DC Vs. Vampires: World War V #8 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 8, June 2025

Having apparently decided to stop providing any explanation as to what is occurring within this mini-series’ tortuously tiring tale, and simply throw an absolute bucketload more B-string characters into the mix for good luck, Matthew Rosenberg’s narrative for this particular twenty-four page periodical must surely have completely deflated any reader hoping to understand just what was going on. Indeed, like the last human survivors battling against a blizzard-ravaged Sante Fe in New Mexico, many within this comic’s audience will almost certainly feel like they’re having to wade through waist-high snowdrifts as they painfully navigate the American author’s ‘storyscape’ of unrelated set-pieces and word-weary conversations.

Easily this publication’s largest problem however, is just how utterly disconnected everything feels. One moment the action is revolving around Miss Martian trying to hold off Darkseid’s forces in a desolate-looking church, and then suddenly the spotlight lurches to The House of Mystery where a dead John Constantine is informed that he’s been 'saved' simply so he can impotently watch the Lord of Apokolips’ unexpected invasion of a vampire-infested Earth through a mansion window.!?! Furthermore, any perusing bibliophile will doubtless find it incredibly difficult to keep up with the movements of Lashina, Mad Harriet, Caitlin Fairchild, Hank Henshaw, F.E.L.I.X., G.I. Robot, and Kilg&re, not to mention Jack Kirby’s roster of the New Gods and the Metal Men, when the writing doesn’t supply any rhyme or reason as to where they’ve suddenly come from, or what their motivations are; “I can still eat someone’s bones though, right Gilotina.?”

Admittedly, that doesn’t mean that Issue Eight of “DC Vs Vampires: World War V” isn’t completely devoid of pulse-pounding action. Far from it in fact, as Ra's al Ghul’s Batman and Alfred Pennyworth’s Green Lantern are prodigiously pencilled by Otto Schmidt getting into a right scrap against an army of Parademons. But as with so much of this comic’s content, the bickering pair’s appearance appears to follow no overall plot, and comes completely out of the blue.

Intriguingly though, what does prove a far more satisfying yarn is this book’s sadly short-lived back-up feature entitled “Wildcat: Going The Distance”. Penned by Shane McCarthy and drawn by Fabio Veras this disconcertingly dark insight into what happened to Wildcat when the vampire’s first took control of the world is wonderfully atmospheric, and remarkably manages to pull upon the emotional heartstrings of any onlooker as Ted Grant desperately searches for his missing son amidst a land ravaged by blood-sucking killers.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #8 by Otto Schmidt

Uncanny X-Men #8 - Marvel Comics

UNCANNY X-MEN No. 8, March 2025

Outrageously announcing this particular twenty-page periodical as being “an all-out action issue” of “Uncanny X-Men” in its solicitation synopsis, Gail Simone’s actual narrative for “Finale” must have resultantly fallen very flat with its readers due to the comic essentially consisting of numerous word-heavy, conversational pieces and nose-to-nose discussions. Indeed, apart from Doctor Corina Ellis shamefully slapping her minion Scurvy squarely across the chops during the book’s opening, a proper physical blow in anger isn’t thrown amongst any of this publication’s numerous combatants until Professor Xavier’s mental image finally wallops Phillip’s psychological projection straight up into the stratosphere towards the end.

Up until this point, the vast majority of the sedentary storytelling is heavily reliant upon the considerable cast of characters disagreeably bickering with one another, and then supposedly ridding themselves of some malignant influence which has caused them all to be irrationally ireful. Just how the mutants manage to do this isn’t really explained, except through Rogue’s insinuation that the founder of the X-Men is somehow keeping ‘skinny boy’ too distracted to keep up this emotional assault upon her fellow team-mates.

Perhaps even more infuriating though, has to be this four-part storyline’s ending, which rather than show the likes of Cyclops, Jubilee, Wolverine and Gambit absolutely batter the over-confident military might of Graymalkin Prison, simply has the super-heroes impotently walk out of the correctional facility and leave their fellow incarcerated mutants behind. Such a conclusion is arguably far from satisfactory, and genuinely raises some important questions as to just how formidable these two teams supposedly top-tier rosters are when both completely fail to achieve so important a goal; “To Hell with your promises! You’re leaving him to rot. And worse!”

Possibly just as confused by so much talk and so little dynamism is Javier Garron, who undoubtedly does his best to provide this comic’s layouts with some semblance of pace. However, even the most proficient of pencillers can only repeatedly sketch Magik, Juggernaut, Nightcrawler and the Outliers inexplicably floating about in thin air for so long, before eventually resorting to a carousel of largely lack-lustre side-on shots of the two squads just waxing lyrical to one another about how they’d each do things entirely differently.

The regular cover art to "UNCANNY X-MEN" #8 by David Marquez & Matthew Wilson

Solomon Kane: The Serpent Ring #2 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 2, May 2025

Despite its twenty-three page plot heavily relying upon a dubious alliance between Robert E. Howard’s “sombre-looking” creation and the murderous villain Rolando Zarza, Patrick Zircher’s storyline for Issue Two of “Solomon Kane: The Serpent Ring” surely must have delighted its audience when it hit the spinner racks in April 2025. Sure, many readers may well struggle to believe the Seventeenth-century Puritan would stomach the dishonourable knight’s company for a single night, let alone the fifty-three days it takes them to travel together to the Kingdom of Kongo. But having placed the unlikely pair alongside a Venetian scholar and his daughter, as well as the highly disagreeable Nico Cassani, the ultimate fate of this band of incongruous adventurers certainly proves an attention-grabbing prospect. 

In fact, the American author wastes absolutely no time in showing this comic’s audience just how ‘unstable’ the five travellers can be whilst drinking together, by penning them all brawling in a disreputable tavern on the Gold Coast. This brutal bout of pugilism goes a long way to illustrate that none of the sword-fencing fighters will tolerate even the slightest disrespect to their so-called honour, whilst also rather cleverly portraying young Diamanta with a surprisingly wild side of her own when the brown-haired researcher merrily batters a local harlot over the head with a drinking jug; “I trounced that trollop!”

Similarly as beguiling though is arguably the artist-turned-writer’s secondary thread concerning the ill-fated Father Goncallo and a truly-terrifying Priestess Of Set. The fanatical Sha-Kabet’s obsession with keeping her killer cult’s presence a secret quickly shows that even a man of god is not safe from a harrowing demise, and also promises plenty of treacherous intrigues in the near future when the dead Christian is cunningly replaced by a shape-shifting serpent man.

Zircher’s layouts are also extremely pleasing to the eye, with the aforementioned holy man’s shock at seeing his exact doppelgänger clearly testing his sanity, if not his devout faith. Furthermore, the illustrator does a great job in physically imbuing the likes of Zarza and Cassani with just the sort of dangerous, dynamic energy an onlooker might well expect of two unprincipled brigades who have few moral scruples with which to live by.

The regular cover art of "SOLOMON KANE: THE SERPENT RING" #2 by Ivan Gil

Uncanny X-Men #7 - Marvel Comics

UNCANNY X-MEN No. 7, February 2025

Despite the first instalment to this comic’s “Raid On Graymalkin” storyline actually featuring in another “Marvel Worldwide” title entirely, Issue Seven of “Uncanny X-Men” still packs a surprising amount of punch. Admittedly, much of the twenty-page periodical’s opening third is understandably focused upon bringing anyone omitting to purchase Jed Mackay’s book bang up to speed with the mini-event’s overall plot. But the tense atmosphere between Rogue and Cyclops is so palpably penned by Gail Simone, that there is still plenty of entertainment to be found from the two former team-mates arguing over the phone.

Of course, the biggest hook to this publication occurs once Anna Marie LeBeau and Scott Summers have decided to attack Professor Xavier’s former home independently of one another, and some of the two squads' biggest hitters plough into the prison with an unbridled passion. These subsequent action sequences are absolutely chock full of pulse-pounding pugilism, such as when Rogue takes out the Blob within an instant of the Brotherhood of Evil Mutant-turned-Trustee making a startling appearance, or a brutally battered Beast finding the physical strength to renew the fight with his overconfident jailers, and should resultantly take any long-term fans back to the glory days of Chris Claremont, when his co-creations took few prisoners and arguably asked even fewer questions.

Another intriguing aspect to the American author’s script though is undoubtedly the short-lived tussle between Rogue and Cyclop’s ‘opposing’ squads. Misunderstandings between some of the New York City-based publisher’s top tier super-teams and the X-Men were always occurring during the Bronze Age of Comics. Yet it’s rare (and thoroughly enthralling) to see the veteran comrades-in-arms slugging it out amongst themselves, even if the kerfuffle is sadly rather short-lived; “This ain’t done, Scott. We both know it. You laid hands on mine.”

Disappointingly, what does probably let this comic down is the decision to intermittently utilise the artistic skills of both David Marquez and Edgar Salazar in the same book, as the two proficient pencillers arguably have disconcertingly different drawing styles. These differences debatably jar the reader from out of the adventure whenever a swap occurs, with Fred Dukes’ tubby alter-ego most notably suffering one of the more overt changes in appearance.

The regular cover art to "UNCANNY X-MEN" #7 by David Marquez & Matthew Wilson

Red Hulk #4 - Marvel Comics

RED HULK No. 4, July 2025

It’s arguably rather rare for a writer to ensure that their readers can physically feel the unbridled anger of a comic book character. But that is precisely what Benjamin Percy somehow achieves with his narrative for Issue Four of “Red Hulk” once General Thunderbolt Ross discovers “that Doom has taken over the world”, and furiously declares the he now won’t rest until “there’s an American flag planted on Latverian soil.

Indeed, this promise to a somewhat startled Deathlok also does a great job in setting up the twenty-page periodical’s cataclysmic conclusion, as the former commanding officer of Desert Base risks all just so his emaciated physical form can finally be exposed to some more Gamma radiation and take a big step towards achieving his vow; “Direct the nearest kiloton tactical missile to these coordinates.”

Similarly as impressive is the American author's ability to repeatedly demonstrate just how military-minded the aging soldier still is by showing Ross utilising both extremely basic survival skills – in the guise of killing, eating and skinning deer so as to survive sub-zero temperatures – as well as raiding an armaments locker for much more modern-day technology, such as some Kalashnikov automatic rifles. Admittedly, the army officer does get lucky in stumbling upon a deserted dwelling on the outskirts of Doctor Doom’s nearest power plant. However, the computers and manufactured firearms provide a nice contrast to the almost caveman look Thaddeus has assumed in order to outwit the army of Doombots hunting for him and his two comrades-in-arms.

Equally as well penned though, has to be the personality of Luther Manning, which provides an otherwise rather seriously-toned publication with an occasional injection of much needed humour. The ever-complaining cyborg assassin’s internal monologue with his computer brain is particularly impressive, and should certainly cause many within this comic’s audience to have a smile across their face whenever the pair are at odds with one another as to the severity of the situation.

Lastly, Geoff Shaw’s layouts should also be given a ‘big thumbs up’ for repeatedly reminding any onlookers as to just how desperate Ross, Deathlok and Machine Man’s plight actually is. The draining, exhausted look upon Thunderbolt’s face proves especially good at showing the immense toll the trio’s physical exertions are taking. Whilst the illustrator’s ability to have the threat of discovery constantly hovering over the heroes’ heads is well maintained, courtesy of the odd panel reminding everyone that one of Victor’s deadly cloaked robots is always only a heartbeat behind them.

The regular cover art of "RED HULK" #4 by Geoff Shaw & Marte Gracia

Uncanny X-Men #6 - Marvel Comics

UNCANNY X-MEN No. 6, January 2025

For those readers able to wade through this twenty-page periodical’s predominantly plodding plot, Issue Six of “Uncanny X-Men” will most likely prove something of a disappointment overall. Indeed, many a bibliophile will probably feel that Gail Simone was somewhat struggling to decide whether the publication’s storyline was going to predominantly follow the exploits of its titular characters, or instead feel like an early instalment of Chris Claremont’s hugely popular comic book series “The New Mutants”.

Unfortunately, the Eisner Award Winner’s inability to wholly commit to either of these narratives means that “The Change In Ourselves” arguably won’t completely satisfy either potential audience, and the end result creates some infuriating cutaways back to the students’ school life just when things are seriously hotting up for the main characters; “I can’t find Jubilee. I was - - I was distracted. There’s red on the floor. Everywhere. I think some of it’s blood.”

Furthermore, the American author appears intent on making Calico rather disagreeable, especially when the spoilt brat can’t have her own way. This unpleasant attitude towards the people who saved the young girl’s life actually results in the adolescent giving a blind Wolverine a concussion, and yet later, simply because the Outlier finally accepts that she is a mutant, the writer suddenly expects the audience to be sympathetic when Becca Simon-Pinette is ambushed by Doctor Ellis' men in the gym.

Perhaps this comic’s greatest crime though is in its failure to show Jubilation Lee battling it out against the likes of the Blob, Siryn and Wild Child inside a local supermarket. The X-Man’s mouth-watering “fateful solo mission” is even promised by the book’s solicitation synopsis. However, having shown the combatants squaring off against one another, absolutely nothing of Jubilee’s actual tussle against the so-called Trustees is seen, thanks to Simone preferring instead to simply pen a scene showing Logan struggling with Post-traumatic stress disorder (P.T.S.D.).

Sadly also grating upon the nerves is Javier Garron’s pencilling, which whilst proficient enough, is debatably a little ‘short of the mark’ from time to time, such as when Calico has her first big temper tantrum and commands her horse Ember to kick Wolverine into next weekend. In addition, the style of the apparently “renowned comic book artist and illustrator” appears to inconsistently leap all over the place, from a rather cartoon-like looking supermarket scene, to a much more seriously sketched tone whenever Rogue is involved.

The regular cover art to "UNCANNY X-MEN" #6 by David Marquez & Matthew Wilson

Star Wars: Inquisitors #2 - Marvel Comics

STAR WARS: INQUISITORS No. 2, October 2024

Focusing far more upon Fifth Brother’s “mission to kill a Jedi legend” than the Master of the Inquisitorius himself, Rodney Barnes’ storyline for Issue Two of “Star Wars: Inquisitors” certainly seems to be well-paced – combining the titular characters’ hunt for any Jedi surviving Order 66, with a thrilling dog-fight in outer space and nail-biting lightsaber duel. In fact, for a while the American screenwriter’s insights into just how Darth Vader directs his force-sensitive operatives is truly intriguing, with the Dark Lord of the Sith employing both the carrot and the stick to ensure their ‘loyalty’ to him; “Gratitude is premature. If my commands are not fulfilled, the Inquisitors’ suffering will be legendary.”

Disappointingly though, much of this impact is arguably then lost once the “knight named Tensu Run” makes an appearance, and the audience is suddenly expected to believe that a small group of bandits have suddenly decided to tackle Vader’s most-wanted whilst he’s travelling back to his “safe haven”. Admittedly, it is briefly mentioned beforehand that the outlaws know of the Jedi’s presence in the area, and that there is a price upon his head. But just how Pii-Lor manages to pinpoint the man’s precise location when the Empire apparently can’t is not touched upon. Instead, having found their prey, the pirates are simply shown to be completely incompetent pilots, and are all mercilessly blasted to pieces by their opponent’s star-fighter within moments of first firing upon him.

Similarly as unconvincing is debatably this twenty-page publication’s conclusion, which strangely sees Run decide to take his revenge upon the Empire for murdering (his) Master Elan, and battle Fifth Brother one-on-one on the long-abandoned planet of Gerrigon. Such a confrontation is definitely not unwanted, due to the sheer arrogance of the grey-skinned Jedi-killer as he stalks around the old Republic commerce hub hacking down security droids. However, their highly-anticipated exchange is rather short-lived, and it’s not really clear just how Tensu chops his foe’s arm off when he was quite literally on the back foot straight from the contest’s start.

Perhaps a bit more pleasing than some of this comic’s penmanship are Ramon Rosanas’ layouts. Imbued with a palpable claustrophobic atmosphere, courtesy of GURU-eFX’s colours, the opening third of this periodical is positively packed full of prodigiously pencilled panels depicting the Inquisitor’s aforementioned exploration of the world upon which he’s landed. Yet by the time Fifth Brother suffers his debilitating injury, there’s a profound stiffness seen in the artist’s figures, which makes the mutilating lightsaber strike appear to be physically impossible.

The regular cover art of "STAR WARS: INQUISITORS" #2 by Nick Bradshaw & Neeraj Menon

Uncanny X-Men #5 - Marvel Comics

UNCANNY X-MEN No. 5, January 2025

Most certainly delivering a "brutal conclusion to the Red Wave storyline”, Gail Simone’s script for Issue Five of “Uncanny X-Men” probably had the vast majority of its readers holding their breath in anticipation of how a well-beaten Rogue was physically going to look once the Hag had finished scalping the unconscious mutant. However, such engrossment must surely have waivered once the American author suddenly reintroduces an already dead telepath known as Harvey X into the mix, and far too conveniently has the youth miraculously re-energise the fallen super-hero to the point where she instantly bests a monster who previously was comprehensively cleaning Anna Marie LeBeau’s clock.

In fact, this rather bizarre reversal in fortunes comes so completely out of the blue that some bibliophiles will doubtless feel that the Oregon-born writer so badly penned herself into a corner by having Chris Claremont’s co-creation fall unconscious, that all she could come up with was this unconvincing 'miracle' to get the former member of the Brotherhood of Evil Mutants back upon her feet; “I’ve got a bit of healing power, too. It kept me alive, you know.? Down to my last li’l bit. Been saving it for you.”

Similarly as dissatisfying is debatably the swift effect Rogue defeating Sarah Gaunt has upon the rest of the titular characters – who up until this point were quite literally on their last legs fighting off the Hag’s killer army. Just like LeBeau’s aforementioned confrontation, this last stand appeared to be going very badly for Gambit, Wolverine, Nightcrawler and Jubilee. But just as the protagonists are about to bravely fall before far superior numbers, the action cuts away from the battle and disappointingly doesn’t return until after Remy has supposedly just told their murderous assailants “to go home." - Something they apparently very obligingly do..!?!

Much more persuasive than this twenty-page periodical’s plot is David Marquez’s artwork, which does a tremendous job of showing just how seriously wounded Anna Marie actually is. Such trauma is really important to this comic’s storytelling as it greatly contrasts with the much more positive look upon the mutant’s face when Charlie X has restored her vitality, and the Hag is kicked into next week with a single, well-placed boot. Furthermore, there’s a palpable sense of desperation to be found in the pulse-pounding panels depicting the rest of the X-Men’s last stand, and this is predominantly down to the illustrator giving the leading cast some wonderfully dynamic poses.

The regular cover art to "UNCANNY X-MEN" #5 by David Marquez & Matthew Wilson

Conan The Barbarian #19 - Titan Comics

CONAN THE BARBARIAN No. 19, April 2025

Described by its British-based publisher as “Jim Zub’s fresh take” on Roy Thomas’ co-creation Zula, it is probably fair to say that much of this twenty-two page periodical’s storytelling actually relies upon the layouts of Doug Braithwaite rather than the pen of its Canadian author. Indeed, it isn’t until Conan stumbles upon an isolated village “far to the South” that the Cimmerian actually holds a conversation with anyone, and even this stilted dialogue is cut dramatically short by a faceful of spear-points; “No pay. No gift. You have death in you. Leave now.”

Rather enjoyably however, the London-born illustrator is more than up to the task of carrying the weight of this particular comic upon his shoulders, and pencils its central character with all the deep-set weariness a fan of Robert E. Howard’s adventurer would expect in a story set straight after the death of Bêlit, the Queen of the Black Coast. Furthermore, the artist’s handling of the barbarian’s battle with a hungry crocodile, should genuinely make many a reader hear the frantic water splashes during the fight, as well as cause a fair few to actually hold their breath as the fast-drowning hero desperately stretches for his sword hilt at the bottom of a river bed.

Similarly as well-sketched is this book’s conclusion, in which its revealed that Conan is being tracked by a large black panther. The duo’s subsequent scrap atop a rocky outcrop does a cracking job of showing just how close to instant death the Cimmerian comes, whenever the claws of the creature he’s wrestling with are aimed at his head. As with the aforementioned semi-aquatic reptile, Braithwaite’s panels really do capture all the savage fury occurring between the two combatants, and towards the sense-shattering sequence’s end, it is quite possible for the odd bibliophile to feel the heaving animal’s hot breath upon their face as it triumphantly sits atop their momentarily bested foe.

Perhaps therefore, the only slight disappointment to be found within this publication comes at its very conclusion, which sees a badly beaten barbarian batter the great cat standing over him with a conveniently-placed hand-sized rock. This victory from the quite literal jaws of defeat is rather unconvincing, and far from resulting in the large feline’s demise, shockingly shows the bloody, badly wounded Panther magically transform into a seemingly uninjured ‘Guardian of the Grasslands’.

The regular cover art of "CONAN THE BARBARIAN" #19 by Roberto De La Torre

Conan The Barbarian #18 - Titan Comics

CONAN THE BARBARIAN No. 18, March 2025

For those fans of Jim Zub who have enjoyed his previous penmanship on various “Dungeons & Dragons” titles over the years, his quest-like storyline for Issue Eighteen of “Conan The Barbarian” will doubtless prove a rather fun reading experience as it contains a strong mix of thievery, magic hand-weapons, treachery and a fanatical priest who suddenly turns into a super-strong serpent man. However, for those followers of Robert E. Howard’s titular character, this comic’s twenty-two page plot is arguably packed full of inconsistent characteristics, utter stupidity and good fortune bordering on the incredulous; “After a few close calls, they return to the Tigress. In their absence the crew has restocked the shop and made minor repairs.”

To begin with the Canadian author appears to have turned both Belit and her heavily-muscled lover into a pair of far too trusting buffoons, who readily ally themselves to a young robber who was literally just moments earlier attempting to murder them in cold blood. This unbelievable bond is then made all the more unconvincing when Tarnasha starts telling the Pirate Queen of the Black Coast what ‘minor’ role the Shemite is to play in the attempted theft, and begins openly flirting with Conan right before the marauder’s eyes. Such insolent behaviour would surely never have been tolerated by “the only woman in a ship with an all-male pirate crew”, and disconcertingly suggests that the art professor at Toronto's Seneca College was simply scrambling around for a reason to justify Belit’s subsequent lateness to the botched burglary.

Possibly even worse though, is Zub’s writing concerning the central Cimmerian, who unwisely decides to tackle a huge, scale-encrusted Stygian with just his bare hands, rather than slay the snake-like man-monster with a straightforward sword thrust from behind. This physical encounter unsurprisingly goes very badly for the Conan, and results in artist Danica Brine having to pencil the heavily outmatched barbarian being viciously stabbed in the belly by the very double-bladed dagger he was attempting to steal. So savage a deep wound would surely kill, or at very least render immobile, any other human being. Yet this book's highly unlikely narrative desperately attempts to suggest that the adventurer is able to shrug off the life-threatening injury, as well as the resultant massive loss of blood which betrays his every footstep, to the point where he valiantly yomps back across the length of Kyros to his partner’s ship for this tale's all-too sudden ending.

The regular cover art of "CONAN THE BARBARIAN" #18 by Darick Robertson

Red Hulk #3 - Marvel Comics

RED HULK No. 3, June 2025

Considering that the basic premise behind this twenty-page periodical’s plot is simply to show Thunderbolt Ross running down a snow-covered mountain whilst being “relentlessly chased by an army of Doombots”, it is pretty incredible just how ‘unputdownable’ Benjamin Percy’s script for Issue Three of “Red Hulk” arguably is. In fact, many within this comic’s audience may well point to the American author’s enthralling insights into Thaddeus’ mental exercises during his long-term imprisonment in Latveria as this book’s biggest draw, as opposed to the decorated Air Force officer’s flight through a hostile, mountainous landscape.

Furthermore, the action sequences showing the three-star General coldly calculating how to battle his country’s numerous opponents across various inhospitable environments, whilst simultaneously keeping his somewhat emaciated physical form fit in a closely-confined dungeon cell, provides a splendid reason for the narrative to feature the crimson-coloured titular character throughout a storyline where “Rulk” himself doesn’t actually appear; “Most people have a map inside of them. That map starts with home. I’m not most people. The map inside me is bigger. Much bigger.”

Neatly complimenting so deep a dive into Ross’ militaristic mind is the main bulk of “Uncharted Territory”, which is cleverly penned to depict an unarmed Thunderbolt stoically using every scrap of information he has to hand, to stop a veritable army of Victor Von Doom’s heavily-armoured minions blasting him into oblivion. This lengthy chase scene is pulse-poundingly paced, and despite it becoming abundantly clear that the likes of Deathlok and a badly depleted Machine Man won’t escape the automatons’ sensors for long, still provides a modicum of hope that perhaps the old War Horse will pull something out of the bag at the very last minute.

Similarly as engrossing as this comic’s writing is Geoff Shaw’s highly energetic layouts, with the illustrator’s pencilling of the aforementioned Red Hulk montage providing this publication with a sense-shattering start. In addition, the artist somehow manages to maintain the illusion that the three, increasingly fatigued escapees are constantly under threat of discovery and death by their emotionless, artificially-powered pursuers, even when the mechanical monstrosities haven’t even appeared in a panel for a considerable time.

The regular cover art of "RED HULK" #3 by Geoff Shaw & Marte Gracia

Uncanny X-Men #4 - Marvel Comics

UNCANNY X-MEN No. 4, December 2024

Featuring a genuinely tense tussle between Rogue and the truly terrifying Sarah Gaunt, it is easy to see just why Gail Simone’s script for Issue Four of “Uncanny X-Men” landed so well with its audience in October 2024, and became the fourth best-selling comic book of the month. Indeed, the Oregon-born writer pens this pulse-pounding punch-up so expertly, that many a reader will doubtless tremble whenever they need to turn a page towards its end, for fear that the fight will depict poor Anna Marie LeBeau’s demise; “An’ here she went and found a way to make the concussion seem like a tropical vacation.”

Furthermore, this simply isn’t a narrative which solely relies upon bone-breaking violence to entertain its audience. But instead has a good deal of character development intertwined with all the close combat – most notably that of the Hag’s emotionally touching backstory which concerns the harrowing loss of both her helpless nine-year-old son, as well as herself, to a rain-lashing hurricane. This particular flashback sequence is very convincing, especially when it suggests the young woman may well be a mutant herself, and quite surprisingly imbues the “self-proclaimed witch” with plenty of pathos.

Similarly as well-crafted is all the chaos occurring back at Gambit’s hideaway in Louisiana over Wolverine’s life-threatening injuries. Understandably, Logan’s sudden arrival, courtesy of Nightcrawler’s teleportation powers, causes quite the dilemma for the remaining X-Men, as they must decide between rescuing their team leader or protecting “the young mutants being targeted by Sarah.” The arguments for and against one course of action rock back and forth throughout this publication, to the point where it only becomes clear at its very end as to just what Professor Charles Xavier’s super-group are going to do.

Doubtless making many a bibliophile squirm in sympathy as Rogue is mercilessly brutalised, and her love-torn Remy is pulled between 'pillar and post', are David Marquez’s marvellous layouts. The sheer physical gravitas behind the punches being thrown during Gaunt’s slugfest with Anna Marie are oft-times eye-wincingly good. However, it is surely the illustrator’s pencilling of the Hag’s origin story, along with colour artist Matthew Wilson’s haunting palette, which really leaves a lasting impact upon any onlookers.

The regular cover art to "UNCANNY X-MEN" #4 by David Marquez & Matthew Wilson

Solomon Kane: The Serpent Ring #1 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 1, April 2025

Proudly announced by its British publisher in December 2024 as “the first Solomon Kane solo series in fifteen years”, this supposed “much-anticipated return” of Robert E. Howard’s creation quite possibly proved somewhat disconcerting to those readers familiar with the early Seventeenth century Puritan. For whilst the twenty-three page periodical certainly opens in a blaze of glory, as long-fanged savages attack a village of much-more agreeable African natives, and the titular character does bloody murder aboard a Portuguese caravel, Patrick Zircher’s narrative subsequently seems to get a little too bogged down in dialogue-driven conversations, word-heavy discourses and a bewildering carousel of new cast members.

Indeed, by the time a somewhat sore and badly limping ‘Sword of Vengeance’ has somehow managed to make his way to the gloomy Ghetto Vecchio, some bibliophiles’ heads may well be swimming from all the different people and their stacked speech bubbles which this comic’s American author relentlessly throws at them; “I am bringing old Tujaru. His eyes are not what they were, but he is like you -- a good teacher.”

Happily however, Issue One of “Solomon Kane: The Serpent Ring” still provides plenty of hooks and thrills with which to ensnare its audience. Kane’s lone charge on horseback against three mounted brigands in a darkly lit mountain tunnel is especially well-paced and lively, as is the suddenly rather tense discovery of a Serpent-man’s flesh-stripped skeleton on the vast tundra of Ndongo. These sadly short-lived scenes manage to inject this book with some much-needed energy, just as it’s in danger of drowning in the aforementioned sedentary sequences set in the Republic of Venice, and ultimately should keep the attention of any peruser of “Dead Man’s Promise” throughout.

Easily this comic’s biggest draw though, is surely the Dayton-born illustrator’s pencilling, which along with his very own colour work, does a fabulous job in bringing his interpretation of the Age of Elizabeth to vibrant life. Of particular note has to be the stark contrast between the brutally harsh Africa and La Serenìssima’s supposedly stylishly civilised world that is just as diabolically dangerous. Likewise, the artist-turned-author is extremely good at imbuing Solomon with the quiet mannerisms of a man confident in his god’s good graces, despite him aggressively blazing away with a pistol and slashing pirates to death with a sword.

The regular cover art of "SOLOMON KANE: THE SERPENT RING" #1 by J.H. WILLIAMS III

DC Vs. Vampires: World War V #7 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 7, May 2025

Having shockingly thrown Darkseid and his numerous parademons into this mini-series’ already convoluted mix of characters towards the end of its previous instalment, Matthew Rosenberg’s gambit for Issue Seven of “DC Vs Vampires: World War V” arguably appears to consist of him trying to keep his audience busy with pulse-pounding slugfests and adrenalin-fuelled chase-sequences, so that there wouldn’t be any time for the readers to consider just how highly improbable the New God’s sudden appearance within this storyline actually is; “Your planet’s fate was sealed when he learned of its existence. But the timeline was sped up…”

And frankly, this ploy appears to work very well right up until the twenty-four page periodical’s plot comes to a crashing halt with the introduction of the traveller from the Fourth World known as Metron. Indeed, prior to the surviving super-heroes taking stock of their high casualty rate inside the Secret Sanctuary on Rhode Island, any bibliophile flicking through this comic book should have been immediately hooked by its splendidly-penned cocktail involving Robin, Gorilla Grodd, Jade, Green Arrow and Harley Quinn battling all sorts of demonic-looking, extra-terrestrials. 

By far the American author’s biggest hook though must surely be the one-on-one battle between Wonder Woman and the aforementioned ruler of Apokolips. This punch-up sadly soon becomes rather one-sided, after a ferociously-fanged Princess Diana loses her element of surprise. But even then the writing repeatedly holds the attention by suggesting that Darkseid is highly likely to tear the undead Amazon apart at any moment - just as he did with an overly-confident Aquaman earlier.

Helping to keep this book’s whirlwind of death-dealing and narrow escapes thoroughly engrossing is Otto Schmidt, whose panels race along at a neck-breaking speed. Of particular note has to be the illustrator’s ability to suggest the utterly insurmountable size of the parademon army. However, he is also a master of pencilling some wonderful little moments within all the mayhem, like Harley Quinn’s escape from the Vampire Queen - Barbara Gordon, and Mister Miracle’s sorrowful look from his underwater prison cell when he sees a distraught Queen of Atlantis stalking straight towards him and his baby daughter.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #7 by Otto Schmidt

Red Hulk #2 - Marvel Comics

RED HULK No. 2, May 2025

Rather cleverly steering this particular twenty-page periodical away from the cliché of simply having its titular character bash his way out of Doctor Victor Von Doom’s underground prison, Benjamin Percy’s narrative for Issue Two of “Red Hulk” should have completely held its readers’ attention when it first hit the spinner-rack in March 2025. Indeed, this comic’s main plot is truly focused upon Thunderbolt Ross utilising everything to hand so as to defeat his murderous foe - no matter how small or underpowered, rather than just depicting the former commanding officer of Desert Base boringly batter an entire legion of lethal Doombots to freedom.

Of particular note has to be the American author’s well-penned relationship between the veteran soldier and Machine Man. This partnership goes a long way to show how savvy Bruce Banner's long-term nemesis can be when needing help, and also assists in 'showboating' the abilities of the half-fried android whilst the pair face overwhelming odds, deadly gas and a seemingly unassailable dead end. In addition, the Oregon-born writer makes matters even more engrossing by subsequently introducing a rather disgruntled Deathlok into this mix, and by doing so imbues the prisoners' flight with plenty of extra entertaining dialogue and dramatic moments; “Heart’s got nothing to do with it. You computer’s right. It’s too later for her.”

Likewise, the armoured ruler of Latveria’s handling of this attempted break-out isn’t just restricted to him rather lazily sending out more and more robot guards. But actually shows how utterly merciless Doom can be when people oppose his plans for worldwide domination. The terrifying execution of a captive Cartel leader, along with the toxic poisoning of another inmate demonstrates the all-too high risks being taken by Ross and his “misfit crew” in defying the tyrant, and brings a whole new level of danger to the fast-paced storytelling once the group decide to save as many of the hostages as they can.

Ably adding even more nerve-wracking ‘zip’ to these pulse-pounding proceedings are the layouts of Geoff Shaw. The artist does a first-rate job in depicting Thunderbolt as if he truly has the weight of the world upon his shoulders, whilst his pencilling of Deathlok's mannerisms provides the human cyborg with loads of endearing personality as he battles to support his comrades-in-arms in their bid for freedom.

The regular cover art of "RED HULK" #2 by Geoff Shaw & Marte Gracia

The Incredible Hulk [2023] #23 - Marvel Comics

THE INCREDIBLE HULK No. 23, May 2025

Penning a physically unrecognisable Charlie Tidwell ‘innocently’ playing basketball with a group of friendly local people, Phillip Kennedy Johnson certainly seems intent on making this comic’s audience increasingly nervous as to whether any of the hapless homesteaders surrounding the shapeshifter will actually survive the ball game or not. In fact, once their happy little run-around is interrupted by the horrifying appearance of a winged servant of Eldest, the sense of danger to these pleasantly portrayed citizens is truly palpable, and may well cause the odd bibliophile to momentarily pause before turning the page to see which residents escape with their lives.

Furthermore, there is something truly troubling about watching the Hulk’s sidekick enjoying herself whilst wearing the face and body of a beautiful blonde who the young girl has previously eaten alive, and subsequently hidden the bloody, disgorged human remains. Of course, the adolescent’s need for camaraderie, amusement and social interaction is very understandable considering how lonely “Becky” must be whilst continuously walking alongside the giant green goliath for days on end. But these sequences still prove mighty unsettling as she continues to lie to the honest inhabitants, and then savagely lashes out at the wide-eyed goblin who brings her pleasant sports session to an abrupt end.

Slightly less successful however, is arguably the American author’s handling of Norgul, who steals Charlie’s skin and then attempts to fool Bruce Banner’s alter-ego by unnervingly wearing the ill-fitting disguise. Such a ploy was never going to work. Yet “the demonic thief” appears to be completely bemused that his ill-conceived plan fails miserably, and even gets more cross with Stan Lee’s co-creation when the Hulk reacts violently to the fiend scratching a huge chunk of flesh from his cheek; “Why do you attack? Am I not like you now?”

Interestingly, despite all this book’s brutal body blows, gory mutilation and disturbing physical transformations, it is artist Nic Klein’s pencilling of Charlie’s basketball game which probably remains most in the mind’s eye. The panels contain a real sense of guiltless joy, exuberance and fellowship, which is then so starkly destroyed by the presence of a misshapen, flying creature crouched upon a car and claiming to be “only a pretty human child, like you.”

The regular cover art of "THE INCREDIBLE HULK" #23 by Nic Klein

From The DC Vault: Death In The Family: Robin Lives! #1 - DC Comics

FROM THE DC VAULT: DEATH IN THE FAMILY: ROBIN LIVES! No. 1, September 2024

Following the infamous events of Issue Four Hundred and Twenty Eight of “Batman” from 1988, but containing an “alternate ending in which Jason Todd survives his brutal encounter with The Joker”, J.M. DeMatteis’ storyline for this four-part mini-series’ opening instalment most likely didn’t live up to its audience’s expectations. Indeed, despite being the thirty-sixth best-selling comic book in July 2024, the American author’s decision to tell his tale through the narration of Doctor Saraswati Dev arguably causes a persistent confusion as to just which text box or word balloon a reader should peruse next.

Furthermore, apart from a brief fracas between the Dark Knight and the Clown Prince of Crime during the twenty-two page periodical’s beginning, and an all-too short tussle concerning Bruce Wayne’s alter-ego and the Scarecrow at its very end, the vast majority of this publication focuses upon Jason Todd’s disagreeable behaviour to all those who dearly love him. Admittedly, any bibliophile familiar with writer Jim Starlin transforming the sidekick into an “increasingly aggressive and reckless” crime-fighter during his stint on the title back in the Eighties, won’t be surprised by such unlikeable behaviour. But such is the boy’s ingratitude towards the likes of Alfred Pennyworth, that his repeated petulance soon becomes tedious and off-putting.

What does appear to work well though, is just how disconcerting the Caped Crusader is penned within this tome. Bob Kane’s co-creation has potentially always walked a somewhat fine line between justified violence and taking a physical beating a bit too far. Yet in this particular comic, the cowled vigilante appears extremely close to losing control, especially when he seems to be willing to risk the Joker drowning in Gotham Harbour, or has to be brought to his senses by a Police Officer whilst mercilessly pummelling Jonathan Crane.

Easily this book’s biggest disappointment however, has got to be the ‘overworked’ line art of Rick Leonardi, which sadly makes a fair few panels, most notably those featuring Batman’s arch-nemesis, rather messy. This style proves particularly confusing during a sequence where the Joker suddenly blasts to safety using some covert jump-jets attached to his waist, and a rather clunky-looking scene set inside Arkham Asylum; “Then I’d suggest, Doctor Stoner, that you’re more delusional than your patients.”

The regular cover art of "FROM THE DC VAULT: DEATH IN THE FAMILY: ROBIN LIVES" #1 by Rick Leonardi & Dave Stewart

The Incredible Hulk [2023] #22 - Marvel Comics

THE INCREDIBLE HULK No. 22, April 2025

Heavily focusing upon Charlie Tidwell’s increasing loss of control of “her skinwalker alter-ego Lycana”, Phillip Kennedy Johnson’s storyline for Issue Twenty Two of “Incredible Hulk” probably disappointed a fair few of the comic’s fans, thanks largely to the Eisner-nominated writer penning the orphan as an angry, disagreeable killer rather than the vulnerable, somewhat sympathetic sidekick she has arguably been in the past. Indeed, the fact that the young girl refuses to accept she is responsible for brutally murdering and then scoffing a pair of hapless teenage tearaways is disconcerting at best, and genuinely makes the adolescent’s character extremely unlikeable when she later attempts to take the moral high-road with her giant, green-hued travelling companion; “Okay cool, we’ll just go wherever you want and I can’t say #%$&, huh? Great!”

Similarly as perturbing though is debatably this twenty-page periodical’s surprisingly sedentary pace. Sure, the book opens up fast enough, with the aforementioned doomed adolescents racing along a road at high-speed only to then have a hungry werewolf purposely crash into the side of their car. But once the plot moves on to Charlie waking up from her bloody nocturnal activities, things just seem to plod along with a series of word-heavy, dialogue driven conversational pieces which do little to actually move events that much further forward.

Disappointingly, even the Hulk and Tidwell’s relationship appears to have hit rock bottom, due to the pair clashing over the founding Avenger locking up Bruce Banner’s persona deep inside his brain. Ordinarily the majority of the audience would surely be supportive of the monster’s friend as she rebukes him for treating the scientist in precisely the same manner as the gamma radiologist once handled him. However, many readers will now doubtless find it difficult to take a side in an argument between two highly unpleasant personalities, and simply want them to get on with the current adventure – something which doesn’t really happen for the remainder of the publication.

Regular artist Nic Klein also appears to be somewhat uninspired by the American author’s script, and rather desperate to inject any dynamism he can muster into an almost endless series of panels in which the characters just shout at one another. Luckily, the German illustrator can always be relied upon to pencil some truly disturbing body horror when the opportunity arises. Though the severed head and half-chewed human remains filling up a log cabin’s bathroom might prove a bit much even for a T+ rated comic book.

The regular cover art of "THE INCREDIBLE HULK" #22 by Nic Klein

Star Wars: Inquisitors #1 - Marvel Comics

STAR WARS: INQUISITORS No. 1, September 2024

Set between George Lucas’ prequel and original cinematic trilogies, there is arguably quite a bit to enjoy during this thirty-page periodical’s opening third. Indeed, the Grand Inquisitor’s utterly merciless massacre of the inhabitants on Targyon immediately sets the former Jedi Temple Guard up as a seriously evil villain of the piece, who will clearly stop at nothing to eliminate his intended target; “Take the children to Coruscant. Kill the rest.”

Disappointingly though, the same probably can’t be said as to the impact of writer Rodney Barnes’ “all-new legendary” knight Tensu Run, who many a bibliophile will probably feel seems a little too close to a certain Corellian smuggler than a mythical hero supposedly “buried in the annals of Jedi lore”. True, the American author does provide his creation with a moment of bravado when he apparently single-handedly storms an imperial outpost in a lone spacecraft. But apart from blowing up a handful of TIE-Fighters and then culling a couple of Stormtroopers on the ground with his hand-weapon, the human hardly does anything particularly breath-taking.

Instead, Elan’s apprentice simply keeps running away from Darth Vader’s Jedi killers, seemingly content to live his life on an idyllic planet near the outer edge of the galaxy, whilst innocent others are savagely slaughtered protecting his secret whereabouts. Such conduct hardly seems conducive to cause any readers to care for the character, even if this comic’s Maryland-born writer does continually pen him stating that he’s happy to die in the name of his great cause.

Just as frustrating is this book’s artwork by Ramon Rosanas, which overall depicts a thoroughly pleasing insight into the dark world of “any Jedi who survived Order 66”. In fact, few onlookers could surely have any complaint about the Eisner Award nominee’s pencilling of Darth Vader or the Master of the Inquisitorius. However, the decisions surrounding the attire of this publication’s so-called legend may well strike some as being far too similar to Han Solo’s costume throughout “The Empire Strikes Back”. In fact, if it wasn’t for the man wielding a lightsaber and wearing eye goggles, a fair few perusers could well be fooled into thinking it was the scruffy-looking nerf-herder himself.

The regular cover art of "STAR WARS: INQUISITORS" #1 by Nick Bradshaw & Neeraj Menon

DC Vs. Vampires: World War V #6 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 6, March 2025

It will be quite difficult for some within this comic’s audience not to have the feeling that Matthew Rosenberg simply threw his hands up in frustration with this script for Issue Six of “DC Vs Vampires: World War V”, and just hurled the two competing armies straight against one another two-thirds of the way through. For whilst the all-out fracas on a bleak, snow-caked tundra certainly causes plenty of drama as the likes of Damian Wayne, Green Arrow and the Black Canary seemingly fall beneath the fangs of a thousand bloodthirsty thralls, the head-on conflict comes completely out of the blue.

To make this mini-series’ storyline even more troubling though, the American author also appears to throw his sub-plot concerning Mister Miracle and his baby daughter squarely under a bus, by having the highly disagreeable Atlantean ruler Aquaman simply drown the pair by submerging them underwater. These almost nonchalant murders are as coldly calculated as they come ‘left field’, and momentarily suggests that this title is somewhat shockingly going to end significantly short of the twelve instalments its Burbank-based publisher originally promised; “The battle has turned in our favour. Shall we send in the rest of the troops, my Queen..?”

Easily this book’s biggest surprise however, has to be the sudden appearance of Darkseid and his numerous Parademons, following the revelation that the hooded old woman mysteriously trying to guide Barbara Gordon’s rule over all the vampires, is actually the New God from Apokolips - Granny Goodness. This revelation is gobsmackingly ill-timed for the Nosferatu as they’re just about to best humanity’s last few surviving super-heroes, and resultantly turns the entire title’s narrative right upon its head. Indeed, to some readers it may well look like Rosenberg suddenly tired of the complicated political manoeuvrings he has previously penned for this title and spontaneously felt like wiping the chalk board completely clean.

Disconcertingly, Otto Schmidt’s artwork is rather brusque-looking too, with the various panels depicting the competing armies jostling for any advantage looking like a mere collection of unrecognisable black blobs moving upon a boring, bare white winterscape. In fact, even the Siberian-born illustrator’s Granny Goodness is a disappointing shadow of the character originally imagined by her creator Jack “King” Kirby, due to the emaciated servant of Darkseid showing none of the physical attributes which made her the formidable leader of the Female Furies on Apokolips.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #6 by Otto Schmidt

Red Hulk #1 - Marvel Comics

RED HULK No. 1, April 2025

Announced by “Marvel Worldwide” in November 2024 as a new ongoing series which also has ties with the publisher’s 'One World Under Doom’ comic book event, Benjamin Percy’s tense, highly claustrophobic script for Issue One of “Red Hulk” arguably makes it easy to see why this twenty-five page periodical was the twenty-seventh best-selling title in February 2025. Admittedly, the actual, crimson-coloured behemoth himself doesn’t really make much of an appearance in this particular publication. But such is the American author’s mesmerising handling of an incarcerated Thaddeus E. "Thunderbolt" Ross that few bibliophiles will surely mind; “And I know its chip technology is the key to this prison. And to my power inhibitor.”

Indeed, the entire point behind “Think Tank” is to show the audience that the decorated U.S. Air Force officer can still outmanoeuvre his opponents using his coldly-calculating brain, rather than just utilising his considerable super-strength and brawn. Such a plot twist genuinely creates a thoroughly riveting read, especially once it becomes clear that the three-star general is in league with a number of other notable fellow prisoners, such as Deathlok and Machine Man.

Similarly as convincing is the premise behind Ross’ captivity, and just why a top-tier villain like Doctor Doom would be interested in holding him “in a cell deep below the ground.” Latveria’s armoured monarch has always been obsessed with undermining the world’s status quo so as to give his small country within Eastern Europe a chance of global domination, so building a prison complex which houses some of the planet’s most “brilliant military, criminal and political minds” makes perfect sense – as well as a compelling adventure once the inmates band together to outwit the Fantastic Four’s arch-nemesis.

Nicely complimenting Percy’s prodigious penmanship are Geoff Shaw’s proficient pencils, which do a very good job of showing Thunderbolt as a somewhat vulnerable, aging man, rather than an unstoppable wrecking machine. Furthermore, the illustrator somehow manages to imbue Thaddeus’ escape attempt with all the meticulous patience and timing an onlooker would expect from such a tactical genius, who knows full well that every ill-timed movement or wasted second could be the difference between life and death.

The regular cover art of "RED HULK" #1 by Geoff Shaw & Marte Gracia