature some sort of “Frenzy In The Future!”.

However, quite possibly with hindsight it now seems clear that the ‘writing was most definitely on the wall’ for Rick Buckler’s production, seeing as how the Demolisher’s creator had quite literally separated the man from its cybernetic machine courtesy of a clone body, and sent the post-apocalyptic assassin’s still functioning remnants off on a seemingly suicidal mission down inside the Twenty-Third Street [underground tube] Station. Admittedly, penning a dejected, almost depressed Luther Manning sat hunched over a typewriter working on a lengthy report of his time as a computer-controlled killer isn’t the most uplifting of fates for the former United States Army Colonel. But along with Simon Ryker’s permanent descent into insanity, it does bring to an end the major motivating factors behind the character’s previous existence as a traumatised automaton.

Furthermore, the appearance of Buckler’s Green Arrow-like “Skulker of the City’s Underside” sadly smacks of the Bronx-born author desperately scratching around for someone to snatch Deathlok away from Earth-7484, and permanently sever the two separate beings’ mind-link once and for all. Just how a nearly naked man is able to successfully battle the modern-day technology of Ryker’s numerous goon squads is never even hinted at, and yet the American author clearly expects his readers to accept that the acrobatic archer has already built up so formidable a reputation with his heavily-armed opponents that they bolt for safety just as soon as they spot the bearded saboteur; “It’s him again! We haven't got a chance in --”

Lastly, it also seems arguably clear that some of the previous problems getting this particular publication out on time have returned, with Keith Pollard back providing some ‘embellishments’ and inks to Rich’s pencils. This ‘helping hand’ definitely has an impact upon the look of some of this comic’s layouts – especially during its aforementioned later yarn, and whilst theses panels look proficient enough, their overall different style would probably have caused any perusing bibliophile to have momentarily paused in their tracks – temporarily jarring them from out of the adrenalin-fuelled action.

Concept, Story & Art: Rich Butler, and Embellishment: Keith Pollard

Red Hulk #8 - Marvel Comics

RED HULK No. 8, November 2025

Seemingly pulling all of this ongoing series’ numerous plot-threads back together into a single storyline with a mixture of timely rescues and expedient encounters, it will be debatably difficult for any "Marvelites" reading Issue Eight of “Red Hulk” not to be impressed with Benjamin Percy’s prodigious penmanship. Indeed, the sheer breathtaking momentum of Deathlok’s attempt to find his ‘friend’ deep within a top secret military-controlled laboratory, and that of First Sergeant Bowden’s investigation into “Ryker’s illegal collusion with Doctor Doom” should easily carry this comic’s audience straight through the twenty-page periodical, as well as help its readers forgive the odd all-too convenient coincidence or two; “Change your heading. We’re going straight to the Pentagon.”

Furthermore, the American author does a good job in showing just how both the facility’s cruel experiments, alongside the passage of years, have finally taken a tough toll upon the emaciated, physical frame of Major Thaddeus Ross. Such evident frailty genuinely helps to convince any onlookers that Bruce Banner’s old arch-nemesis is finally at the end of his limits, and generates plenty of plausibility to the notion that an almost feral War Wolf may well catch the fleeing General and Wildstrike as they slowly stumble through the villain’s maze of corridors looking for an exit to safety.

Also well worthy of a mention is Luther Manning’s realisation that despite him being carried “through that whole damn operation” by Machine Man, the experience has actually helped the two heroes form an even stronger bond with one another than before. This moment proves particularly poignant as it initially starts with the Demolisher angrily verbalising his trademark frustrations at his comrade-in-arms, only to then realise that previously it was him who was carrying a useless X-51 “many miles through hostile territory” in Latveria.

Equally as responsible for imbuing all these enjoyable events with a sizeable amount of speed are Geoff Shaw’s pencils. The Iowa-born illustrator appears especially adept at highlighting the significant contrast in pace between Ryker’s cybernetically enhanced werewolf form as he races through Project Alpha in Virginia looking for his prey, and Ross’ worryingly slow, tentative steps alongside Bowden. Furthermore, many a bibliophile will doubtless find themselves holding their own breath as Deathlok repeatedly batters away at a super-thick panel of glass whilst underwater, as he tries to evade a sharp-toothed Sharkman snapping him in two with its deadly jaws.

The regular cover art of "RED HULK" #8 by Geoff Shaw & Marte Gracia

Bring On The Bad Guys: Doom #1 - Marvel Comics

BRING ON THE BAD GUYS: DOOM No. 1, August 2025

As the opening instalment to an “overarching saga” goes, Marc Guggenheim’s narrative for Issue One of “Bring On The Bad Guys: Doom” does a first-rate job in enticing his audience into wanting to know more about the “ancient artifact known as the Soul Forge”. In fact, the twenty-five page periodical probably raises so many intriguing questions within the reader’s mind, not least of which is just how a Berlin-based Emil Blonsky happened to locate a long-lost dagger in the first place, that many of them doubtless immediately pre-ordered the rest of this series’ much-touted “seven villainous one-shots” from their friendly local comic book store.

Of particular note is undoubtedly the Emmy Award-winning writer’s handling of the titular character, who absolutely reeks of contemptuous arrogance just as soon as he’s shown sitting upon his throne in Latervia. This publication delightfully portrays Victor Von Doom at his most haughtiest, whether the Fantastic Four’s arch-nemesis is scornfully belittling one of his lesser spies, or childishly deceiving himself that the gamma-irradiated strength of the Abomination “would offer no contest” if the tyrant decided to pit himself against the monster in a fight; “Blonsky goes. Unaware of the mercy Doom has granted him.”

Furthermore, the actual premise behind "Mephisto's ultimate scheme" is surprisingly well explained, with the American author quite patiently spelling out just how the Soul Forge was apparently created by the sorcerous arts of the world’s six Lords of Darkness. Packed with some (obligatory) blood sacrifices and a somewhat astonishing act of treachery, this backstory shows just how long a game the Machiavellian Lord of Evil is clearly playing, and rather shockingly may even make the odd bibliophile believe that perhaps it would actually be in humanity’s best interest if Latveria’s heavily-armoured monarch won the day as opposed to Stan Lee’s demonic co-creation.

Lastly, “acclaimed artist Stefano Raffaele” also deserves some applause for proficiency pencilling plenty of attention-holding panels throughout this comic. In addition to the Abomination’s incongruous disguise outside Platz Der Republik, the Italian illustrator also serves up a wonderful, atmospheric dish for the Forge’s aforementioned flashback sequences, as well as leaves no doubt as to the sheer hellish grandeur of Mephisto’s fiery domain – courtesy of a deeply disconcerting double splash page.

The regular cover art of "BRING ON THE BAD GUYS: DOOM" #1 by Lee Bermejo

Teenage Mutant Ninja Turtles [2024] #11- IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 11, September 2025

There is no doubt that Jason Aaron’s penmanship for Issue Eleven of “Teenage Mutant Ninja Turtles” imbues the comic with plenty of pace. But despite this twenty-two page periodical containing a fair amount of adrenalin-fuelled action, it will arguably be hard for many long-term readers not to think that its opening half simply repeats much of what they already knew had occurred. In fact, the vast majority of this book’s courtroom antics simply regurgitates past events from the titular character’s previous battles; “Apologies to the jury, as this footage is quite graphic and disturbing.”

Happily however, this feeling of being somehow slightly ‘cheated’ courtesy of numerous flashbacks and witness testimony, is eventually lifted once District Attorney Hale’s nerve finally breaks and the rotund lawyer makes an ill-advised bolt for the supposed safety of Karai’s inner sanctum. This escape bid finally provides the honest people of New York City with an opportunity to witness first hand just what a cowardly bully Hieronymus really is, as well as show the corrupt politician’s police brutally beating up anyone foolish enough to get in their way.

Furthermore, the sequence generates a much anticipated ‘feel-good’ feeling for the likes of Leonardo, Donatello, Michelangelo, Raphael and April O’Neil, as the Big Apple’s population unite behind them as the metropolis’ protectors. Indeed, many a bibliophile can probably hear Chuck Lorre’s instantly recognisable TMNT television theme song starting in the background as the ‘Heroes in a Half-shell’ lose their handcuffs, collect their weapons from the evidence desk, and bound outside the court building to batter the Foot Clan once again.

Convincingly illustrating Hale’s rapid descent into an anger-fuelled madness is Juan Ferreyra, who increasingly pencils the wannabe tyrant’s corpulent face struggling under the weight of all his lies and grisly murders. Such close-ups really help ‘sell’ just how overconfident the portly prosecutor had been when he first arranged the mutants’ show trial, and just how insane the counsellor has come now his grand scheme is unravelling before his reddening eyes. Furthermore, the artist also provides this comic with an absolutely cracking double splash of the Turtles and O’Neil-turned-Casey Jones smashing into a line of undercover ninjas, whilst taking the fight back out onto the streets of “the most populous city in the United States.”

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #11 by Jorge Fornes

Astonishing Tales #35 - Marvel Comics

ASTONISHING TALES No. 35, May 1976

Initially appearing to pit Deathlok against Simon Ryker deep inside the virtual world of the Omni-computer, Rich Buckler’s plot for Issue Thirty Five of “Astonishing Tales” contains so many twists and turns that it probably had many a bibliophile’s head spinning once they'd perused the entire seventeen-page periodical. Indeed, by the time this publication is only half-way through the Demolisher has already been depicted witnessing the backstory behind an enforced exodus of the Big Apple’s population to Long Island, participating in a battle of wills against his arch-nemesis, and awakening to find his consciousness momentarily inhabiting the physical body of Project: Alpha Mech’s diabolical leader.

Enjoyably however, despite many of these sensational incidents occurring without too much rhyme or reason, Bill Mantlo’s wonderful writing still makes many of their elements sound potentially plausible, and such is the euphoric pace of the prolific penmanship that most readers would have been merrily carried along for the ride without much thought as to its believability anyway; “Reverse the molecular flow! Blast it, man! Move!!”

Possibly this comic’s biggest ‘shake-up’ though comes in the guise of Teresa Deveraux and the seemingly limitless advanced technological savvy of Earth-7484’s Central Intelligence Agency. Almost within the space of just a handful of panels this latest organisation competing for control of a post-apocalyptic America not only manages to ensure Ryker is reduced to a naked, gibbering madman. But also does the supposedly impossible by relocating Luther Manning’s brainwaves into a fully-functioning clone body during “the first successful mind transference on a live subject” ever.

Equally as enthralling as a book packed full of arrogant dictators, all-knowing computer programmes, and highly covert government operatives, is Buckler’s prodigious pencilling. Along with the inks and colours of Klaus Janson, Deathlok’s creator does a first-rate job in sketching the cyborg at the height of his mechanical powers – whether that be him staying steadfast during the heat of battle as he locks hands with his mortal enemy in an unbreakable hold, or unhappily following along with Deveraux’s suspicious trip back to Fort Dix and the facility’s ominous surgical theatre. Furthermore, the artist provides Ryker with a convincing mental breakdown – especially when the tyrant discovers his personality has been inadvertently channelled directly into Manning’s decaying, undead corpse.

Script: Bill Mantlo, Concept, Plot & Art: Rich Butler, and Inks & Colors: Klaus Janson

West Coast Avengers [2024] #2 - Marvel Comics

WEST COAST AVENGERS No. 2, February 2025

Whilst parts of this twenty-page periodical may strike some within its audience as being a little rough around the edges, Gerry Duggan’s script for Issue Two of “West Coast Avengers” certainly should have held their attention. Indeed, the comic contains a genuinely enthralling mixture of pulse-pounding pugilism and dysfunctional super-team dynamics, as Iron Man’s squad face-off against an international arms smuggling ring and Firestar “officially joins” the "Wackos"; “All right. I admit I have a thing about robots at the moment. But… Why are you trusting Ultron.?!”

Furthermore, the book initially provides Spider-Woman with a significant amount of ‘screentime’, and this really helps sell the covert operative background to Jessica Drew’s colourfully costumed alter-ego, before she then just brutally batters Flag Smasher and his minions aboard Grant Rogers’ re-papered sea vessel. Such an insight proves a great reminder to the reader as to the character’s lengthy background, and also helps inject some humour into the tense situation by showing how grossed out she becomes when the lecherous Blue Bolt pays some interest in her.

Equally as enjoyable however is this book’s much more sedentary second-half, which focuses upon Angelica Jones’ arrival at the Los Angeles Avengers Campus. There’s a very clear suggestion in this publication that all is not what it seems with Tony Stark’s supposed “A-List Hero”, and her extreme overreaction upon first encountering the former, would-be world conqueror Ultron, does not bode well for whichever reformed villain Chris Claremont’s co-creation is meant to be mentoring.

Unfortunately, the same praise can not be heaped upon the interior artwork of this comic due to some occasional, jarringly weak pencilling by Danny Kim. There is no doubt that the illustrator can create some dynamic, adrenalin-fuelled moments with his drawing – such as when Spider-Woman singlehandedly takes down a helicopter crammed full of heavily-armed goons. Yet, every now and then, a panel or two will look disconcertingly amateurish at best, like one picture where an exasperated Stark is shown clasping his hands to the sides of his head. Sadly, such sketches will undoubtedly snatch any perusing bibliophile straight out of the moment, and make them question just how much time the creative team were given before this particular title was thrown together.

The regular cover art of "WEST COAST AVENGERS" #2 by Ben Harvey