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

The Terminator #1 - Dynamite Entertainment

THE TERMINATOR No. 1, October 2024

Announced by its New Jersey-based publisher at San Diego Comic-Con, this “blockbuster Dynamite series” clearly had a lot to live up to when it first hit the spinner rack in late October 2024. And fortunately for those numerous fans of James Cameron/Gale Anne Hurd’s billion-dollar franchise, Declan Shalvey’s script for Issue One of “The Terminator” definitely delivers. Indeed, few of this twenty-two page periodical’s readers won’t come away from devouring the book without feeling something for poor Harper and his beloved wife Penny, following their rollercoaster of a ride through adulthood together.

To begin with however, the “acclaimed” creator’s storyline seemingly suggests “Out Of Time” will follow an entirely different route, with an aged woodlander apparently enjoying a spot of fishing in the large pond situated just away from his family’s log cabin. This idyllic moment of peace is then ruined by the old-timer hooking a piece of metal, which appears to be part of a long-destroyed T-800, and nonchalantly throwing it to the side of his boat as he stares into the silently still water. Of course, the potential for such a set-up is for one of Skynet's first cybernetic organisms to suddenly come racing up out of the depths, overturn the poor man’s boat, and mercilessly murder him. But rather cleverly, the Irish author subverts such expectations with a much grander overall storyline.

In fact, for many a bibliophile this comic’s flashback sequence, showing a much younger Harper and Penny fleeing the Pacific Motel in 1979, is just as mesmerizingly penned as Shalvey’s more current plot-thread set in Alaska. True, the newly-wedded couple’s flight from their shadowy stalker has already started, due to the frightening figure murdering both their parents in the recent past. Yet the sheer, pulse-pounding sense of desperation depicted in these scenes as the pair pack some suitcases and charter a small plane to safety is still truly palpable; “This psycho has managed to find us wherever we run to. Always nipping at our heels.”

Most definitely adding to this book’s momentum are artists Luke Sparrow and (Colourist) Colin Craker. Together the duo proficiently provide both the tale’s leading cast with bags of empathy, and should subconsciously cause the odd reader to legitimately mourn with Penny when the elderly woman realises the T-800 has finally killed her husband. In addition, the sheer sense of exhilaration emanating from the panels depicting the flesh-covered endoskeleton desperately attempting to tear his targets from out of a moving aircraft, is quite literally breath-taking.

The regular cover art to "THE TERMINATOR" #1 by Declan Shalvey

The Incredible Hulk [2023] #26 - Marvel Comics

THE INCREDIBLE HULK No. 26, August 2025

For any bibliophiles eagerly anticipating a pulse-pounding punch-up between this comic’s titular character and Bucky Barnes, Phillip Kennedy Johnson’s storyline for Issue twenty Six of “Incredible Hulk” will probably prove downright discouraging. In fact, the Winter Soldier debatably barely contributes to this book’s overall narrative much at all, thanks to his battle being brought to an infuriatingly short end by Charlie Tidwell’s well-meaning intervention; “You’re… my hero, Bucky. You and Cap were my actual heroes. I wanted to be you since I was a little kid.”

Instead, the American author suddenly imbues the Green Goliath’s sidekick with the convenient ability to somehow enter the apocalyptic-looking Hulkscape in order to visit Bruce Banner’s heavily imprisoned persona. This quite lengthy sequence is debatably as uninteresting as the wilful adolescent’s new found ability is immensely opportune, and disappointingly doesn’t even show what manner of dreadful fate has actually befallen the gamma radiologist’s tortured identity.

What this apparently truly terrifying revelation is supposed to cause though, is for the “stalwart teenage companion” to inadvertently stick half her face into a roaring campfire in the real world, and then transform back into the winged werewolf form she acquired from the mother of all Skinwalkers, Lycana. Little of this frantic action arguably makes much sense, apart from the “kid” clearly not wishing to be a murderous monster, and may well leave many a reader gazing up into space dumbfounded by what they’ve seen – just as an utterly bemused Hulk does when Tidwell dramatically flies off into the night’s sky at this comic’s end.

Quite possibly also adding to much of this twenty-page periodical’s disappointing dullness are some of the layouts drawn by Kev Walker. The GLAAD Media Award-nominee’s pencilling really seems to be stretched beyond breaking point by this book’s script, thanks largely to the British illustrator apparently struggling to come to grips with a long-haired Hulk who doesn’t look plain dumb. Indeed, this publication would likely have proved far more pleasant to the eyes if the style used for the aforementioned Hulkscape segment, which appears to have been possibly painted rather than drawn, had been used throughout, rather than the harsh, somewhat cartoony visuals, which the artist is better known for.

The regular cover art of "THE INCREDIBLE HULK" #26 by Nic Klein

The Thing [2025] #2 - Marvel Comics

THE THING No. 2, August 2025

Whilst on paper a street-level scrap between a certain super-strong “idol of millions” and “the world’s deadliest assassin” might not appear all that appealing to many readers – on account of Benjamin Grimm’s unbreakable skin being imperious to even the most deadly of throwing stars, Tony Fleecs still arguably manages to make the potentially one-sided skirmish work inside Issue Two of “The Thing”. Sure, the author ‘magically’ imbues Bullseye with the sort of super-strength needed to stand toe-to-toe with the Fantastic Four’s founding member. But this contrivance doesn’t surprisingly prove all that integral to the enthralling flow of the fight. 

Indeed, much of the entertainment to be gained from this quite lengthy confrontation is due to the writer permeating the punch-up with plenty of tongue-in-cheek moments, such as when Lester catches Grimm in the mouth with a razor blade and causes the former “scrawny kid from Yancy Street” to momentarily babble incomprehensively due to the minor injury. Furthermore, despite the final result never really being in any doubt, the possibility of Daredevil’s arch-nemesis identifying the crime boss he is working for persistently hangs in the balance, and thus keeps the audience interested in the struggle’s ultimate outcome; “That guy was taking orders. He’s somebody’s guy…”

Fleecs also seems to do a good job in highlighting Ben’s savviness when it comes to him investigating the disappearance of Marty’s niece. Many other writers may well have simply penned the titular character mindlessly smacking his way through countless minions, hit men and super-villains before simply rescuing the young girl. However, in this mini-series, the “ever-lovin' blue-eyed Thing" is shown rather impressively utilising his experience, local knowledge and fame to track the kidnappers down to “some shady waterfront warehouses”.

Possibly the only element to this twenty-page periodical which therefore does slightly let the storytelling down is some of Justin Mason’s artwork. The illustrator is clearly able to proficiently pencil the vast majority of this comic’s sense-shattering shenanigans. Yet every now and then also appears to have rushed sketching a figure, such as some stiff-looking panels of an arrogant Bullseye stood high atop a street sign-post, or a possibly overworked splash of Hammerhead, which somewhat strangely appears as if it was a much smaller picture which has subsequently been ‘blown up’ so as to help fill out the book.

Writer: Tony Fleecs. Artist: Justin Mason & Color Artist: Alex Sinclair

Space Ghost #3 - Dynamite Entertainment

SPACE GHOST No. 3, July 2024

Filled full of family feuding, near-fatal feminine wiles, and a bucket load of diabolical double-dealing, David Pepose’s storyline for Issue Three of “Space Ghost” should have ticked plenty of boxes with its audience upon the comic’s release in July 2024. Indeed, besides the titular character making a somewhat dubious decision to listen to his two understandably naïve sidekicks rather than trust in his own experience as a veteran crime-fighter, there isn’t much wrong with the award-winning writer’s twenty-two page plot at all; “Ten million credits has a way of illuminating one’s priorities, young lady.”

Foremost of these successes is arguably the well-fleshed out villain-of-the-piece, the seductive Widow, who completely captures the audience’s attention with her super-slick deadliness whenever the immoral madame appears. Able to mentally control the killer tentacles of numerous Venusian Spider Plants, as well as “manipulate any [other] botany in the vicinity”, the inter-galactic criminal conveys a persistent, genuinely palpable sense of peril for anyone foolish enough to stand in her way – and that includes both the titular character, as well as his masked entourage.

Likewise, the comic contains some truly gratifying emotional moments, where the likes of Dax, Jan and Jace all take a good look inside themselves to establish just what is the most important thing in their lives. This reflection upon what motivates them is especially important for Space Ghost's young female ward, who so impresses the treacherous Widow with her level-headedness that she is offered “a life of untold power” if the girl agrees to leave her blindsided mentor behind, and betray him to Robo-Corp.

Quite definitely also adding to this book’s beguiling storytelling is artist Jonathan Lau, who quite brilliantly gets the tome off to a pulse-pounding pace by pencilling a wonderfully-dynamic gun-fight between the main protagonists and a horde of blaster-toting Lizard Slavers. In many ways it’s actually a pity that this laser-fest doesn’t carry on for a bit longer. But the sheer ‘noise’ this ferocious fracas creates in the Mind’s Eye then contrasts really well with the need for stealth and absolute silence later on, when the heroes need to quietly infiltrate Robo-Corp’s Central Mainframe via a network of access corridors.

The regular cover art of "SPACE GHOST" #3 by Francesco Mattina

DC Vs. Vampires: World War V #10 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 10, August 2025

Largely focused upon the exploits of Mister Miracle, as Jack Kirby’s creation ponders whether to surrender himself to Darkseid or not, there’s an almost palpable feeling to this twenty four-page periodical’s plot that Matthew Rosenberg’s mini-series is (finally) approaching its cataclysmic conclusion. Indeed, just the physical presence of Scott Free appears to be enough to bring several of the title’s overarching storylines together – including the up-until-now entirely separate sub-thread of Batman and Green Lantern banding together so as to summon the likes of Constantine and Doctor Fate back from beyond the grave.

Furthermore, Issue Ten of “DC Vs Vampires: World War V” also impressively shows a genuine war weariness to all its considerable cast, both mortal and blood-drinker, with many a character now apparently willing to do just about anything to convince “the tyrannical ruler of the planet Apokolips” to leave the Earth once and for all. This utter exhaustion is particularly startling when seen in the behaviour of Supergirl and Lois Lane, who have both fought tooth and nail to see themselves and their compatriots survive. But are now shown unhappily ‘bending the knee’ in supplication before the super-villain; “I don’t want to either. But it’s a small price to pay, Lois. We can end this here.” 

By far this book’s best moment though actually comes completely left field with the New Gods shockingly switching sides and ambushing Gorilla Grodd’s combined army. Such treachery is as sudden as it is astounding, and should actually make many a reader rather cross at the hypocrisy of a gutless Orion – who infuriatingly even tries to justify his duplicity by claiming an alliance with his mass-murdering father is supposedly in the galaxy’s best interests.

Clearly revelling in all this disheartening deceit and fatigue is Otto Schmidt, whose prodigious pencilling does a first-rate job in depicting the lethargy slowly infecting the planet’s fast-dwindling population. Of particular note has to be the freelance illustrator’s magnificent portrayal of poor, physically depleted Black Alice, whose haunted eyes alone convey all sorts of terrifying tales in the mind’s eye. In addition, the sheer outrage splashed across Kara-El’s face when she realises her cause has been betrayed by her latest allies is absolutely palpable, and it’s easy to see why even the vampire’s most ferocious fighters fear the Kryptonian.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #10 by Otto Schmidt

The Batman And Scooby-Doo Mysteries [2024] #10 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 10, December 2024

On paper there’s a good deal of merit behind this comic’s basic premise that Harley Quinn would so want the Joker to own a car which can compete with the Batmobile that she’d start stealing motor parts to build one. But disappointingly, Amanda Deibert’s penmanship simply doesn’t do such a storyline justice, with the “New York Times bestselling” television writer peppering the promising plot with a rather disagreeable incarnation of Shaggy Rogers, some unconvincingly inconsistent secondary characters, and a blatant dig towards men for repeatedly underestimating the “massive intelligence” of women.

In addition, the author debatably handles Batman in an infuriatingly illogical manner by portraying the Dark Knight as being far too busy investigating “a string of robberies” to assist Mystery Incorporated for much of this comic. Of course, such a stance would make perfect sense if the Caped Crusader was attempting to thwart a Gotham City wide crime spree by the likes of the Penguin or Clayface. However, on this occasion he’s dealing with stolen antique car parts, and doesn’t apparently spot the coincidence that Fred Jones’ van was sabotaged so as to force the meddling kids to seek the assistance of “a [auto] repair shop down the road.”

Perhaps this twenty-page periodical’s biggest let down though can be found in the motivation behind the mysterious Geraldine. This so-called Ghost Car has apparently been terrorising the locals for some weeks. Yet it’s eventually revealed to regrettably just be the sentient motor vehicle Quinn has been building as a birthday present for “Mistah J!” Just why Harley would draw such attention to her criminal operation by letting the vehicle repeatedly attempt to murder people is a bit bewildering, as is Quinzel's willingness to upgrade the Mystery Machine in order for the van to dramatically outmanoeuvre her own homicidal handiwork.

Possibly a little more acceptable than this book’s narrative is its layouts (and colours) by Erich Owen. The Ringo Award-winner does a fair job in capturing the television likenesses of Mystery Incorporated, and certainly seems to excel when sketching the fast-paced car chases required for Deibert’s script. Nonetheless, the artist appears to struggle when capturing Batman’s cowled visage, giving the masked vigilante’s a rather comical, quirky-looking jawline.

Written by: Amanda Deibert, Drawn & Coloured by: Erich Owen, and Lettered by: Saida Temofonte

The Thing [2025] #1 - Marvel Comics

THE THING No. 1, July 2025

Described by “Marvel Worldwide” as being “perfect for newcomers and True Believers alike”, Issue One of “The Thing” certainly starts out rather well – thanks largely to Tony Fleec’s script almost immediately transporting the reader to the Negative Zone so they can witness the Fantastic Four battle a gigantic, multi-tentacled space squid. In fact, the only slightly disconcerting element to so sense-shattering a shenanigan is the “critically acclaimed” comic book creator’s decision to suggest that Ben Grimm isn’t really giving the punch-up his very best effort on account of suffering with some serious self-doubts.

Happily however, the titular character’s rather puzzling lack of confidence in his formidable super-strength doesn’t last terribly long, and once the former Yancy Street gang member has showered/slept the American author wastes absolutely no time in getting him neck-deep into this mini-series’ central storyline; “I wouldn’t even be here if it wasn’t for -- It’s my sister Shelly’s kid… We can’t find her.” Such succinctness really does help maintain this twenty-five page periodical’s impressive pace, and also adds an extra element of determination to Benjy’s investigation as he wastes absolutely no time in visiting Josie’s drinking bar for a lead.

Also well worthy of mentioning has to be the multiple Eisner Award-nominee’s ability to surprise his audience with the presence of Melvin Potter’s villainous alter-ego. Initially penned as being unconscious with drink, this classic Daredevil foe doesn’t at first appear to be any sort of threat to one of the world’s biggest hitters. However, despite the Gladiator not even wearing his trademark “wrist-blade thingies”, he’s still sure to make many a bibliophile sit up in shock when the Thing unwisely wakes him from the man's drunken stupor.

Infuriatingly though, what does rather let this publication down is some of Justin Mason’s pencilling. Now there should be little doubt that the Kentucky-born illustrator’s drawing style contains all the ‘raw energy’ which Stan Lee would apparently always look for in his artists. Indeed, many an onlooker will undoubtedly wince whenever a combatant throws a punch in this book. However, some of the panels debatably seem to have been rather rushed, with figures’ faces and expressions appearing awkwardly angular, and Potter in particular appearing far less defined than Grimm’s highly-detailed countenance.

Writer: Tony Fleecs. Artist: Justin Mason & Color Artist: Alex Sinclair

The Batman And Scooby-Doo Mysteries [2024] #9 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 9, November 2024

Taking the rather brave decision to relegate the Dark Knight to the side-lines for the entirety of this twenty-page periodical’s plot, Matthew Cody’s narrative for Issue Nine of “The Batman And Scooby-Doo Mysteries” probably still managed to entertain a fair few of its audience, courtesy of a quite endearing appearance by the laughable lawbreaker Kite-Man. Indeed, for those Bat-fans able to take this comic’s silly storyline with a pinch of salt, there’s arguably a fair few laughs to be found within its phenomenally pencilled panels; “Look, I’m a very dangerous villain.”

For starters, “the acclaimed children’s author” pens a wonderful scene featuring the original Caped Crusaders appearing at Gotham City Comic-Con, and being surrounded by all manner of book nerds and cosplayers. Sadly short-lived, this set-piece should genuinely bring a smile to the face of any collector who has stood in line waiting for a guest celebrity to sign some piece of memorabilia for them, whilst simultaneously making them smirk at Batman’s evident discomfort when he’s pressured into saying the line “I am the night” out loud for the attendees.

Similarly as engaging though is also the Missouri-born writer’s handling of Chuck Brown’s flamboyantly inept alter-ego, who rather conveniently converts from committing felonies to thwarting them within the space of this publication. Obviously, so major a reversal in personality in so short a space of time isn’t terribly convincing. But it’s arguably nice to believe that just being in the company of well-meaning “losers” Shaggy Rogers and Scooby-Doo is enough to make the likeable rogue realise that he should be proud of his association with kites, rather than see it as an apparently necessary gimmick with which to commit crime.

Ultimately however, much of this comic’s success relies upon the gobsmackingly good layouts by Dario Brizuela. Sensationally shaded by colorist Franco Riesco, to the point where some scenes appear to have been almost ‘lifted’ straight out of an animated cartoon show, the Argentinian illustrator ensures every character is seen wearing their hearts upon their sleeves – with even the likes of Alfred Pennyworth being visibly hurt by Fred Jones' intimation that these days the elderly butler is only good for causing a distraction, as opposed to being able to actually ‘sneak’ about.

Written by: Matthew Cody, Drawn by: Dario Brizuela, and Colored by: Franco Riesco

Uncanny X-Men #15 - Marvel Comics

UNCANNY X-MEN No. 15, July 2025

Captivatingly claustrophobic due to so many of its sense-shattering shenanigans occurring deep down inside a long-buried crypt, there isn’t much wrong with Gail Simone’s narrative for Issue Fifteen of “Uncanny X-Men”. Indeed, the twenty-page periodical’s well-paced ‘potash’ of past, present and potential future sub-plots should see many a bibliophile utterly beguiled; “Oh, my dear, dear fellow. What makes you think you are free to leave.?”

Admittedly, this third instalment to the American author’s “The Dark Artery” storyline doesn’t really contain all that much adrenalin-fuelled action – at least not until this comic book’s end when Deathdream, Jitter, Calico and Ransom take-on the furious pitchfork-carrying residents of the realm of the dead. But the sheer sinister undertones of the dialogue-driven set-pieces beforehand, quite easily still carry this adventure ever onwards at an enjoyably brisk pace; especially during Miss Benjamin’s potentially deadly confrontation with the truly despicable secret service agent Mister Miller “nearly a century past.”

In fact, one of the dilemmas doubtless faced by this book’s Oregon-born writer was how she was ever going to cover as much of Lady Henrietta’s intriguing role as Penumbra’s current custodian as she does, whilst competing with the limited sheet-space required to also tell the mutant teacher-turned-caretaker’s brilliantly penned and emotionally-charged backstory.

Furthermore, Simone is also busy sowing the seeds of a potential massacre about to occur within the seemingly safe Haven House. This upcoming Sentinal attack might not have struck the audience as being particularly terrifying when the titular characters were residing there. However, rather cleverly, Gail has the X-Men depart to spectacularly save the Outliers’ day, and in doing so exposes the highly likeable little Chelsea and her mother to the flesh-tearing danger of a deranged mechanical Bloodhound back home.

Marvellously managing all of this comic’s visuals is David Marquez, who impressively imbues all the various sequences with just the right amount of atmosphere and apprehension. Of particular note has to be the Illustrator’s prodigious pencilling of Mister Miller, whose arrogant superiority is brought down to Earth with a heart-stopping bump when the Mutie-hater shockingly realises that the people he was planning to cold-bloodedly gun down, might not actually let him leave the swamp in one piece.

The regular cover art to "UNCANNY X-MEN" #15 by David Marquez & Matthew Wilson

Thunderbolts: Doomstrike #4 - Marvel Comics

THUNDERBOLTS: DOOMSTRIKE No. 4, July 2025

Largely focused upon Doctor Victor Von Doom verbally sparing with a heavily chained-up Bucky Barnes, this twenty-page periodical’s writers still manage to do a good job in imbuing the speech bubble-laden spate with plenty of tension and dynamic drama. Indeed, Jackson Lanzing and Collin Kelly’s handling of Latveria’s tyrannical ruler is seemingly spot on, as the armoured super-villain projects an almost palpable mixture of sheer arrogance and a desperate, almost juvenile need for his opponent to succumb to his twisted vision of the world; “Would you like to feast with Doom in the light of objective truth.? Then say it.”

Furthermore, this enthrallingly claustrophobic set-piece surprisingly isn’t in any way diminished once the Fantastic Four’s arch-nemesis angrily departs either, with the Eisner Award-nominee’s actually appearing to ‘up the stakes’ once Valentina Allegra de Fontaine begins to ‘interrogate’ the Winter Soldier on her own. Admittedly, much of the Silver Age sorcerer’s physical (and magical) menace is replaced by the Countess’ seductive feminine wiles. But there can be no doubt that the Thunderbolts’ one-armed leader is in just as much physical jeopardy with Citizen V’s catlike grip as he was whilst Jack Kirby’s co-creation was torturing him with the Psi-Temples of He Who Mourns In Memory. 

Disappointingly though, the rest of the storytelling inside Issue Four of “Thunderbolts: Doomstrike” arguably isn’t as well-penned, with Natasha" Romanova’s recruitment of a second strike team occurring in a decidedly choppy manner. Much of this confusion is debatably caused by the American authors desperately trying to demonstrate just how fast and stealthy an operative Black Widow can be when highly motivated. However, in having the former Russian assassin leap from one scene set thirty thousand feet above the Pacific Ocean straight into another based some ninety-eight miles from the Texas/Mexico border, the collaborative pair simply generate a ton of unanswered questions in the audience’s mind – not least of which is why the Agent of S.H.I.E.L.D. selected who she did, and how she physically located/visited them..?

Similarly as ‘hit and miss’ are artist Tommaso Bianchi’s lively layouts, which largely manage to convey all the Machiavellian menace any comic book audience would expect of a yarn spotlighting Victor Von Doom. Yet every now and then the Varese-born illustrator’s panels don’t debatably fully deliver on what is supposedly happening in the script, such as when Songbird screams so as to probably damage/destroy the flying craft she’s aboard, or Ayo and Aneka are presumably conducting some covert mission in Wakanda when they’re spotted by winged Doombots..?

The regular cover art of "THUNDERBOLTS: DOOMSTRIKE" #4 by Leinil Francis Yu & Romulo Fajardo Jr.

Destro #5 - Image Comics

DESTRO No. 5, October 2024

Pushed by its Portland-based publisher as depicting “the most dangerous powers in the Energon Universe [being] at war” with one another, fans of Hasbro’s “G.I. Joe” franchise most likely found this mini-series’ finale rather disheartening. True, Dan Watter’s narrative for Issue Five of “Destro” does show the titular character pummelling his way through the Crimson Twins at the M.A.R.S. Industries Headquarters. But this enjoyably lengthy bout of fisticuffs doesn’t debatably amount to anything other than giving the Scottish leader of the Iron Grenadiers the satisfaction of physically beating down some rivals before allowing Xamot and Tomax to live.

Indeed, the promise of the mysterious Cobra Commander participating in the brutal contest doesn’t even occur, with the fanatical terrorist simply looking on from the side-lines as a spectator; “I am keeping my options open, Destro.” This distinct lack of consequences to the highly-anticipated confrontation sadly sucks all the life out of the comic, if not the entire mini-series, and lamentably transpires just when the arrogant brothers appear to be about to get their well-deserved comeuppance, having arrogantly strolled straight into the armament’s factory only to unexpectedly find its founder still alive and well.

Similarly as dissatisfying though, is arguably this twenty-two page periodical’s conclusion, which sees James McCullen Destro XXIV somewhat bizarrely pardon his would-be-murderers, and then actually offer them (as well as Cobra) an alliance so as “to keep the world in a state of perpetual war.” Considering that the Crimson Twins had literally just tried to kill him with a garrotte, such forgiveness may strike many a bibliophile as being fairly unfathomable - albeit the weapons manufacturer is later depicted as having an intimate relationship with Astoria Carlton Ritz, who had also previously gone to great lengths to assassinate him.

However, what doesn’t disappoint are Andrei Bressan’s layouts, which do a cracking job in representing the savage speed of Laird Destro’s frantic fight. Onlookers should easily be able to imagine the pain inflicted by the man’s solidly-struck punches, as well as his momentary desperation when one of his attackers manages to get behind him with a deadly ligature. Furthermore, the Brazilian illustrator’s handling of Chameleon’s well-co-ordinated strike against the Crimson Guard shows all the efficiency expected for a successful military operation by highly-experienced operatives.

The regular cover art of "DESTRO" #5 by Andrei Bressan and Adriano Lucas

Star Wars: Inquisitors #4 - Marvel Comics

STAR WARS: INQUISITORS No. 4, December 2024

For those devotees of Disney’s galaxy far, far away, Rodney Barnes’ conclusion to this “Star Wars: Inquisitors” mini-series must surely have come as a major disappointment. Indeed, despite having bested the Grand Inquisitor, Fifth Brother, as well as the Seventh and Ninth Sisters, this twenty-page periodical’s plot never properly explains just why the Dark Lord of the Sith regarded Tensu Run as such a major threat to the tyrannical Empire. Nor for that matter, how the rather lack-lustre Jedi Knight later becomes such a legendary figure for the Light side of the Force.

Instead, the screenwriter attempts to convince his audience that Darth Vader would continue to accept his proteges’ persistent failure without any penalty whatsoever, and that having been unconvincingly cornered on a planet, this title’s central protagonist would simply allow himself to be decapitated by his foe so he can “die at peace with all I’ve done.” Such illogical contrivances really do prove hard to swallow, most especially Run’s suicidal stance considering that the ‘rebel’ completely failed to establish the Padawan training temple he had planned, and seemingly also let the young apprentices on Zondula get massacred by a unit of elite Clone Troopers; “Do you forget the peace that once flowed within you? A life free of tormented lust for power?”

Just as badly scripted though, is debatably the startling willingness of Tensu to give up the fight for survival when trouble strikes. The human clearly likes the idea of Force sensitives having a school within which to train. But then appears utterly unwilling to keep such a dream alive by repeatedly complaining about his responsibility to the Jedi Order, and ultimately just surrendering himself to Shmi Skywalker’s sinister son without so much as raising his lightsaber in defiance.

Unhappily adding to all this confusion as to the main cast’s motivations and mind-sets are Ramon Rosanas’ layouts, which whilst being prodigiously pencilled, don’t debatably do all that good a job in helping along this book’s storytelling. Of particular note is the sequence depicting Run’s dubious decision to battle the Inquisitors in space, with the artist’s panels illustrating poor Pan’s meaningless death requiring a few re-readings before it becomes clear just how Tensu’s friend actually died. This need for bibliophiles to ‘fill in the gaps’ sadly occurs a second time too, when the so-called celebrated Jedi is shown awkwardly fending off an assault one moment, and is then quite literally hurled out of the temple by Vader in the next.

The regular cover art of "STAR WARS: INQUISITORS" #4 by Nick Bradshaw & Neeraj Menon

Conan The Barbarian #21 - Titan Comics

CONAN THE BARBARIAN No. 21, July 2025

Consisting of a number of nods to Robert E. Howard’s original short stories, such as "The Vale of Lost Women" and even arguably "Shadows in Zamboula", there is undeniably plenty within Jim Zub’s narrative for Issue Twenty One of “Conan The Barbarian” which should rather please any Hyborian heroes reading it. However, such is the fleetingly fast nature of this comic’s pacing, that few readers will actually be able to dwell upon the references before being faced with yet another in a disconcerting carousel of set-pieces; “Test your food carefully and do not drink any of the wine. Something about this feels strange…”

To begin with, this twenty-two page periodical’s opener absolutely races through a turbulent period of the titular character’s travels with a nameless band of mercenaries, and only appears to stop for a brief moment of respite to plug the Canadian author’s previously published Kull the Conqueror team-up tale, before dutifully leaping on to the Cimmerian’s battles alongside a tribe of Bamula warriors. Admittedly, this frantic flashback sequence, powerfully pencilled by “Ferocious” Fernando Dagnino, rather succinctly conveys the leading cast to an enigmatic town “near the border between Kush and Stygia", where this latest yarns starts. But such is the rocket-like momentum of the storytelling that it continues to carry the audience straight on through a suspiciously low-priced public house, a lively love-scene, and into a nervy nocturnal excursion across the mysterious municipal’s rooftops, before anyone knows what's happening.

Sadly such a whirlwind tour of this “oasis” also requires a few contrivances to occur, so as to force Conan into the very slave pit he finds during his aforementioned recce. Perhaps one of the biggest of these ploys is that the Cimmerian originally discovers the buried cell containing all the unfortunates drugged by the townspeople to be completely unprotected. Yet when the black-haired barbarian repeatedly attempts to break out for himself - by climbing up its walls, the Tripwire Award-winning writer stymies his escape with a number of “grinning guards” who knock him back to the ground. 

By far this comic's most unconvincingly manufactured moment though, is surely the titular character's crucial capture, when he unwisely decides to single-handedly storm straight into a tight-spaced tavern which is wall-to-wall with treacherous residents. This downfall is as swift as it was avoidable, and resultantly will cause many a bibliophile to feel it was only penned to allow Belit's former bodyguard to be climatically dragged before the feet of Thoth-Amon Just before this book runs out of panels.

Writer: Jim Zub, Artist: Fernando Dagnino, and Color Artist: Diego Rodriguez

Red Hulk #5 - Marvel Comics

RED HULK No. 5, August 2025

Undeniably hurling Thunderbolt Ross from out of the cooking pot and straight into the fire, Benjamin Percy’s penmanship for Issue Four of “Red Hulk” is arguably a tour-de-force as to how to absolutely pack a twenty-page periodical with some serious high-octane action, yet still deliver a strong storyline involving international politics, treachery, and a palpable feeling of outrage at how despicably a country can treat one of its experienced war veterans. In fact, the General’s anger towards the United States apparently ‘bending the knee’ to Doctor Victor Von Doom positively bristles off of each printed panel; “Defy any system that supports this global @#$%#& coup. We’re at war with the world.”

Furthermore, the introduction of a somewhat quietly spoken, albeit utterly belligerent Colonel, makes a great contrast to the loud, almost bombastic shouts emanating from the gamma-powered protagonist. This particular character, who is so disrespectful towards a superior officer that he doesn’t even salute Ross, is the exact opposite of everything the American author depicts Thaddeus as standing for, and resultantly imbues their momentary cordiality with a terrific amount of tension before the pair have exchanged even a score of words.

The Oregon-born writer’s handling of both Machine Man and Deathlok is also not without merit, courtesy of the badly battered pair still contributing plenty to the plot’s progress. The couple’s close shave with a lone Doombot provides a neat benchmark as to just how much more powerful Red Hulk is over them (as the human mutate rips dozens of the robots apart with his bare hands). But they also move the group's escape bid forward by establishing a communications link with the then seemingly sympathetic U.S. Air Force, and negotiating co-ordinates for a supposedly safe extraction.

Ultimately however, the real heavy-lifting of this tome is done by Geoff Shaw and colour artist Bryan Valenza. Between them the two illustrators absolutely knock the ball straight out of the park, with some marvellous, eye-catching double-splashes of Ross’ heavily-muscled alter-ego brutally bashing any android stupid enough to come within his reach. In addition though, there is a distinctly disagreeable arrogance in the bearing of the aforementioned insolent Colonel, so when the holier than thou soldier is subsequently sketched running for the hills once his ‘detainee’ picks up a nearby boulder, many a bibliophile should be smugly smirking in satisfaction at his evident fright.

The regular cover art of "RED HULK" #5 by Geoff Shaw & Marte Gracia

Destro #4 - Image Comics

DESTRO No. 4, September 2024

Pedantically plodding, as well as somewhat illogical when it comes to the motivation of the Crimson Twins in wanting to buy M.A.R.S. Industries with a “really big cheque” despite the evident “unmarketable” deficiencies of the company’s B.A.T.S. project, Dan Watters narrative for Issue Four of “Destro” was probably seen by many readers as an example of sluggish storytelling. Indeed, apart from a fleeting example of the aforementioned deadly, though utterly undeployable “fully functioning autonomous soldiers” gunning one another down, and an incredibly brief physical spate involving Astoria Carlton Ritz, this particular twenty-page periodical is practically devoid of any action.

Instead, its plot is infuriatingly padded out with conversation after conversation, or even worse – the titular character writing a long letter to Major Flagg, thanking the United States of America’s military for being “so very naughty.” Such sequences would ordinarily have been fine if interspersing the high-octane dramatics normally associated with Hasbro's "G.I. Joe" media franchise. But when each dialogue-driven scene simply runs into another, with absolutely no respite, then many a bibliophile will surely start to struggle to make it through this entire comic book in a single session; “Honestly, you’re going to make me start to think that rich white board members of billion-dollar-valued tech companies can’t party.”

Of course, that isn’t to say that this mini-series’ penultimate instalment doesn’t have any merits, as the revelation that Ritz’s sentient Artificial Intelligence is behind the assassinate attempts upon Destro is definitely an intriguing, surprise twist. However, even something as enthralling as a warmongering computer arbitrarily deciding “how to end war on Earth” arguably loses a tremendous amount of its impact when such a disclosure occurs amidst a rather tiresome nineteen panel long discussion.

Quite possibly just as uninspired by this sedentary script is Andrei Bressan, who appears to have ‘won’ the lion’s share for padding this publication out to its required length. The Brazilian artist is clearly trying his very best to do so, as seen with his drawings of Astoria desperately attempting to outfox Destro by running through a luxurious nightclub. Yet even so proficient a penciller as him can’t manage to imbue all that much interest in a carousel of verbal exchanges, where the majority of the cast just scowl at one another whilst talking.

Writer: Dan Watters, Artist: Andrei Bressan and Colorist: Adriano Lucas

Uncanny X-Men #14 - Marvel Comics

UNCANNY X-MEN No. 14, July 2025

Somewhat slowly scratching away at “the history of the hidden landscape under the Louisiana swampland”, Gail Simone’s script for Issue Fourteen of “Uncanny X-Men” certainly contains an incredibly intriguing insight into a terribly trepidatious time when mutants in the United States of America were mercilessly hunted by the sinister “Service”. True, Miss Henrietta Benjamin’s  captivatingly penned adventure set during the early Nineteenth Century regrettably only occupies just over a quarter of this twenty-page periodical. But it so dramatically depicts a far less civilised time where any “Johnny Devil” is apparently shot on sight, that the young lady’s bloody confrontation with two heavily-armed ‘holier than thou’ government agents will surely stay in the audience’s mind well after they’ve put the comic down.

Furthermore, this book also features a pulse-pounding bout of pugilism between Rogue and the dragon Sadurang, which shows just how fearsome a fighter Anna Marie can be when she believes her husband is in mortal danger. As with Miss Henry’s aforementioned ruckus in New Orleans, this punch-up is sadly somewhat short-lived. However, considering that the super-strong mutant is going up against a gigantic Asgardian sorcerer who studied under the dread Dormammu himself, such a fight was always going to be swift (and one-sided), even when the mutant gets in two thunderous whacks before the ice-spewing serpent really knows what’s hit him; “Females. By the frosted peaks of Jotunheim, I will never understand them.”

Perhaps this publication’s weakest plot-thread therefore lies with the American author’s handling of the Outliers encountering the Man-Thing close to their supposedly safe retreat at Haven House, and debatably not doing much else except talk amongst themselves. This unexpected meeting undeniably gave this ongoing title’s previous edition a suitably scary cliff-hanger which potentially promised at least a modicum of sense-shattering shenanigans due to the X-babies’ terror at meeting a creature who “will melt your face off if you show any fear”. Yet rather than utilise Theodore Sallis’ terrifying alter-ego for any adrenaline-fuelled action, or a dynamically-charged momentary misunderstanding, Stan Lee’s co-creation is underwhelmingly referred to as “just a big, good doggie” by Deathdream, and rather perturbingly pencilled by artist David Marquez as the burial site’s sedentary doorman.

The regular cover art to "UNCANNY X-MEN" #14 by David Marquez & Matthew Wilson