Astonishing Tales #28 - Marvel Comics

ASTONISHING TALES No. 28, February 1975

Despite this comic’s narrative lacking a bit of direction as its central character aimlessly meanders through a post-apocalypse New York City, many a Marvelite probably still enjoyed Issue Twenty Eight of “Astonishing Tales” due to its disconcertingly dark, cannibal-infested view of life in a futuristic Big Apple. Indeed, arguably this book’s biggest hook is how Rich Buckler pens Deathlok realising just how markedly different the noxious metropolis has become from the restaurant-packed place he used to regularly visit with his wife Janice five years earlier.

This stark contrast between the life Luther Manning vividly remembers and what the world has since become is perhaps best seen during the cyborg’s visit to the library/museum on 42nd Street, whilst investigating a black market meat operation. The trip itself later leads into the discovery that there is actually an armed rebellion taking place against the murderous machinations of Simon Ryker’s regime. But initially it presents itself as simply an adrenalin-fuelled spotlight upon the grisly day-to-day dealings of the vicinity’s disagreeable inhabitants, who appear to be perfectly happy to tear the Demolisher apart just to get at the veteran soldier’s few remaining scraps of human flesh; “They’re looking at me like I’m the morning menu!!”

Unhappily however, much of this well-written, engrossing atmosphere is then somewhat dispelled by the sudden arrival of a battle tank and a cluster of “creeps… packing lasers with heat conversion units.” This shocking plot-twist comes completely out of the blue, and despite the author’s attempt to suggest the aforementioned head-hunters were merely a pre-planned ruse to lead Deathlok straight towards the tightly-knit military force, disappointingly still debatably smacks of Buckler merely scrambling around in desperation for some big threat to throw at his co-creation.

Fortunately, due to the sense-shattering shenanigans which result from the armoured vehicle’s appearance, such an unconvincing element can probably be easily forgiven – especially when for once, the action actually shows Manning being heavily outmatched when it comes to firepower. In fact, a palpable sense of danger emanates from these prodigiously pencilled layouts as Luther’s helicopter is sketched tragically being destroyed, and the “born loser” finds himself cornered by the killer tank without any discernible means of escape.

Concept, Script & Artwork: Rich Butler, and Coloring: L. Lessmann

DC Vs. Vampires: World War V #11 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 11, September 2025

Featuring plenty of perilous partnerships and treacherous double-dealings, as well as some seriously hazardous treks across the Earth’s most inhospitable landscapes, many readers perusing Issue Eleven of “DC Vs Vampires: World War V” were probably exhausted once Matthew Rosenberg’s twenty-four page plot concluded. In fact, by the time a visibly emotional Alfred Pennyworth shockingly sacrifices the highly unreliable Robin to save Humanity’s last chance of a treaty with the surviving super-powered blood-drinkers, quite a few bibliophiles will doubtless genuinely feel as if they’ve been physically battling the New Gods and Darkseid themselves.

Much of this palpable fatigue is arguably created by the publication’s sheer pulse-pounding pace, which doesn’t seem to let up even after the likes of Lois Lane, Steel and the Atom have safely been brought to the Spectre’s secret hideout. Initially, this particular moment of respite appears to be about to get boringly bogged down in exposition as to just how the “tyrannical ruler of the planet Apokolips” can be defeated. However, due to the American author’s use of the utterly zany Harley Quinn, the actual explanation of Nightwing's "great alien-killing machine" is surprisingly delivered rather energetically; “What kind of doctor is she?”

Similarly as entertaining though is Wonder Woman’s escape from the New Gods’ clutches, after cold-bloodedly decapitating the unwisely over-confident Mistress Gilotina in a trial by combat. It’s crystal clear that this mini-series’ heroes would be very wise not to trust the demonic vampire who now claims the crown over all other Nosferatu. But dead Diana’s transformation from a badly beaten plaything of Darkseid back to an arrogant exterminator is quite wonderfully penned, and makes Black Canary’s agreement to work alongside her all the more dangerous for mankind.

Just as successful as this comic’s largely dialogue-driven writing is Otto Schmidt’s pencilling, which appears to go to great lengths to show the audience just how utterly exhausted (and emaciated) any person still alive is. Of particular note is the artist’s tremendous work sketching the sizeable cast’s myriad of faces – all of which show a vast range of emotions, feelings and reactions with just a few simple lines here and there. Furthermore, the Siberian illustrator does a cracking job in Wonder Woman’s aforementioned return to power, with just the Amazonian’s eye slits alone projecting the tremendous damage the mass-murderer could inflict upon any mortal if she was inclined to do so.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #11 by Otto Schmidt

Teenage Mutant Ninja Turtles [2024] #5 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 5, December 2024

It's pretty clear from Jason Aaron’s script for Issue Five of “Teenage Mutant Ninja Turtles” that District Attorney Hale is going to be a major antagonist of this comic’s central cast – especially when Hieronymus is depicted shooting down Casey Jones with a handgun during a cold-blooded set-up. But debatably few of this book’s bibliophiles will probably have enjoyed an entire twenty-two page publication being dedicated to the villain’s nefarious rise to power; “I won’t be taking any questions at this time. Or ever. Disperse the mob.”

Indeed, the likes of poor  Leonardo, Donatello, Raphael, and Michelangelo are frustratingly relegated to just an all-too fleeting ‘flashback’ cameo, as the book predominantly focuses upon the increasingly insane lawyer’s grief over his murdered parents, and subsequent battle to the top of New York’s justice tree with the aid of Karai and her deadly Foot Clan. Admittedly, many of these sequences are entertaining enough, most notably Hale’s fall under the thrall of Hamato Miwa when his anti-mutant prejudice gets the better of him. However, an entire edition dedicated to the new character is arguably a bit too much, and will doubtless have lead to some within this ongoing series’ audience yearning for more detail as to what is actually happening with the four anthropomorphic turtle brothers.

Likewise, despite the vigilante Jones being ‘pushed’ in the periodical’s publication synopsis, the sports-gear wearing crimefighter doesn’t actually make an appearance until the story is half-way through, and even then for much of the time he is simply held captive by Hale’s no-nonsense personal retinue. This ‘side-lining’ genuinely makes the entire Alabama-born author’s narrative feel like a bit of a ‘filler’, with the writer appearing desperate to have something going on whilst the Teenage Mutant Ninja Turtles are busy reforming and getting ready for their cataclysmic return to the Big Apple.

Perhaps just as disappointing as this comic’s script though are the layouts of “legendary artist” and “co-creator of The Boys” Darick Robertson, whose style just doesn’t seem to suit some of the situations penned for this book. Of particular note has to be the super-cute look of the mutant who supposedly gutted Hieronymus’ mum and dad during “a robbery gone wrong”. The hamster-like creature doesn’t seem likely to say ‘Boo’ to a ghost, yet the audience are asked to believe the long-toothed critter slashed the attorney’s elderly relatives to ribbons in their own home.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #5 by Javier Fernandez

Astonishing Tales #27 - Marvel Comics

ASTONISHING TALES No. 27, December 1974

Essentially comprising of a shootout-turned punch-up between Deathlok and the War-Wolf, Doug Moench’s plot for issue Twenty Seven of “Astonishing Tales” probably did have many of its readers grimly ‘hanging on to their medals’ for their lives. Sure, the eighteen-page narrative may well have proved a little repetitive for some bibliophiles due to Luther Manning repeatedly questioning whether he can actually kill his former military buddy. But Major Simon Ryker’s ill-advised admission that Mike Travers “died on the operating table” before the ferocious fight even began soon puts an end to the cyborg’s self-doubts.

In addition, the script does a good job of showing just how close the two men must have been before their moustache-sporting arch-nemesis created Project Alpha Mech, and even alludes to the Demolisher being friends with his comrade-in-arms’ father too. These flashbacks genuinely help imbue the central protagonist with plenty of palpable emotion, especially once he realises he has been played for a fool, and decides to end the heavily-fanged monstrosity before him, rather than allow it to tear his own mechanical workings to pieces; “You just told me the one thing that would make me wanna fight back!”

Unfortunately though, both the occasional bit of backstory and multiple speeches reverberating inside Deathlok’s head, does cause the storytelling to be a bit confusing and confoundingly chaotic from time to time. Indeed, Manning’s revelation that the “other voice in my head” has gone two-thirds of the way through the comic, most likely pleased a fair few bibliophiles too, as it instantly results in them being able to simply focus upon the highly entertaining banter between Luther and his computer, rather than being savagely swamped with numerous, heavily worded dialogue boxes filled full of flowery rhetoric.

Understandably with such an action-packed publication, much of this book’s success also relies upon the layouts of Rich Buckler and Pablo Maros’ inks. Together the creative pair do a first-rate job in making a physically, and psychologically drained Demolisher appear to be at death’s door by its end. In fact, the cyborg is prodigiously pencilled taking so much damage and mental abuse, that at one point his visibly shaking frame appears to be about to quite literally expire at the feet of his beloved (ex)wife Janice.

Art/Story: Rich Butler, Inks: Pablo Maros, and Co-plot: Doug Moench

Absolute Batman #1 - DC Comics

ABSOLUTE BATMAN No. 1, April 2025

It’s probably a safe bet to think that many a reader of this thirty-eight page periodical were somewhat bemused by Scott Snyder’s “version of the Dark Knight that doesn’t have the money, mansion, or butler of his core-line counterpart”. Indeed, the comic’s opening, which depicts Alfred Pennyworth as some sort of top tier, black ops reconnaissance agent conducting a surveillance mission in Gotham City, must have been incredibly disorientating for lifelong Bat-fans - and frankly matters aren’t then helped when it’s revealed that Bruce Wayne is little more than a well-built city engineer whose mother is shockingly still alive.

Fortunately though, for those bibliophiles willing to stay the course with Issue One of “Absolute Batman”, things eventually begin to click into place. Admittedly, much of this acclimatisation doesn’t really occur until halfway through the publication, when the Caped Crusader finally makes his stand against the mass-murdering members of the Party Animals on the steps of the town hall. But even before this the American author has already arguably caught more than enough of his audience’s attention to warrant them finishing the book with plenty of well-penned mystery surrounding the metropolis' latest lunatic; “This hand has killed more people than you can count. Now I’m going to give you once chance. Get the #$%& out of our way.”

By far this narrative’s greatest asset however, has to lie in the utterly engrossing relationship between Pennyworth and Wayne, as the pair trade gun-shots with one another from a mutually respectful distance. This riveting rapport is clearly unlike anything which has previously been printed within a Bat-title, and whilst it does still somewhat smack of Alfred potentially adopting the role of a surrogate father, it also strongly suggests that the pair may well be willing to physically work together in the field against the conurbation’s criminal community, as opposed to their much more familiar master/servant affair.

Similarly bringing his ‘A-game’ to this ‘bold new direction for DC Comics’ mainstay super hero’ is Nick Dragotta. The illustrator certainly seems able to imbue this book with the strong visual vibe of Frank Miller’s legendary 1986 mini-series “The Dark Knight Returns”, whilst simultaneously adding a few embellishments of his own to the mixture – such as a truly disturbing reimaging of the Black Mask. Coupled with the aforementioned pulse-pounding punch-up outside Gotham’s main municipal centre, and the Dark Knight’s occasional clashes with Pennyworth, these prodigiously pencilled layouts clearly show just why this was “undisputedly the best-selling comic of 2024.”

The regular cover art of "ABSOLUTE BATMAN" #1 by Nick Dragotta & Franbk Martin

Zatanna #1 - DC Comics

ZATANNA No. 1, April 2025

Deceptively carefree and tongue-in-cheek for most of its narrative, Issue One of “Zatanna” certainly does seem to live up to its writer’s promise that the titular character will “need all her wits and every spell she can muster in order to make it out the other side in one piece.” In fact, for much of Jamal Campbell’s twenty-page plot, the Mistress of Magic appears to be digging incredibly deep into her backlog of tricks so as to save the performer’s quite considerably-size stage crew from a multitude of grisly demises; “The Astral Plane. Things can get wonky here. I’m sending you back to the theatre.”

However, the sheer of sense of frivolity permeating the storytelling also means that many a reader will probably struggle to feel any sense of danger for the likes of Andre, Arnie or even the particularly vulnerable Adam. This lack of concern really does detrimentally impact any notion of suspense with each of the comic’s various set-pieces, particularly as the Princess of Prestidigitation additionally appears to always be slightly ahead of Lady White’s overly-dramatic attempts to dispatch her friends – whether it be via a truly elaborate dance routine on a large film set or a giant great white shark coming to life from inside a movie poster.

Intriguing though, much of this lack of jeopardy could also be seen as a way for the author to completely hoodwink his audience into believing the Sorceress Supreme is more than a match for this limited series’ main antagonist. Such a conviction is debatably not misplaced either. However, it will leave many onlookers totally unprepared for an astonishing display of treachery, which leaves a brutally transfixed Zatanna lying helplessly upon the ground and understandably gasping for every breath.

Perhaps it is therefore Campbell’s proficiency with his pencilling as opposed to the pen, which is this book’s biggest asset, thanks largely to the freelance illustrator’s signature style of “clean linework, natural colours, and subtle shading.” This publication’s layouts genuinely are a feast for the eyes, most notably when the adventure whisks its readers away to the realm of magic, and resultantly in some ways it is actually a disappointment that Jamal's carousel of single-panel rescues wasn’t expanded upon in order to allow the artist to show off even more of his flair for sketching an action-packed set-piece.

Writer and Artist: Jamal Campbell, and Letterer: Ariana Maher

Missing On The Moon #4 - Mad Cave Studios

MISSING ON THE MOON No. 4, April 2025

Seeming to forget several of this mini-series’ major plot-threads, most notably the fact that Daniel Schwinn was specifically called in by the lunar law enforcement agency to investigate the disappearance of poor Penny, Cory Crater’s narrative for Issue Four of “Missing On The Moon” must surely have left many a reader scratching their heads at its illogical conclusion. Indeed, the very notion that Osborne Scott would hire the private investigator to look into the case, even though the senior policeman was well aware of Senator Brooks’ satellite-wide drugs ring, as well as the numerous child abductions, makes very little sense; “I line their pockets, and they keep things hush hush.”

Similarly as disconcerting has to be the author’s revelation that this title’s storyline was triggered by the young school girl inconveniently ‘following her daddy to work’, and presumably discovering just how deep in the illegal narcotics industry the American politician was. Such a ghastly decision to end his own daughter’s life rather than trust her not to talk would potentially have given the elderly statesman a compelling backstory. But in this comic, the white-haired senator disappointingly just cold-heartedly writes the kid off as “a liability”, and even bemoans the fact that her corpse wasn’t disposed of correctly.

Perhaps this book’s biggest problem however, comes with the almost buddy-buddy relationship Schwinn suddenly develops with Alina. The gumshoe has just accidentally gunned down the terrorist’s long-lost brother, and recently been transformed by the woman into a blue-skinned Darksider with a toxic injection. Yet in this twenty-two page periodical’s plot, the pair work together like they’ve been best friends/partners for years, and almost effortlessly take down Brook’s massive “Stardust” empire with just a smattering of bullets.

What does work though is Damian Couceiro’s pulse-pounding pencils, which genuinely capture all the cynicism and grittiness of a harsh, unfair life, where the divide between the rich and poor could not be much greater. In addition, the aforementioned assault upon the Senator’s drug factory is incredibly well-sketched, with Patricio Delpeche’s colours causing the heat from its furnace to genuinely rise off the printed page, and Daniel’s dramatic death appearing suitably poignant for a man haunted by his own offspring’s tragic demise.

Writer: Cory Crater, Artist: Damian Couceiro, and Color Artist: Patricio Delpeche

Conan The Barbarian #22 - Titan Comics

CONAN THE BARBARIAN No. 22, August 2025

Whilst many a novelist has attempted to ‘flesh out’ Conan’s career as they see it since Robert E. Howard’s tragically early demise in June 1936, few have arguably tackled the 'cause' with as much gusto as Jim Zub does in this particular twenty-two page sequel to the short story "The Vale of Lost Women". Indeed, the Canadian author appears disconcertingly meticulous in frustratingly bogging down the Cimmerian’s travels to a specific gladiatorial arena inside the Stygian City of Kheshatta for at least a couple months, as the bronze-skinned warrior bests some of Thoth-Amon’s most formidable fighters single-handedly; “I asked Athyr-Bast to buy you from the slave market weeks ago. But she kept delaying, saying you couldn’t be found.”

To make matters worse though, the Animex Honorary Award-winner does so by suggesting that this ongoing series’ subjugated titular character can simply shrug off all manner of debilitating physical injuries that would certainly kill a lesser mortal. Such unconvincing recoveries disappointingly smacks of a writer being desperate for ideas as to how to make this “Titan Comics” incarnation of Howard’s creation stand out, and are as implausible as the barbarian being skewered by “a knife as long as his arm” one minute, and then incredulously making love to a sorceress in the next.

Likewise, the powers that be behind this book’s narrative would also suggest that Conan would willingly endure week and week of senseless slaughter, including him massacring his former comrades-in-arms from the Black Kingdom, simply to then literally sit atop a stone pedestal like a prize jewel. Admittedly, Zub states that the Cimmerian is simply biding his time for the right moment to escape. Yet when that opportunity arises, the pit-fighter is unremarkably just stood in the presence of his Serpent-worshipping ‘mistress’ – something which he must have done countless times before..?

Much more convincing than this periodical’s penmanship however, are Fernando Dagnino’s amazing layouts, which seem to take the very best of both Sal Buscema and Alan Davis’ styles, and mix them in with a few set-pieces strongly influenced by the art direction of John Milius’ 1982 motion picture “Conan the Barbarian”. Of particular note has to be this comic’s carousel of panels showing the results of Athyr-Bast’s heavily-muscled slave after he receives “weapon training from one of the finest instructors in Stygia”, as well as his sullen, cross-legged ‘look’ whilst sat atop the aforementioned plinth.

The regular cover art of "CONAN THE BARBARIAN" #22 by Dan Panosian

Astonishing Tales #26 - Marvel Comics

ASTONISHING TALES No. 26, October 1974

Despite Doug Moench’s utterly disconcerting decision to hurl his audience up and down Deathlok’s timestream to the point where some bibliophiles will struggle to know whether what they’re reading is set in Luther Manning’s past or present, Issue Twenty Six of “Astonishing Tales” still must have landed rather well with those “True Believers” who weathered this storm upon their senses. In fact, the seventeen-page plot is so prodigiously crammed full of adrenalin-fuelled gun-fights, savage shows of cyborg super-strength, as well as an insane roof-top battle against a horde of cannibals, that in many ways it could be argued as being pretty much perfect; “Final assailant aligned with meat-hook rail.”

Much of this success is entirely due to some wonderfully dramatic set-pieces in which the almost completely rebuilt Colonel battles an apparently unending army of United States agents, who are seemingly hell bent on bringing Simon Ryker’s ‘creation’ to his knees. These utterly engaging confrontations range in location from a rancid meat factory all the way to the Tower of Liberty’s foot-pedestal, and really go to great lengths in order to show just how formidable a killing machine the covertly-crafted super-soldier can be – even when facing seemingly insurmountable numbers and weapons fire.

In addition to this comic’s pulse-pounding pugilism and pace though, the American author is also very good at penning some entertaining dialogue between the central protagonist and his chest-mounted computer. Coupled with Deathlok’s evident loyalty to his former army buddy Mike Travers, these conversations go a long way to showing the Demolisher is far from being a generic two-dimensional assassin, but rather a human being who still cares for those who risked their lives alongside him during the war.

Equally adding an enormous amount of vitality to this book are Rich Buckler’s layouts, which genuinely help sell the notion of a walking/talking cyborg brutalising so many ‘enemy’ operatives without so much as a scratch – or at least just a “bum knee.” Furthermore, the artist does a first-rate job of showing just how many pent-up emotions Manning is going through in his search for his old battle buddy, and how desperate he is to see a friendly face after Ryker’s evident betrayal of everything the “Death Machine for Hire” stands for.

Art/Concept/Plot: Rich Butler, Script/Plot: Doug Moench, and Inks: Pablo Marcos

Missing On The Moon #3 - Mad Cave Studios

MISSING ON THE MOON No. 3, March 2025

It’s probably a fairly safe bet that many of this mini-series’ readers were wondering just where Cory Crater’s narrative was going to go next, having read his somewhat rambling narrative for Issue Three of “Missing On The Moon”. True, the “emerging author in comics and graphic novels” certainly seems to be composing a rollercoaster of a ride for his audience when Daniel Schwinn suddenly discovers he’s been physically transformed into a blue-skinned Darksider at the start of this instalment. But by the end of the book’s twenty-two page storyline, many a bibliophile will doubtless be querying the persuasiveness of a plot which seems to make some disconcertingly large leaps in logic so as to progress its overarching storyline.

Foremost of these bemusements has to be Osborne Scott’s unconvincing role in all of this title’s political subterfuge, terrorist attacks and adolescent mass murders. The writer never explains how the overweight police commander somehow survived the deadly ambush deep inside the moon’s ice mines – nor indeed how the law enforcement agency was even attacked underground – Yet having managed to return to his offices alive, he then spends a significant portion of this publication blaming his former friend for betraying the authorities to Sidhe’s rebellion, even though he knows damn well that isn’t the case.

To make matters even more confusing though, it’s subsequently revealed that the huge droid Oz ordered to act as Schwinn’s bodyguard is actually the department’s perfidious mole, having somehow been reprogrammed by Alina at some unknown point to do her bidding. Such a revelation is certainly shocking. However, it arguably makes as much sense as Daniel’s uncharacteristic naivety in believing that if he gives the extremist’s Scott, they’ll somehow prove to the world that he wasn’t a traitor after all – even though in doing so he’ll become precisely the double-crosser he pathetically pleads he is not; “Do me this favour and I’ll get you whatever you and your cronies desire… access to L.D.S. weapons, intel… just name it.”

Far more convincing than this comic’s penmanship is its layouts by Damian Couceiro. Coupled with Patricio Delpeche’s sombre palette of colours, the illustrator’s pencilling is predominantly first-rate, with the horror of Schwinn’s conversion into a Darksider proving particularly palpable. Likewise, the artist’s handling of the pulse-pounding gunfight inside the Tankard Pub in Buzztown is truly exhilarating, with the rapidity of everyone’s weapon discharges almost leaping off of the printed panels.

Writer: Cory Crater, Artist: Damian Couceiro, and Color Artist: Patricio Delpeche

Solomon Kane: The Serpent Ring #4 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 4, August 2025

It should be pretty clear from this comic’s frantically-paced plot just why “Heroic Signatures” were so keen to have Patrick Zircher on board for a Solomon Kane mini-series. For whilst the book’s twenty-four page narrative is arguably a little far-fetched in allowing all the central protagonists to miraculously survive a cataclysmic cave-in, it does still predominantly read like one of Robert E. Howard’s original short-stories from the late writer’s days penning pieces for “Weird Tales”.

Furthermore, whilst the Seventeenth-Century Puritan is most definitely at the centre of the American author’s yarn, blinding a gigantic serpent with some well-aimed pistol shots just as Ulysses once did with the one-eyed giant Polyphemus, the various villains of the piece are actually defeated by their own greed and hubris rather than by some extraordinary, superhuman effort by the deeply devout Englishman. Indeed, the sombre-faced traveller is even willing to limit his vengeance upon Rolando Zarza De Aragon to a solid smack upon the jaw, rather than gun down the cut-throat who left him for dead, because he realises their mission will need every able-bodied adventurer to succeed.

Likewise, it contains a brief moment of redemption for the rogue Nico Cassani, who despite his evident ungentlemanly lust for Diamanta Bensaid, bravely sacrifices himself for the female scholar during the height of this comic’s climatic battle sequence. Admittedly, the rogue’s uncouth advances towards Abramo’s daughter have proved pretty repulsive in the past. But the ne'er-do-well’s unthinking willingness to place himself between the woman and a deadly, Serpent warrior’s spear-point certainly makes his painful death far more poignant than it would have if he had merely been unceremoniously slain during the savage bloodbath beneath Set’s huge underground statue; “The devils have killed me.” 

Just as enthralling as this publication’s composition though, has to be its layouts, with Zircher clearly bringing his ‘A game’ to the table. Of particular note, has to be the artist’s ability to bring life to Sha-Kabet’s pet snake, which slithers about the wilderness outside the Temple of Set with hair-raising conviction. Furthermore, there’s a palpable sense of desperation in Kane’s final assault upon the serpent deity’s followers, as fiery death quite literally rains down upon him and his friends, as well as his scale-covered enemies, due to the supposed anger of the long-dead Stygian god.

The regular cover art of "SOLOMON KANE: THE SERPENT RING" #4 by Jessica Fong

Red Hulk #6 - Marvel Comics

RED HULK No. 6, September 2025

Having previously penned a five-issue piece depicting the titular character escaping a heavily-fortified prison in the mountains of Latveria, many a reader probably thought Benjamin Percy may well be in danger of re-treading old ground by sticking General Ross straight into a military-run, top secret gamma-research facility for his next storyline. Indeed, one of this comic’s opening scenes featuring the Red Hulk impotently bashing away at his cell’s impregnable walls must surely have given the odd bibliophile a disconcerting sense of déjà vu; “Rage doesn’t feel like an adequate description. Because it’s mixed up with a sense of betrayal and disgust, and even defeat.”

Happily however, whilst much of Thunderbolt’s experiences “twenty klicks from Langley” arguably do feel unnervingly familiar, the exploits of Deathlok most certainly don’t as the cyborg attempts to audaciously rescue Machine Man from the Department of Defence’s Waste Disposal centre. This somewhat brutal, quickly botched covert infiltration mission is easily the highlight of this book’s twenty-page plot, as it cleverly provides Luther Manning (as well as his computer-chipped brain) a chance to inject an already palpably tense sequence of the Demolisher desperately searching through numerous rubbish piles, with some much appreciated subtle humour.

In fact, much of this publication’s success debatably rests upon the relationship between the time-travelling assassin and Jack Kirby’s living robot X-51, rather than anything penned for Ross, with the pair’s evident growing friendship proving as enthralling as their sentiments for one another are touching. Furthermore, with an emaciated and powerless General being largely confined to sedentarily walking along the corridors of his prison with First Sergeant Tamika Bowden, the mechanical duo are this comic’s sole source of any adrenalin-fuelled action.

Possibly just as perturbed by this book’s largely uninspiring central narrative is Geoff Shaw, whose layouts featuring the alleged American “war criminal” appear a little uneventful once his Red Hulk persona has worn itself out senselessly battering unmoving bricks. Admittedly, it must be hard to repeatedly pencil the same figures striding down a featureless corridor for too long. But the dynamism seen in the artist’s drawings of Deathlok and Machine Man’s aforementioned antics probably makes those illustrating Thunderbolt’s uneventful journey down to Captain Ryker’s laboratory even more monotonous to the eye.

The regular cover art of "RED HULK" #6 by Geoff Shaw & Marte Gracia

Astonishing Tales #25 - Marvel Comics

ASTONISHING TALES No. 25, August 1974

For those members of the Merry Marvel Marching Society looking forward to Doug Moench’s “steel-smashing origin of the world’s most offbeat superhero”, Issue Twenty-Five of “Astonishing Tales” would arguably prove something of a seriously word-heavy comic to navigate through. Indeed, absolutely crammed full of text, dialogue and numerous inner eulogies as to the cyborg’s state-of-the-art technology, many of this publication’s fifteen pages must surely have required repeated readings before it became even remotely clear just what the American author was trying to say; “Fell the exquisite pleasure of our flex-steel fingers vice-squeezing a streaking spurt of ripping searing boring light.”

Happily however, beneath this litany of letters, stumping sentences and perplexing paragraphs is actually a first-class story which tells of a veteran soldier desperately attempting to break the control of a computer programmed to monitor his every movement, and eradicate the very emotions which made him who he was. Admittedly, Colonel Luther Manning was never a truly moral man, as can be seen by the delight he takes in stalking his first two targets for assassination. But the veteran's rather entertaining banter with the artificial intelligence sending him commands clearly shows that he won’t simply be a thoughtless tool – and in fact ultimately desires to be returned to a fully-functioning human body.

Furthermore, the Inkpot Award-winner provides this publication with an utterly enthralling mystery as to the true motivation of Deathlok the Demolisher’s benefactor - Simon Ryker. The notion that the man-turned-machine-turned-monster isn’t destined to be the saviour of America’s post-apocalyptic future as was first thought is soon made abundantly clear, once the cold-blooded killer savagely shoots “the two men who were out to stop Project Alpha-Mech.” Yet, just what nefarious, money-making ambitions the thickly-moustached villain does have in mind aren’t made particularly clear either.

Also well worthy of a mention is Rich Buckler, who conceived, plotted and drew this comic book. The artist does a first-rate job in pencilling as many interesting glimpses into the mechanical workings of Manning’s robotic body as he can, as well as illustrates the savage barbarity of the world in which he lives with some incredibly dynamic, action-packed set-pieces - such as the anti-hero’s aforementioned contract killings in a cannibal-infested subway.

Conceived, Plotted & Drawn by: Rich Butler, Scripted by: Doug Moench, and Colored by: G. Wein

Missing On The Moon #2 - Mad Cave Studios

MISSING ON THE MOON No. 2, February 2025

Whilst Cory Crater’s narrative for Issue Two of “Missing On The Moon” quite surprisingly lacks much in the way of adrenaline-fuelled action, at least up until the American authorities descend upon the Soviet ice mines armed-to-the-teeth with assault rifles and bulky combat droids, it still somehow manages to race along at an exhilarating rate. In fact, many within this mini-series’ audience will be somewhat stunned as to just how quickly they come to this comic’s shell-shocking cliff-hanger; “But curiosity… It’s part of the trade. A box, once opened…may well be shut… but the contents therein cannot be unseen.”

Much of this twenty-two page magazine’s momentum is created by some seriously tense set-pieces, with Daniel Schwinn’s terrifying interrogation at the hands of the Darksiders’ leader revealing just how vulnerable the central character actually is on the oxygen-starved satellite. This particular scene also provides an excellent insight into all the built-up prejudices of the private investigator, as well as hints that he’s actually being used by the powers that be to protect a disconcertingly dark secret of theirs.

Likewise, this book does a great job in showing just how corrupt the American dream has clearly become on the moon, and that the portly, pony-tailed Oz is almost certainly up to his neck in it. The senior law enforcement officer clearly has great affection for his old friend, and genuinely appears eager to keep Schwinn safe. But once he realises that the detective has heard of Operation White Eye, there’s a distinct coldness in his cybernetic eye which suggests he knows far more about the lunar metropolis’ city-wide string of disappearing children than even Daniel can possibly imagine.

Considering just how much of this comic’s content is driven by packed word balloons and dialogue-heavy discussions, a lot of thanks for it’s pulse-pounding pace must also be given to Damian Couceiro’s layouts, which somehow manage to make all the talk flow at a tenacious tempo. Of particular note has to be the aforementioned clash between Sidhe and her dishevelled prisoner as she mercilessly injects his neck with a syringe of blue-coloured goop. However, the illustrator is also very good at showing the contrast between Buzztown’s absolutely bristling Lunar Defence Services building before Oz is informed of the Darksiders’ secret whereabouts, as well as its eerily empty offices once he does know and departs with his staff to bring the 'rebellion' to a bloody end.

Writer: Cory Crater, Artist: Damian Couceiro, and Color Artist: Patricio Delpeche

The Batman And Scooby-Doo Mysteries [2024] #12 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 12, February 2025

Despite pretty much telegraphing just who is behind the haunting of Gotham City Opera House within its first few pages, as well as quickly establishing that the villain-of-the-piece isn’t really Andrea Beaumont’s much-hyped alter-ego after all, Joseph Torres’ script for Issue Twelve of “The Batman And Scooby-Doo Mysteries” does still contain a pretty good yarn which rather nicely captures much of the flavour of Hanna-Barbera Productions’ animated cartoon stories. In fact, this comic’s twenty-page plot arguably contains all the elements necessary to have made it a memorable televised episode – should its storyline have been submitted to the American production company during the early Seventies.

For openers, the book ensures that all of its fairly large-sized cast contributes to its narrative without resorting to unconvincing contrivances or lacklustre silliness. True, Shaggy Rogers and Scooby-Doo (once again) become the focus of fun when they hungrily scour the building’s concessions stand for popcorn and inadvertently stumble across the fake Phantasm’s hiding place. But this endearingly whimsical set-piece is entirely in keeping with the characters’ usual buffoonery, and actually sets up an intriguing conundrum as to which members of Mystery Incorporated are actually confronting the ‘real’ ghost.

Likewise, there’s some good banter to be had between the Dark Knight and Velma Dinkley, as the pair partner up to ascertain just how the Caped Crusader simply swung straight through their grey-hued foe whilst the villain was stood on the main stage. Of particular note is the sheer joy expressed by the sweater-wearing sceptic as Batman propels them both up to an overhead catwalk using his grapple gun, and the “brains of the group” politely asking the super-hero for permission to proudly proclaim her theory as to who “the person behind the mask” is. 

By far this publication’s biggest strength though arguably lies in the crisp layouts of Dario Brizuela, whose pencilling absolutely nails the likenesses of both the Caped Crusader and Fred Jones’ teenage gang of amateur sleuths. Perfectly coloured by Franco Riesco, the almost suffocating shadows cast by the theatre’s ghost light also add to this yarn’s claustrophobic atmosphere, and helps add an extra element of conviction to the protagonists' surprise whenever they spy the Phantasm lurking in the dimly-lit darkness.

Written by: J. Torres, Drawn by: Dario Brizuela, and Colored by: Franco Riesco

Missing On The Moon #1 - Mad Cave Studios

MISSING ON THE MOON No. 1, December 2024

Rather intriguingly feeling like a much more low-tech version of Ridley Scott’s dystopian future as seen in his 1982 science fiction movie “Blade Runner”, Cory Crater’s superb penmanship should certainly have held his audience’s attention throughout this twenty-one page periodical’s thought-provoking plot. Indeed, straight from the comic’s start it seems pretty clear that “washed-up private investigator Daniel Schwinn” is entering a serious world of pain when he accepts the task of discovering just what has happened to a billionaire’s missing daughter.

Furthermore, the well-paced storyline is also quite quick in establishing that anyone around the expletive-happy sleuth is also stepping straight into some cold-blooded killer’s firing line, and not even a huge, ruggedly constructed moon truck is large enough to protect its evidently prying occupants from almost being sent straight into orbit by a well-paced improvised explosive device; “Turns out these weren’t highwaymen. They were saboteurs. Professionals, politically motivated.” This palpable sense of danger genuinely adds to an already gripping atmosphere, and should cause many a bibliophile to hungrily ‘gobble up’ this publication’s series of thrilling set-pieces in their eagerness to establish just who is next on the Darksiders’ hit list.

Similarly as successful as Luna’s savagely barbaric community, has to be the screenwriter’s thought-provoking insights into the central protagonist himself. Schwinn is seemingly no pure-hearted angel. But a man perfectly capable of poisoning a drug addict with a score which has been “cut with rodenticide”, and apparently has little interest in rescuing poor Penny until the powers that be agree to pay him “double my ordinary rate”. These all-too evident flaws hint at a truly troubling past for the grubby-looking investigator, and strongly suggest whatever morals Daniel may have once had, cost him more than he can bear.

Lastly, illustrator Damian Couceiro, along with color artist Patricio Delpeche, prodigiously provide this comic with some strikingly sound visuals. Of particular note has to be the creative pair’s handling of Holloway’s last trip outside to the place where the moonraker “found the ballet flat.” This excursion onto the satellite's surface is actually incredibly word-heavy, thanks to the gumshoe’s repeated questioning of the circumstances surrounding the bizarre find. Yet, the various angles used to depict the conversation makes the discussion bound along at a healthy pace, before events turn particularly sour with a mighty explosion.

Writer: Cory Crater, Artist: Damian Couceiro, and Color Artist: Patricio Delpeche

Teenage Mutant Ninja Turtles [2024] #4 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 4, November 2024

Described by some as “the most rational and logical of the turtles”, Jason Aaron’s version of Donatello in “Grit And A Stick” must surely have disturbed many a Shellhead when it first hit the spinner racks in November 2024. For whilst the teenage mutant ninja is still undeniably willing to put others less fortunate than himself first and foremost, the tech-savvy warrior’s mind has clearly been badly broken by the death of his (adoptive) father Splinter. Indeed, much of this twenty-two page periodical’s plot is about Donnie’s descent into madness, as he battles both physical adversaries, as well as the demons of his past.

Just as enthralling as the humanoid reptile’s determination to stay (slightly) sane though, has to be this comic’s central premise, which sees Kevin Eastman’s utterly exhausted co-creation “trapped in a mutant zoo and forced to fight rich men looking for a thrill.” This perilous predicament could so easily have degenerated into a potentially monotonous, all-action slugfest if penned by a lesser writer. But in the hands of its Alabama-born author, the main protagonist is repeatedly shown to be using his wits to defeat his foes, rather than just battering them into submission with his fists and feet; “For months, I’ve been watching and listening, trying to crack the codes to the cells, the electrified fence, the main gate.”

Likewise, the Harvey Award-winner should have subverted the expectations of many a bibliophile with this book’s finale, courtesy of Donatello’s meticulous escape preparations all being thrown out the window by a sudden, shock attack upon the illegal premises by the Foot Clan. This adrenalin-fuelled assault really ups the ante for the turtle and his fellow animal-based inmates. Yet also seemingly causes the warrior’s psyche to finally snap, as he comes away from the melee tragically believing that a dead rat brained by a throwing star is actually Splinter reincarnated.

Also awesomely adding to this publication’s sense-shattering success has to Chris Burnham’s brilliant pencilling, which genuinely manages to impart just how tired and worn out poor Donnie is following his “last trip through time”. Emaciated and haggard, this particular ninja appears to be nearing the end of his road. However, the Connecticut-born illustrator still somehow manages to show a desire to fight injustice blazing away behind the character’s eyes - especially when he realises everyone else’s survival rests upon his bent shoulders.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #4 by Rafael Albuqerque

The Batman And Scooby-Doo Mysteries [2024] #11 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 11, January 2025

Utterly devoid of Batman – apart from one line explaining that he’s up “in space with the Justice League”, Sholly Fisch’s somewhat sedentary script for “Booked Up” rather surprisingly relies upon the tongue-in-cheek tomfoolery of Shaggy Rogers and Scooby-Doo to provide its readers with any notion of pulse-pounding action. Indeed, the American author even pens the pair supposedly running for their very lives from a harmless novel at the comic’s start – simply so something of moderate interest happens during the twenty-page periodical’s opening quarter; “Are you really still running away from a book?”

Happily however, things do become a little more interesting once Grotesque’s henchmen are (far too) easily apprehended, and Barbara Gordon is able to demonstrate a few of the computer-based skills she has honed as Oracle. Admittedly, the crime-fighter’s ability to just link into the Bat Cave’s computer with her mobile phone may well make many of her deductions a little too conveniently fast for some readers. But these quick-fire revelations as to the criminal behind Gotham City Library’s latest haunting at least provides an otherwise listless yarn with a bit of much needed pace.

Sadly though, once Batgirl’s nemesis is revealed the publication’s already apathetic plot appears to go right out of the window, with Phillipe Rianne’s obsession for “fancy things” degenerating into a need for a mystery writer’s original manuscript simply so the mask-wearing criminal mastermind has “something to read in bed tonight.” This motivation debatably dumbs down an already rather mediocre-calibre thief, and is as convincing as Gordon’s feeble attempt to fool her father into thinking she’s just a humble librarian, despite single-handedly battering her electricity-powered enemy into unconscious with a mere wooden chair.

Somewhat more substantial than this comic’s narrative are David Antón Gomis’ layouts, which at least attempt to imbue Shaggy and Scooby-Doo’s escapades with a bit of dynamism. The illustrator does a fairly good job of bringing this comic’s quite considerably-sized cast to life, especially when it comes to Jim Gordon’s steadfastness in the face of deadly danger. Yet, the artist’s rather strange decision not to pencil any motion lines in his panels, even upon the numerous members of the public racing out of the library in sheer terror, makes many a set-piece appear strangely lethargic and unrealistically languid – as if the figures were somehow running on the spot, rather than moving across the location.

Written by: Sholly Fisch, Drawn by: Puste, and Colored by: Carrie Strachan

Conan: The Barbarian Free Comic Book Day May 2025 - Titan Comics

CONAN: THE BARBARIAN FREE COMIC BOOK DAY MAY 2025

Largely ‘locked on’ to a seventeen-year-old Conan’s unsuccessful attempt to burgle Aztrias Petanius’ manor in Nemedia, there initially appears to be plenty of engrossing narrative within this ‘Free Comic Book Day’ publication to keep even the most die-hard of Robert E. Howard fans thoroughly enthralled. Indeed, despite the aspiring thief’s poor choice of prey, and the Cimmerian’s unwillingness to actually splatter anyone’s brains during his confrontation with a pair of veteran guards, this periodical’s sixteen-page plot still contains a solid mixture of suspense, action and even glib humour; “Apparently the most appropriate punishment is letting your pitiful life carry on, worm.”

Unfortunately for some readers though, once this neatly-penned precursor to the 1952 short story “The God In The Bowl” concludes, the rest of Jim Zub’s script disappointingly transforms into a choppily-paced advertisement for the Canadian author’s upcoming "epic Conan event”, and rather ungracefully attempts to tie the titular character’s earliest adventures in with those of Brule the Spear-Slayer, Professor John Kirowan and Thoth-Amon. Of course, providing just such an appetiser is precisely the point behind this particular prelude to "Titan Comics" latest four-issue mini-series. However, it’s so clunkily crowbarred onto the end of this book's central yarn that it arguably appears a little too desperate in its desire to attract pre-orders.

In addition, the Web Cartoonists’ Choice Award-winner’s apparent obsession with the Hyborian Age's most powerful Stygian sorcerer being behind practically every one of the barbarian's misfortunes may well strike any bibliophiles already familiar with the writer's backlog of numerous Conan tales as being rather unimaginative – especially as the duo never actually meet face-to-face in any of the original novellas. Yet here is Zub (once again) trying to not only intrinsically link the two together, but also suggest that the snake-fixated warlock is dubiously connected throughout time and space to some of the father of sword and sorcery’s other creations too.

Probably this book’s biggest asset can therefore be found inside the layouts of artist Ivan Gil, who adds both the grandeur and grimness some bibliophiles may well expect to see whilst visiting the “night-swept streets” of Nemedia’s second largest city. In fact, the illustrator’s incredible ability to pencil a pair of snarling, ill-tempered soldiers in one panel, and then sketch them fearfully back-peddling away from the black-haired, heavily-muscled rogue before them in the next, is truly breath-taking.

Writer: Jim Zub, Artist: Ivan Gil, and Color Artist: Jao Canola

Space Ghost #4 - Dynamite Entertainment

SPACE GHOST No. 4, August 2024

Many a reader may well feel that publisher “Dynamite Entertainment” were probably being overly-boastful when they announced that “danger and excitement expand like a supernova” inside this particular twenty-two page periodical. But David Pepose’s storyline for Issue Four of “Space Ghost” absolutely nails it, blending high-octane action with a seriously disconcerting twist that sees poor Jan, Jace and Blip battling for their very lives against their masked mentor’s greatest enemy; “We couldn’t stay behind -- There were hostages on Grax-3. But I swear to you… We didn’t know it was him."

Leading this palpable assault upon the audience’s senses has to the introduction of the mentally-deranged mass-murderer Zorak, whose terrifying penchant for mutilating hapless humans establishes the character as being a million miles away from the goofy-looking animated space mantis voiced by Don Messick during the late Sixties. Indeed, this modern-day incarnation of the Dokarian is enthrallingly ruthless, and completely captures all the attention whenever he makes an appearance – whether that be hacking a fallen prison warden to death with a homemade hand-scythe, or fervently leading his army of fanatical Zorathian warriors to a hollow victory over some defenceless scientists.

Just as good though, is arguably the Guardian of the Spaceways’ fisticuffs with the wonderfully envisaged Titanor. This huge, cyclopean robot makes for a truly menacing foe, who quickly establishes that he won’t be quickly beaten by the hero’s famous all-powerful energy bands. In fact, for once it momentarily looks like Space Ghost’s occasional hubris may well have got the better of the super-powered protagonist, as he is forced to quite literally dig deep so as to overcome the seemingly invincible metallic might of his opponent.

Similarly as successful as Pepose’s prodigious penmanship is also Jonathan Lau’s lavish layouts. Whether it be projecting Zorak’s sheer insanity straight off of the printed page, or showing the total desperation of his perilous predicament in the jawline of an increasingly bruised Dax, the “exclusive illustrator” does a first-class job. Furthermore, due to the downtrodden look sketched into their demeanour, many a reader will doubtless sense the sheer terror emanating from Jan and Jace as the two children inadvertently fall straight into the Harbinger of Slaughter’s death-dealing claws.

The regular cover art of "SPACE GHOST" #4 by Francesco Mattina

Uncanny X-Men #16 - Marvel Comics

UNCANNY X-MEN No. 16, August 2025

It’s probably a safe bet that a fair number of this twenty-page periodical’s readers probably felt its series of almost sickly sweet conclusions were rather anti-climactic at best. In fact, apart from one magical moment where Doctor Theodore Sallis’ slime-covered alter-ego is sensationally launched against the death-like deity Shuvahrak, almost the entirety of “The Voice Of Darkness” is frustratingly filled with missed opportunities; “All I know for certain is whoever knows fear burns at the touch of the Man-Thing.”

For starters, the notion that perhaps having a farm load of super-powered refugees living nearby is not sitting all that well with the inhabitants of New Orleans, is finally revealed to be quite the reverse – with the metropolis’ mayor actually announcing that the "Big Easy” will from now on be “the country’s first mutant friendship city” due to all the ‘normal’ lives they’ve apparently saved. This concept is definitely a bit bemusing, considering that “the shoppers at a popular waterfront mall” wouldn’t have been in danger in the first place if it wasn’t for the Outliers visiting the plaza, and resultantly just smacks of Gail Simone creating an all-too convenient alternative to the safe haven of Krakoa.

In addition, the potential of a deranged robotic Bloodhound murderously bounding into Haven House and massacring its inhabitants is infuriatingly nipped in the bud within the space of three panels. Alongside disagreeable secret agent Miller simply being disbelieved by his fellow operatives that a mutant sanctuary exists in the Mississippi swamplands and resultantly getting sacked, these highly disappointing outcomes suggest that the American author suddenly just got tired of the sub-plots, and decided to wrap them up as soon as the comic's script allowed.

Lastly, but by no means least though, has to be the actual ending of the author’s long-running “Dark Artery” narrative, which sees the mysterious entity behind Deathdream’s journey into the accursed underground hell-town known as Penumbra, implausibly decide to give up her desire for a replacement on some emotional whim. This unconvincing call comes completely out of the blue, and is supposedly due to Jubilee – who up until this moment has had no interaction with the sinister spirit whatsoever – convincing Shuvahrak that she is sympathetic to the grieving goddess’ loss of a daughter..!?!

The regular cover art to "UNCANNY X-MEN" #16 by David Marquez & Matthew Wilson