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

Conan The Barbarian #20 - Titan Comics

CONAN THE BARBARIAN No. 20, May 2025

Apparently continuing a “triumphant new era of Conan”, this publication’s twenty-two page plot certainly seems to contain many tropes which are highly reminiscent of Robert E. Howard’s writing during the early 1930’s. But sadly, despite all these entertaining elements, such as the heavily-muscled barbarian ferociously fighting both a shape-shifter and a demonic shadow of himself, this book’s audience will doubtless only glean some modicum of satisfaction right at its very end – when the truly treacherous Tarnasha appears to finally get her just desserts at the hands of a snake-headed “gentlemen from the South".

Much of this disappointment debatably stems from ‘acclaimed creator’ Jim Zub repeatedly showing Zulu shrugging off injuries which would ordinarily fell a mortal foe. Admittedly, the “guardian of the Grasslands” is able to transform himself into the guise of a black panther. However, having done just that in this ongoing storyline’s previous instalment, and been literally brained by the titular character with a hand-sized rock, it seems rather unconvincing that every time the chap changes – be it a big cat, feathered raven, or even a lithe, barely-dressed woman – all of the warrior’s wounds are instantly healed.

Furthermore, the Animex Honorary Award-winner would have his readers believe that for some time now Conan has been carrying the taint of Set, the Serpent God within his own belly. This notion is arguably pretty hard to swallow considering that the black-maned adventurer has shown no such symptoms until Zulu unwisely summons the sinister snake deity’s spirit onto the mortal plane before the pair of them, and resultantly smacks of simply being a dubious device with which to pen their unconvincing confrontation in the first place; “And yet I say again -- I do not worship Set. I have never been to Stygia.”  

What does prove far more compelling than this comic’s narrative though, is Doug Braithwaite’s prodigious pencilling. The British artist provides all of Zulu’s physical manifestations with plenty of energy, and is bound to cause many a bibliophile to pant with heat fatigue as the Cimmerian cuts his way through one of the Southern kingdoms’ sweaty, vegetation-packed jungles. In addition, the thief Tarnasha’s grim demise inside a seedy merchant’s store is so dramatically drawn that the final panel should genuinely leave a lasting impression upon any person who witnesses it.

The regular cover art of "CONAN THE BARBARIAN" #20 by Roberto De La Torre

Uncanny X-Men #13 - Marvel Comics

UNCANNY X-MEN No. 13, June 2025

Quite wonderfully weaving three separate storylines together into a single, twenty-page periodical, this opening instalment to Gail Simone’s “The Dark Artery” certainly contains plenty of mystery with which to well and truly hook her audience. In fact, even the comic’s somewhat sedentary sequences following Miss Henrietta Benjamin’s train ride to New Orleans still provides a gripping journey once it becomes clear the young woman is actually a mutant being menaced by the highly prejudicial “Service.”

By far this book’s ‘loudest’ narrative though is that of Gambit once again facing the formidably-sized Asgardian dragon Sadurang. Admittedly, this remarkable rematch possibly verges on being unbelievably bizarre once the “powerful sorcerer” disconcertingly flies an almost naked Remy LeBeau to the dinosaur-filled Savage Land, and almost gets him eaten alive by a hungry Tyrannosaurus Rex. But it also injects an otherwise rather dialogue driven publication with some much needed action, as well as tantalisingly suggesting that the X-Man’s future, thanks to him owning the Left Eye of Agamotto, may well soon turn him into a flesh-hungry cannibal.

Just as intriguing is young Deathdream’s trip to a partially-buried cemetery deep within a Louisana swamp. The excursion is incredibly well-penned by the American author, and absolutely drips in alarming eeriness as the four adolescent Outliers slowly follow a path down into an underground chamber packed full of corpses. It's ordinarily really hard to successfully deliver such an atmospheric exploration, especially one in which the children's senses are clearly screaming for them to get out of the burial site as fast as their legs will carry them. However the level of trepidation generated by these self-doubts and fears makes each scene utterly unputdownable.

Also adding plenty of ambiance to all these various exploits is the artwork of David Marquez, who does a first-rate job in mixing subtle, slow-moving adventure with fast-paced, over-the-top drama. Of particular note is the almost quiet nature of Miss Henry’s aforementioned journey, which projects all the restraint required of a lady travelling at a time in history when outright bigotry would make even the most simple of day-to-day tasks much more difficult for her; “If I want to read a heathen’s treatise, I’ll spend two pennies for the local paper, Andrew.”

The regular cover art to "UNCANNY X-MEN" #13 by David Marquez & Matthew Wilson

The Incredible Hulk [2023] #25 - Marvel Comics

THE INCREDIBLE HULK No. 25, July 2025

Loudly lauded by its New York City-based publisher as the “most epic rematch in Marvel history”, Phillip Kennedy Johnson’s oversized, thirty-page plot for Issue Twenty-Five of “Incredible Hulk” certainly had an awful lot of expectations to live up to. And delightfully, this brutal battering between two of the Avengers’ founding members delivers precisely that. Indeed, for those bibliophiles who enjoy an all-out slugfest, this comic’s sole disappointment is that the pulse-pounding pugilism stops dead in its tracks just as it looks as if the Green Goliath is going to continue clobbering the Warriors Three straight into next month's instalment too; “Perhaps… I was hasty. Perhaps it is not the beast I face of old.”

Almost as entertaining as this book’s central thread though has to be the backstory to Thor’s first confrontation with Lycana, which is dramatically penned by the American author as if it were an old Asgardian myth. Quite beautifully pencilled/coloured by Nic Klein, this sub-story smacks of the distrust a village of aging veterans would have when approached by a young, unknown warrior who is stalking a shape-shifting killer, and resultantly provides this tome with a strongly contrasting pace to all the aforementioned punches, kicks and blows, as the God of Thunder carefully investigates old Arne’s trembling testimony.

Encouragingly, at least for those readers who wish to see some redeeming features exist within the titular character's adolescent travelling companion, this comic also shows Charlie Tidwell demonstrating some uncharacteristic common sense during her time with Odinson. Rather than angrily transform into the mother of all skinwalkers as she ordinarily does whenever things don't pan out precisely as she naively wants them to, the young girl actually tries to rationalise with her super-strong would-be abductor, and quite disconcertingly appears to be the only member of the book’s cast to exhibit any real sound judgement throughout the incredibly tense situation.

By far this publication’s biggest hook however, has to be the incredible artwork of its German illustrator, who produces some absolutely astonishing masterpieces throughout this tome. Of particular note is the huge sunken sea vessel with which the Hulk whacks Thor straight back up to the Rainbow Bridge. But this is just one of several colossal blows which quite literally leap off of the printed page, and makes all onlookers genuinely feel the physical, bone-shaking impact of each colossal connection.

The regular cover art of "THE INCREDIBLE HULK" #25 by Nic Klein

Uncanny X-Men #12 - Marvel Comics

UNCANNY X-MEN No. 12, May 2025

Described by Editor Tom Brevoort as “a full-on spotlight” upon Remy LeBeau, Gail Simone’s script for Issue Twelve of “Uncanny X-Men” arguably makes for a pretty compulsive read. Indeed, the twenty-page periodical's insights into Gambit’s past life as a young, rather naïve ward of the New Orleans Thieves Guild, coupled with the American author's superb handling of the wonderfully villainous Vig is probably worth the comic's cover price alone - especially as the ever-ominous hoodlum continues to shadow our Cajun super-hero all the way to his modern day home at Haven House in Louisiana; “You got four new li’l freaks. I want one. You pick. Then we square.”

Looking somewhat like a bespectacled Killer Croc, this treacherous villain simply oozes wilful wickedness in every panel in which he appears, and should completely capture any onlooker's attention with his disconcertingly polite manner and disarmingly quiet way of speaking. Furthermore, the well-dressed enforcer makes it incredibly clear without actually resorting to violence, that he is perfectly capable of ripping a non-powered human apart with his bare hands if even slightly provoked, and this palpable sense of jeopardy does not bode well for Chris Claremont's co-creation when he finally decides to stand up to the cold-hearted killer.

Infuriatingly though, what does debatably let this publication down a little bit is its opening, which focuses upon Rogue’s ridiculous decision to have her husband blast a hapless Jitter into next week during a training session, just so the X-Men can supposedly teach the adolescent Outliers a life lesson. Understandably, Anna Marie is wracked by guilt for this unforgivable decision, and yet decides to initially harangue the startled girl even more when she discovers the young mutant back training in the ‘Danger Room’ just after four o’clock in the morning. Such behaviour really is hard to excuse, especially when the narrative then appears to ask its audience to have some sort of sympathy for Raven Darkhölme’s foster-child because she’s struggling to be the team’s leader.

Sadly, Gavin Guidry’s layouts are also a bit of an inconsistent conundrum, due to the artist not seemingly getting to grips with the storytelling until after Rogue’s renewed spate with Sofia Wong. The freelance illustrator’s clean-looking style is definitely proficient enough. But probably appears a little stiff-looking for this comic’s early, action-orientated shenanigans. However, it is absolutely spot-on for the measured physicality of The Vig, and adds plenty more Machiavellian menace to the grey, three-piece suit-wearing hitman when he once again meets up with Gambit.

The regular cover art to "UNCANNY X-MEN" #12 by David Marquez & Matthew Wilson

Solomon Kane: The Serpent Ring #3 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 3, July 2025

Captivatingly transporting his audience to the “dark edge of the Kingdom of Ndongo”, and a deadly rendezvous with an ancient cult of devilish Serpent people, Patrick Zircher’s penmanship for Issue Three of “Solomon Kane: The Serpent Ring” is absolutely top notch. Indeed, the American author’s handling of the Early Seventeenth-Century Puritan is so entrancing, that many within this mini-series’ audience probably felt as if Robert E. Howard himself was whispering the storyline in his ear, and the Dayton-born writer simply capturing what he heard on paper; “But proceed. Wisdom, like the wind, cometh from all quarters.”

Spearheading these successes has to be the persistent aura of danger surrounding the comic’s quite considerably-sized cast, with little love shown between many of the adventurers – most especially Mbondu, who despite living on the dangerous lands upon which Rolando Zarza now seeks his fortune, is given no respect for his expert knowledge whatsoever. In addition, the shape-shifting Father Goncallo is repeatedly shown to be as treacherous as the snake deity he worships, and any onlooker is never at ease whenever the false priest is pencilled disconcertingly lurking in a panel’s shadows.

However, by far the book’s biggest achievements has to be its two action-packed set-pieces, which whilst rather short, are still crammed full of tense desperation. In fact, this twenty-three page periodical’s plot does a grand job in keeping its readers constantly on their toes worrying as to which characters will actually survive long enough to reach beyond the Stones of Pungo and Andongo. Such uncertainty genuinely is palpable, particularly after the rogue Nico Cassini is pencilled painfully taking an arrow straight in the arm, and Kane himself is left for dead after being bitten on the shoulder by one of the High Priestess Sha-Kabet’s fearsomely-fanged pet reptiles.

Bewitchingly, Zircher also provides ample examples of his prodigiousness as a top tier illustrator. There is simply so much to admire within this publication’s layouts, from the adrenalin almost dripping off of the adventurers as they fend off a ferocious volley from a tribe of natives with their muskets, through to the crystal clear hatred in Mbondu’s eyes whenever he casts a glance at the truly despicable Zarza. And few bibliophiles will surely forget the artist's truly awesome sketch of Diamanta and Solomon seeing their first African elephant up close and personal.

Writer/Artist: Patrick Zircher, and Colorists: Pete Pantazis & Patrick Zircher

Uncanny X-Men #11 - Marvel Comics

UNCANNY X-MEN No. 11, May 2025

As opening instalments go for a supposed "milestone X-Men crossover", Gail Simone’s narrative for “Echoes Of Madness” certainly seems to start out well with a shocking act of despicable treachery aboard the Shi’ar escort cruiser C’rylari by Navigator Elilan. But disappointingly, once poor Professor Xaiver is heavily sedated in his Graymalkin Prison cell, and his telepathic link to Xandra Neramani resultantly broken, this comic’s plot somewhat fatiguingly focuses upon (yet) another farmyard training session for the Outliers; “You go in the semicircle. And you stay on your feet. Three full minutes.” 

Admittedly, this sequence initially provides a bit of fun for the audience to enjoy as Nightcrawler quickly demonstrates to “little Calico” that the rookie mutant needs to always expect the unexpected, and the increasingly haughty Ransom taunts Wolverine over his 'old age'. However, the entire mood to so innocent-sounding a set-piece is suddenly turned upon its head by Rogue uncharacteristically commanding Gambit to take down one of the pupils “hard.” This bizarre order comes completely out of the blue, and is supposed to suggest that the team’s current leader is taking her responsibilities seriously.

Yet poor Sofia’s brush with a devastating kinetic energy-filled playing card probably just caused many a reader to scratch their heads in disbelief as to just how potentially injuring one of the X-Men’s proteges is apparently an example of strong governance. Indeed, at the very start of the exercise Jubilee even refers to the workout as being a “game”. So just why Anna Marie LeBeau gets all agitated as to the children’s playful attitude towards the challenge, and therefore questions whether they could survive a genuine threat to their existence, is a bit baffling – particularly as the quartet have literally just come back from besting a pack of killer Sentinel dogs at a local shopping precinct.

Furthermore, Remy’s smart-mouthed personality appears to have been completely sucked away by the American author, with the former Thieves Guild member acting more like a sycophant robot to his wife’s incongruous instructions, than the flamboyant, swashbuckling adventurer most fans will favour. Of particular note is how coldly he obeys Rogue’s directive to harm one of their wards, with artist Javier Garron pencilling the Cajun from New Orleans almost nonchalantly choosing his unsuspecting target, and then cold-heartedly flicking his deadly missile towards them without a trace of emotion upon his dead-pan face.

The regular cover art to "UNCANNY X-MEN" #11 by David Marquez & Matthew Wilson

DC Vs. Vampires: World War V #9 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 9, July 2025

For those readers eagerly anticipating “John Constantine [coming] to the rescue” of Earth’s last surviving super-heroes, as promised by this comic’s solicitation synopsis, Matthew Rosenberg’s script for Issue Nine of “DC Vs Vampires: World War V” must have been a major disappointment. True, the twenty-four page periodical certainly contains its fair share of adrenalin-fuelled, large-scale battle action. But Hellblazer doesn’t even feature in this book, with its American author instead relying upon the likes of the New Gods of New Genesis to try and save Frankenstein’s forces on Dinosaur Island.

Furthermore, Darkseid’s need to take the primeval peninsula seemingly makes no sense whatsoever, with Granny Goodness claiming it’s the only place on the planet from which the tyrant can launch an attack upon Aquaman’s deep-sea domain due to the extra-terrestrials apparently having a limited ability to travel underwater. Considering that the Lord of Apokolips has already ventured from another entirely different dimension, this sudden snag is pretty unpalatable, and strongly suggests that it is simply an unconvincing excuse for the New Yorker to casually cause the parademons to fight somewhere other than the bland-looking wintry wastes of America.

Similarly as off-putting though, is probably this publication’s overinflated cast of characters - thanks to the mini-series’ regulars being joined by all manner of minor crime-fighters, anti-heroes and desperados. The introduction of the Highfather and his band of arrogant deities is debatably bad enough to get a handle on, considering just how bizarre (and dislikeable) their holier-than-thou personalities are. However, Rosenberg soon then ramps things up by a factor of ten by also hurling Detective Chimp and the impressively large Dinosaur Island army at his readers, along with Darkseid’s Deep Six, the Atlantean Vampires and a handful of other never-before-seen costumed vigilantes.

Far more satisfying an experience is the second instalment to “Wildcat: Going The Distance” by Shane McCarthy. Subtly sketched by Fabio Veras, this disturbingly dark conclusion to Ted Grant’s search for his son is incredibly engrossing, and shows a tender side to the “long-time member of the Justice Society of America” which is seldom seen. In addition, the back-up tale still somehow manages to end on something of a high note, despite the former heavyweight boxer losing much of his reason for living in a world where vampires supposedly rule both the night and day.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #9 by Otto Schmidt

Uncanny X-Men #10 - Marvel Comics

UNCANNY X-MEN No. 10, April 2025

Containing plenty of pulse-pounding punch-ups, and an enthrallingly tense political nightmare for the highly dislikeable Corina Ellis, it’s arguably easy to see just why this particular issue of “Uncanny X-Men” was the fifteenth best-selling comic of February 2025 – at least according to “ICv2.Com”. In fact, some bibliophiles may well have expected “Off The Leash” to have done even better, as Gail Simone’s script manages to deliver a nail-biting battle between the Outliers and “a new, vicious and unstoppable anti-mutant weapon initiative” without just resorting to the rookie super-heroes unthinkingly battering their robot opponents into submission.

This decision to have the mutant recruits outwit their dog-based Sentinel foes really lies at the heart of this book’s successful storytelling, with Jitter’s decision to imbue herself with all the knowledge and wisdom of a combat medic causing the ‘X-Babies’ to work together as a team, rather than just’ smack the snot’ out of Larry Trask’s latest creations. Furthermore, the American author generates a real, palpable sense of danger for the potential X-Men recruits, with all four of the adolescents coming within a whisker of being savagely slaughtered by their assailants’ “chainsaw-like teeth.”

Enjoyably though, a good portion of the pleasure readers should experience from this twenty-page periodical’s plot doesn’t come from the aforementioned sense-shattering shenanigans either. But is somewhat surprisingly generated by the Warden of Graymalkin Prison, who completely loses her mind over the unauthorised assassination attempt, and furiously berates the likes of Captain Erza, Jerry Greentree and Trask when she realises the strike has “gone and made them [the Outliers] all heroes” with both the press and general public. Indeed, Ellis’ rapid meltdown may well be the highlight of this comic for some within its audience, considering how conceitedly calm and unpleasantly confident the malicious Doctor ordinarily is; “I want him running in the Danger Room by morning. Punitive mode.”

Also well worth a mention is Andrei Bressan, who along with colour artist Matthew Wilson, does a solid job in sketching all the highs and lows of Sofia Yong’s trip to the local shopping mall. The Brazilian illustrator is clearly capable of drawing some incredibly tender moments, such as Miss Deneer graciously thanking Nightcrawler for saving her daughter’s life, as well as create this comic’s more intense action sequences, and definitely helps add to an already stressed situation by prodigiously pencilling all the combatants with some highly emotional facial expressions.

The regular cover art to "UNCANNY X-MEN" #10 by David Marquez & Matthew Wilson

Star Wars: Inquisitors #3 - Marvel Comics

STAR WARS: INQUISITORS No. 3, November 2024

This “third issue of the 2024 canon comic miniseries” probably landed rather well with Star Wars fans due to its atmospheric opening sequence aboard a casino cruiser orbiting the planet Glee Anselm, and the twenty-page periodical’s subsequent scenes shadowing Seventh and Ninth Sisters’ determined hunt for a so-called ‘Jedi legend’. Furthermore, Rodney Barnes’ insights into just how this unique, Sith-influenced partnership somehow successfully operates as a pair is fairly well-penned, with the disconcerting duo proving themselves to be as cold-heartedly canny and downright murderous, as they are a bantering, almost comedic couple; “You said that sort of information was of value. How much is your other hand worth..?”

Equally as well written though, is the pair’s dialogue with Darth Vader on his Imperial I-class Star Destroyer, in which they reveal their plan to draw Tensu Run out of hiding by poisoning his local community with “a pheromone that drives one to madness”. This entire verbal exchange absolutely drips with solemnity, and makes it crystal clear that despite the two killers being unpleasantly over-confident in their assassination abilities, they are also still in dire need of acquiring the approval of their black-armoured master.

However, all this palpable intrigue and tension is then arguably ruined by the American screenwriter’s handling of the celebrated Jedi Knight, who having decided to establish an old-fashioned training temple somewhere along the Outer Rim, suddenly chooses to visit the Deadlands’ outdoor market just as the Inquisitors attack that very street with their deadly pollen. So utterly unconvincing a contrivance seriously smacks of sluggish storytelling, and debatably ruins any momentum that should have been gained whilst depicting the two opposing sides of the Force finally squaring up against one another.

Likewise, there’s plenty to enjoy and perhaps dislike about Ramon Rosanas’ artwork too. The vast bulk of the Eisner Awards nominee’s panels are top notch, with his clean-lined style making Vader’s aforementioned meeting with his two protégés suitably stiff and formal. But the decision to dress Run and his lightsaber-carrying colleague Pan Delesec in near identical hooded cloaks may well confuse many a reader during the commotion of their close combat against Seventh and Ninth Sister, to the point where the duel requires a couple of re-reads so as to better understand who is doing what.

The regular cover art of "STAR WARS: INQUISITORS" #3 by Nick Bradshaw & Neeraj Menon

Uncanny X-Men #9 - Marvel Comics

UNCANNY X-MEN No. 9, March 2025

Arguably containing some of the most blood-crazed, stone-cold killer Sentinels seen within the Marvel Universe, Gail Simone’s opening action sequence for Issue Nine of “Uncanny X-Men” is certainly not for any faint-hearted fans. However, despite such an incredibly grisly introduction to Larry Trask’s cybernetically-enhanced stray dogs, the bulk of this twenty-page book is disappointingly just filled full of word-heavy conversations between the titular cast and the young, predominantly unlikeable mutants under their guardianship; “Each one of y’alls gonna take one Outlier to mentor. Get close. But be the adult, not their buddy.”

Indeed, in many ways it seems as if the Oregon-born writer simply needed some storyline with which to pad out the majority of this comic, so decided upon a straightforward ‘pen-by-numbers’ sub-plot which allowed her to individually pair the central cast up with a fledgling character, and then uninspiringly have the duo discuss their future plans together. Such a technique certainly helps fill the sheet space. But it also makes the entire ensemble feel more like an understandably unused storyline from Chris Claremont’s run on the “New Mutants” during the 1980s - in which the fledgling X-Babies impatiently rebel against their well-meaning, highly-experienced tutors.

Thankfully though, things definitely do hot back up once Ransom, Calico, Jitter and Deathdream take a trip to the local shopping mall, and are almost immediately attacked by an unauthorised deployment of the aforementioned Wolfpack. This savage scrap is as enthralling as it is ferociously fought. Albeit the American author’s determination to depict Valentin Correa as some sort of major big hitter by him referencing that he's previously “knocked down Wolverine” with a single punch is rather clunkily-delivered, and shows a disagreeably arrogant side to the super-strong student.

Proficiently pencilling all of this comic’s highs and lows is Andrei Bressan, who undeniably adds an element of gratuitous body horror to its pulse-pounding proceedings which has seldom been seen before. In addition, the deadliness of the Bloodhounds attack upon the unsuspecting Outliers is extremely well-sketched, with many a bibliophile doubtless able to hear the disconcerting clank of the homicidal canines’ robotic frames on the plaza’s tiled floor as they encircle their intended target.

The regular cover art to "UNCANNY X-MEN" #9 by David Marquez & Matthew Wilson