Astonishing Tales #32 - Marvel Comics

ASTONISHING TALES No.32, November 1975

Considering the amount of behind-the-scenes mayhem which seems to have occurred to get Issue Thirty Two of “Astonishing Tales” fit for the spinner rack, it’s rather impressive that Rich Buckler’s plot arguably works out as well as it does. Indeed, quite neatly meshing together the somewhat separate storylines of Deathlok and Mike Travers, as the pair bravely forge ahead with their own adventures in post-apocalyptic New York City, “The Man Who Sold The World!” should have repeatedly caused its concerned audience to wonder whether either of the protagonists were ever going to make it to the end of the seventeen-page periodical alive; “You guys put too much faith in Ryker’s seeing eye dog! Don’t forget -- I helped build it!”

Perhaps somewhat surprisingly, one of these biggest fears debatably stems from Travers’ almost suicidal attempt to rescue Nina Ferry from the very “building where he [himself] was held captive.” This utterly reckless, one-man assault bodes very poorly just as soon as Luther Manning’s “ex-war buddy” enters the foyer and has to throttle the first of several armed guards he encounters inside. Eventually, the Lieutenant is completely surrounded. Yet rather than surrender he brazenly turns his automatic weapon on his would-be-captors in a heart-stopping do-or-die effort.

To be honest though, the Demolisher doesn’t appear to be any less willing to sacrifice himself for a hopeless cause either, and repeatedly throws himself into conflicts against superior numbers despite there being a “87.00967% probability of being destroyed.” In fact, Deathlok’s determination to find out the name of the surgeon who could theoretically transform him back into a living being is so palpable, that it surely appeared certain to many a bibliophile that the war veteran was repeatedly just a paltry panel away from trying to punch one too many homicidal human drones, or flesh-hungry cannibals.

In view of all these scares however, this publication’s greatest shock is most likely how strong its interior artwork looks, despite Buckler, Keith Pollard, Bob McLeod and “the whole blame Bullpen” having to get together to get the book fully illustrated. Naturally some of the sequences, such as Simon Ryker ordering a soldier to have his computer “assemble a read-out on a man named Victorio Quartuccio”, look understandably rushed and incongruous with some of the surrounding pencilling. But there should be no doubt that whenever Manning throws a punch, or hurls a subway’s trolley cart at a group of assailants, bones are most definitely being broken.

Plot, Concept & Script: Rich Butler, Script: Bill Mantlo, Artwork: Rich Butler, Keith Pollard, Bob McLeod & The Whole Blame Bullpen

G.I. Joe: A Real American Hero #307 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 307, June 2024

Quite marvellously interweaving a number of different plot-threads together within the space of this twenty-page periodical, Larry Hama’s storytelling for Issue Three Hundred And Seven of “G.I. Joe: A Real American Hero” probably had most of the military science fiction franchise’s fans frothing at the mouth in absolute delight. In fact, despite the somewhat head-spinning number of different operatives in play, ranging from Scarlett, Storm Shadow and Snake-Eyes at the Pit, to the likes of Helix, Muskrat and Wet-Suit conducting covert reconnaissance duties on Cobra Island, the enjoyable straightforwardness of Great Serpentor Khan’s plan to devastate Springfield with a squadron of heavy stealth bombers is genuinely easy to grasp.

Furthermore, the grand, sweeping nature of Cobra’s overall goal is nicely contrasted with the adrenalin-fuelled action of a much more local affair, when Duke’s team is discovered by Khan’s cyborg warriors spying upon Revanche’s heavily modified VTOL aeroplanes. This chase sequence is as pulse-poundingly paced as it is packed full of armoured vehicles, and provides both sides of the battle with plenty of opportunities to show off their combat skills, as well as the deadly nature of their advanced weaponry; “Their visual receptors are their wink link. You can’t armour an eye socket.!”

The American author is also very good at injecting a palpably poignant moment into this magazine, courtesy of poor Dawn Moreno discovering that her parents have been brutally gunned down by Vipers during a botched traffic-stop. So strong an emotional connection with the audience is arguably incredibly difficult to deliver when it comes to comics, especially when the book is based upon a range of “Hasbro” toy action figures. However, even the most hard-hearted of bibliophiles will surely crumble at the sight of poor “Female Snake Eyes” nursing a hot drink whilst being told the dreadful news.

Just as successful as this publication’s writing is Paul Pelletier’s pencilling, who impressively captures all the desperate determination of Wet-Suit’s squad during the aforementioned chase sequence. In addition, the “superstar artist” appears particularly prodigious at sketching bouncing buggies and tracked vehicles smashing their way through thick jungle growth, with his panels’ multitude of air-to-surface missiles, death-dealing bullets, and tank-slicing laser beams bringing plenty of pace to the proceedings in between a few of the more sedentary, dialogue-heavy scenes.

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #307 by Andy Kubert & Brad Anderson

Nightwing #109 - DC Comics

NIGHTWING No. 109, February 2024

It’s probably a safe bet that few of this comic’s readers actually agreed with “DC Comics” claim that Issue One Hundred And Nine of “Nightwing” would provide the ongoing series with a “dramatic conclusion” to its current, multi-part storyline. In fact, if anything, Tom Taylor’s unconvincingly swift end to Beatrice Blud’s battle against her nefarious adoptive brother Dirk, is so strikingly sudden that it will doubtless seem to some that the Australian author simply wanted to get the swashbuckling story over with so he could quickly start penning his “tie-in to Beast World” instead; “Turn out the light, Commissioner Montoya. Batman’s not coming. He’s in Bludhaven… Also, he’s a wolf.”

Much of this sense of abandonment comes during the twenty-two page periodical’s opening, when Dick Grayson miraculously manages to overcome his increasing fear of heights so as to save his former lover from a watery grave. This terrifying dive into the ocean's depths isn’t arguably all that remarkable in itself. But it suddenly leads straight into a scene where the super-hero has somehow dragged the woman back to safety, competently stitched up her potentially lethal stab-wound, and so tightly bandaged the captain together that she is able to immediately shrug off the injury in order to fly an aeroplane.

To make matters worse though, rather than then allow any more time to pass, the Melbourne-born writer has Batman’s original Boy Wonder single-handedly beat the living daylights out of Dirk and his small army of heavily-armed thugs with a pair of batons. Admittedly, this action sequence provides artist Stephen Byrne with a cracking opportunity to show off just how well he can pencil the costumed crime-fighter’s famous acrobatics. But it surely also raises the question as to just how much of a threat Ruben Blud’s biological son really was, and just why any pirates actually followed the arrogant thug in the first place.?

Much more exciting and engrossing than this comic’s central feature is Taylor’s fascinating prologue to “Beast World”. This “thrilling new event of the season” gives Damian Wayne some highly enjoyable ‘screentime’ as Robin intuitively investigating just where all the citizens-turned-animals have disappeared to in Gotham City, as well as allowing Sami Basri a chance to sketch the mysterious big game hunter Apex Ava.

The regular cover art of "NIGHTWING" #109 by Bruno Redondo

Space Ghost #6 - Dynamite Entertainment

SPACE GHOST No. 6, October 2024

Whilst many within this comic’s audience may well disagree with the New Jersey-based publisher’s claim that its narrative ‘ratchets up the tension’, Issue Six of “Space Ghost” certainly shines a disconcertingly dark spot on the dysfunctionality of the titular character’s relationship with young Jace following “the shattering events” of the ongoing series’ previous instalment. In fact, for the vast majority of this twenty-two page periodical, the hero’s former side-kick spends most of his time simply sat in shadows scribbling down just how miserable he feels inside a handwritten journal; “I should consider myself lucky that he didn't cut us loose after everything that happened. After what I did to Zorak.”

Fortunately for those readers who enjoy a good fist-fight though, David Pepose at least appears to try to keep this book from being too bogged down with the boy’s feelings of worthlessness, by pitting “Hanna-Barbera Productions” creation against the utterly mad Moltar. This fire-obsessed maniac genuinely brings a palpable sense of deadliness to the publication’s proceedings, and actually appears perfectly capable of besting Dax’s costumed alter-ego if the cosmic vigilante isn’t too careful.

The American author also does a first-rate job in penning a reasonably straightforward scheme for his villain-of-the-piece to achieve, courtesy of the fire-proof fanatic’s strangely polite verbal agreement with the evil Doctor Xander Ibal, and this resultantly allows him to spend a good portion transforming the leader of the Magma Men into a much more rounded antagonist than perhaps that seen during the 1966 animated cartoon television show. Furthermore, the massively destructive desperado, who seemingly likes nothing better than to stand in the middle of a large-scale lava eruption, is clearly capable of using his brains as well as brawn, when scientifically “calculating the melting temperatures” of Space Ghost’s force fields. 

Similarly as successful in adding a genuine feeling of heat to this comic are Jonathan Lau’s layouts. The artist appears particularly good at pencilling plenty of convincing lava discharging all over the place, as well as showing how somewhat bulky and cumbersome Moltar is when walking around the likes of Contra Industries in his garishly coloured, somewhat ill-fitting costume. Perhaps the illustrator’s finest moment though comes somewhat quietly towards the end of this book, when he tucks away a truly endearing, emotional embrace between Jace and Dax into a bottom corner panel.

The regular cover art of "SPACE GHOST" #6 by Francesco Mattina

Absolute Batman #3 - DC Comics

ABSOLUTE BATMAN No. 3, April 2025

It’s probably quite easy to see why Issue Three of “Absolute Batman” was the best-selling comic of December 2024 (at least according to the news platform “ICv2.com”), considering just how utterly insane its opening is as both the Dark Knight and Alfred Pennyworth attempt to escape a horde of heavily-armed, homicidal Party Animals on board “a giant, bat-themed dump truck”. In fact, many a reader probably didn’t want the “sweet smell of kerosene” to ever fade, as the unlikely alliance pair together to blast the skull-mask wearing goons to pieces using a variety of electrically charged mini bat-projectiles.

Impressively however, Scott Snyder then manages to keep up with this sense of pace, despite the spotlight turning away from Bruce Wayne’s headlong drive down to Gotham City’s waterfront and turning to Harvey Bullock’s dialogue-driven encounter with Mister Roman Sionis instead. Ordinarily such a meeting might contain some nose-to-nose face-offs so as to suggest the hidden menace behind the Black Mask’s offer for the police officer to support Hill’s election bid to become the metropolis’ next mayor. But on this occasion the villain is perturbingly shown wrestling the former Champ Bibbo Bibowski to the death as they talk; “Don’t worry about him, Commissioner. He’ll be fine. Now, come. Let’s talk about peace.”

Likewise, the American author is able to genuinely ‘sell’ the sheer weight of the mass-murdering megalomaniac’s offer to Batman, who in simply standing down from crime-fighting for a week will receive two hundred million dollars. This almost unfathomable sum of money, as Pennyworth quickly points out, could easily be used to help the Caped Crusader establish himself as Gotham’s primary protector – as well as ensure that the young man’s mother, who has foolishly agreed to be Jim Gordon’s deputy mayor, is kept safe from harm.

Truly excelling at pencilling all this twenty-five page publication’s high octane moments is Nick Dragotta, who does an incredible job of showing just how exhilarating a ride Alfred has standing atop the Bat-dozer. In addition, you can arguably hear the desperate, sweaty smacks on the floor as Sionis and Bibowski grapple with one another, as well as the former title-holder’s desperate taps to signify he surrenders as the astonished man is quite literally choked to death.

Writer: Scott Snyder, Artist: Nick Dragotta, and Colorist: Frank Martin

Teenage Mutant Ninja Turtles [2024] #8 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 8, April 2025

Largely focusing upon Leonardo’s misery following his inability to save a colony of soft-bellied reptiles from the Ganges River, this comic’s plot will doubtless cause many a bibliophile to wonder whether Jason Aaron actually intended to pen “the leader and strategist of the turtles” as being quite as disagreeably insufferable as he appears. True, the katanas-wielding warrior does eventually see the error of his ways, and resultantly deeply regrets attacking Donatello on an apartment block’s roof. But for some readers this regret may well come a little too late to ever care for the supposedly “most mature and disciplined” of Splinter’s students again.

Indeed, quite a considerable portion of this twenty-two page periodical appears to go to great lengths to show the Teenage Mutant Ninja Turtles as an easily dislikeable, incessantly argumentative and dysfunctional quartet – with only a clearly emaciated Donnie, who repeatedly hears the voice of their dead master in his head, apparently being the sole sane one. So dark an atmosphere really does make for a depressingly grim reading experience, and without any of the titular characters’ famous wisecracks and humorous exchanges, soon begins to grind upon the senses.

Far less disheartening, and much more intriguing, is April O'Neil’s investigation into the possibility of the Big Apple’s rat population coming together so as to form some sort of gestalt intelligence. Whether or not the vermin are being ushered together by the spirit of Splinter is not revealed. However, the possibility of the dead Sensei returning from his grave in some manner is enticingly dangled in front of the audience – and really seems to gain extra weight when Leonardo realises that the night-time crying he has head coming from Donatello’s corner is actually emanating from the corpse of a long dead sewer rat; “All right, master… I… I’m listening.”

Also far more engrossing than the heroes' endless loop of boisterous bickering are Juan Ferreyra’s layouts, which definitely bring a sizeable amount of much needed energy to this publication’s proceedings. Of particular note has to be the Turtles’ battle against a train load of Foot Clan ninjas on a New York City underground tube, as this adrenalin-fuelled sequence really gives the artist a chance to show off how well he can sketch the deadly, acrobatic skills of Leo, Raphael, and Michelangelo.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #8 by Jorge Fornes

Astonishing Tales #31 - Marvel Comics

ASTONISHING TALES No.31, August 1975

Despite this edition featuring a fantastically-sketched cover of Deathlok by Ed Hannigan and Bernie Wrightson – something which apparently “really steamed” the character’s creator Rich Buckler when he found out about it, Issue Thirty One of “Astonishing Tales” most likely proved a dissatisfying read to many of its buyers. Sure, Doug Moench’s script certainly delves deep into the previously dead soldier’s resurrected psyche, and provides plenty of adrenaline-fuelled action as the cyborg battles a rooftop full of gun-toting killers. But it is also absolutely crammed full of unconvincing coincidences and startlingly concludes after just ten pages; “Of all the stinkin’ slimy, lousy, dirty rotten --”

In addition, having previously spent some considerable sheet space showing Mike Travers escaping the insane clutches of Simon Ryker and one of the madman's computer-controlled cells, the American author conveniently pens him walking straight into the titular half-human mechanism. This meeting, smack in the middle of a post-apocalyptic Manhattan seems highly unlikely, though nowhere near as implausible as Luther Manning’s subsequent encounter with a hoodlum who knows the specific location of “the surgeon who worked on that Deathlok Goon” on a random apartment’s rooftop.

Much more compelling than this comic’s penmanship though, is Buckler and Keith Pollard’s artwork – which is quite wonderfully inked by Klaus Janson. The previously mentioned battle between the Demolisher and some pistol-carrying criminals is extremely well-drawn, and must have left this publication’s audience wondering what other dynamic sequences might have occurred if Rich hadn’t allegedly prioritised pencilling “a few one-off stories for DC Comics” during this time period, as well as supposedly creating “a whole new feature” for Atlas/Seaboard Comics.

Perhaps this book’s best hook can therefore be found with Stan Lee’s back-up tale “Why Won’t They Believe Me?” Illustrated by the “genial Gene Colan”, this reprint from an old “Silver Surfer” periodical proves a much more succinct reading experience, and by its conclusion rather neatly answers a number of initially alarming questions as to just how a human can understand the scribblings inside an alien spacecraft's log book. Indeed, it’s arguably easy to see just why the notion of an amnesiac extra-terrestrial would later be reused by Roger Stern and John Byrne for a future instalment of “Marvel: The Lost Generation” some twenty-five years later.

Writer: Doug Moench, amd Artists: Rich Butler & Keith Pollard

Red Hulk #7 - Marvel Comics

RED HULK No. 7, October 2025

Disconcertingly penning a helpless Thunderbolt Ross being strapped to an experimentation table for most of this twenty-page periodical’s plot, Benjamin Percy arguably plays something of a dangerous game in hoping that the unlikely pairing of Deathlok and Machine Man will provide its audience with enough excitement to make this comic actually worth buying. And whilst the predominantly mechanical duo certainly do deliver an enjoyable mixture of banter and explosions as they’re chased by local law enforcement officers, the side-lining of this ongoing series’ titular character sadly still leaves something of a hole in the book’s storytelling.

Indeed, apart from providing artist Jethro Morales plenty of opportunities to pencil some truly disturbing physical horror – as the General’s body and brain are systematically swollen with isolated gamma pulses, the vast bulk of “Lab Rat” appears to be ‘treading water’ simply so enough time can pass for the aforementioned Luther Manning and X-51 to successfully reach Project Alpha undetected and attempt to rescue the Red Hulk. Admittedly, this publication does also contain an intriguing sub-thread in which First Sergeant Bowden discovers that Captain Simon Ryker is in direct contact with Doctor Victor Von Doom. But the supposedly loyal soldier, who just happens to have a cybernetic hand strong enough to tear open a safe room’s door, takes so little convincing to break into her superior officer’s secret room that her change in allegiance disappointingly smacks of just being an unconvincing contrivance.

Much more successful is Machine Man’s ability to out-think his pursuers, as opposed to just blasting them to pieces with all manner of automatic weapons – which is precisely what his ‘partner-in-crime’ Deathlok wants to do. The two super-powered refugees make a surprisingly good team, and the fact that it’s their sudden confrontation with a pack of killer Sharkmen deep inside a nuclear reactor’s water-filled pipeline which ends the comic as its cliff-hanger, rather than anything happening to Thunderbolt, says a lot for the odd couple’s ‘audience pull’.

Frustratingly, Morales’ layouts also don’t land as well as they could (or perhaps should). There is no doubt that the illustrator proficiently provides this book with plenty of eye-catching sketches. However, Jethro’s style does imbue the likes of Thaddeus’ mistreatment by Ryker with a perturbingly cartoony look which detrimentally impacts upon the grisliness of the sequences.

The regular cover art of "RED HULK" #7 by Geoff Shaw & Marte Gracia

Absolute Batman #2 - DC Comics

ABSOLUTE BATMAN No. 2, February 2025

Described by “DC Comics” as being something of a ‘rampage’ in its solicitation synopsis, Issue Two of “Absolute Batman” certainly appears to start off well enough with the titular character tackling a truck-load of skull mask-wearing maniacs inside Gotham City’s Aquarium. But once the Dark Knight cleverly outmanoeuvres the numerous Party Animals by dispensing Hydrochloric Acid into the waist-deep water surrounding them, this twenty-four page periodical’s plot debatably gets badly bogged down in a ton of dialogue-driven discussions and childhood flashbacks.

In fact, apart from establishing that Scott Snyder’s “brand-new take” on Bruce Wayne is disconcertingly best buddies with the likes of the Penguin, the Riddler and Two-Face – courtesy of an extraordinary poker game – a fair few Bat-fans will probably find large portions of this publication to be extremely hard-going, especially when it comes to a sedentary stay beside Mayor Jim Gordon’s Hospital room; “What is this world we’ve given them, Mar? When we were their age, we were crazy, sure, thinking we could change it all. But it still felt possible then you know?”

Happily however, this comic does contain some semblance of sense-shattering action towards its end, when Batman teams up with a certain “vigilant MI6 agent” called Alfred Pennyworth, and attempts to evade an ambush by the Black Mask Gang. Surrounded by the whole Gotham City Police Department, this escape bid quickly becomes as exhilarating as its well-penned atmosphere is intense, and only a few bibliophiles will be able to stop themselves gasping in sheer awe when the gigantic Bat-dozer makes a shock appearance.

Similarly as hit or miss as the narrative are debatably Nick Dragotta’s layouts. At times the illustrator and co-creator of “East Of West” is genuinely able to imbue a palpable, pulse-pounding pace into the storytelling by sketching a series of small, punchy panels. However, this technique doesn’t always seem to work, such as during the aforementioned game of cards, and instead can make a scene look incredibly cumbersome and intimidatingly busy – even when it's just covering Bullock unconvincingly suggesting that the Caped Crusader is actually a criminal working in league with the Party Animals.

The regular cover art of "ABSOLUTE BATMAN" #2 by Nick Dragotta & Frank Martin

Teenage Mutant Ninja Turtles [2024] #7 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 7, February 2025

Arguably making this ongoing series’ titular characters even more disagreeable than ever before – at least to one another, Jason Aaron’s script for “this explosive second arc of the all-new era of Teenage Mutant Ninja Turtles” probably wasn’t seen by its audience as the Alabama-born writer turning “the volume up to maximum” as its publisher had hoped. Indeed, if anything this publication’s twenty-two page plot must have proved pretty depressing on account of all the Heroes In A Half-shell getting repeatedly beaten into next week by District Attorney Hale’s baton-wielding goon squad; “Little turtle? Haven’t you gotten the message? We own these rooftops now.”

Of course that doesn’t mean for a moment that Part One of “The Sewers Of Newark” doesn’t contain a captivating dose of martial arts and breath-taking close combat. However, once the four brothers do finally escape the clutches of New York City’s “new Foot-enhanced police force” and relocate to the sewers of New Jersey to eat one of the most rancid-looking, fungi-covered pizzas on the planet, the quartet seemingly do little else except argue with one another. Such rage-fuelled feuding certainly helps keep the deadly warriors apart, thus allowing this comic’s American author to repeatedly have each mutant confront a group of enemies single-handedly. Yet it also starts to wear a little thin on the patience once the likes of Raphael begins furiously berating his siblings for the umpteenth time out of sheer frustration.

Possibly a little more palatable is Donatello’s sub-plot, which depicts the mentally unstable turtle tapping ever deeper into the teachings of his dead father, and rather surprisingly proving himself to be the sanest of the troubled quartet. Whether or not Donnie can actually see and hear the spirit of Master Splinter is a matter for debate. But the shock upon his fellow turtles’ faces when he makes mention of their recent intimate, personal failings as individuals strongly suggests some sort of magical link has in fact been established with the much-lamented Sensei.

New series artist Juan Ferreyra also brings a lot to this book, with some impressive action sequences – most notably those depicting Raphael, Leonardo and Michelangelo taking on a considerable number of Hale’s henchmen during their solo missions. Furthermore, the Argentinian illustrator can really imbue his figures with plenty of personality, such as when a wide-eyed, optimistic Mikey attempts to persuade Donatello to give up his long-deceased sewer rat for a live one.

Writer: Jason Aaron, Artist: Juan Ferreyra, and Letterer: Shawn Lee

Astonishing Tales #30 - Marvel Comics

ASTONISHING TALES No. 30, June 1975

Having impatiently waited four months for Deathlok the Demolisher’s most recent cliff-hanger to be resolved, thanks to its publisher deciding to reprint the Guardians of the Galaxy’s first appearance from Issue Eighteen of “Marvel Super-Heroes” in the bi-monthly’s preceding instalment, readers were probably rather disappointed by this comic's choppy collaboration of various writers and artists when it finally hit the spinner-racks. In fact, despite such a sizeable chunk of time passing before Luther Manning’s cybernetic return, the poor quality of both its script and layouts clearly shows just how badly illustrator-turned-author Rich Buckler struggled with the book’s latest deadline, and was eventually forced to turn to Doug Moench, as well as pencillers Keith Pollard and Arvell Jones, to finish most of the book's eighteen-page plot.

Disappointingly, this dire situation undoubtedly leaves its mark on “The Soft Parade… Of Slow, Sliding Death” with little of the action concerning the reanimated U.S. Army veteran arguably making much sense whatsoever – including the tragic death of Linc Shane who appears to have been thrown into the publication simply so the character could die pointlessly; “He stood up to Ryker’s goons on his own -- all alone… And for what?!” In addition, the comic’s conclusion probably had a fair few bibliophiles shaking their heads in disbelief, as the synthetic killing machine somehow manages to construct a giant crossbow out of disused car parts, and then somehow uses it to fire a metal beam straight into the super-tank which up until this point had seemingly appeared impervious to any and all firearms.

So unconvincing a tale sadly also extends as far as poor Mike Travers sub-story too, with Manning’s “ex-war buddy” apparently being able to simply re-programme the computer keeping him captive using a “sophisticated input card” he crafted inside his cell. Such ingenuity is clearly admirable. But just doesn’t ring true, especially considering that the man’s successful escape attempt is actually monitored by Simon Ryker’s artificial intelligence all along – and it does absolutely nothing to thwart his actions apart from pathetically plea to its pre-occupied creator for further instructions.

Easily this comic’s biggest let down though has to the book’s artwork, which perhaps understandably appears disagreeably inconsistent. The panels Buckler himself appears to have completed are dynamic enough. However, whilst both Pollard and Jones can clearly sketch an action sequence, the “traditional rendering style” of inker Al McWilliams jars quite a bit with some of the other sequences, and resultantly repeatedly takes the audience right out of the story as they have to acclimatise their eyes to his thin-lined embellishments.

Plot, Layout & Script: Rich Butler, Script: Doug Moench, and Art: Rich Butler, Keith Pollard & Arvell Jones

The Incredible Hulk [2023] #27 - Marvel Comics

THE INCREDIBLE HULK No. 27, September 2025

Starting with a seriously sedentary opening which features Bruce Banner’s alter-ego disconcertingly dozing under a woodland tree whilst a young boy noisily plays with a self-made wooden sword at his feet, many a bibliophile probably couldn’t be blamed for wondering what on Earth writer Phillip Kennedy Johnson was thinking when he penned this comic’s somewhat ponderous narrative. Sure, the happy-go-lucky youngster’s father is almost immediately shown to have something of a short-fused temper. But there’s absolutely no suggestion of the genuinely shocking tragedy which has actually already befallen poor Petey when he’s subsequently shown skipping back towards his home; “Daddy builds stuff. But sometimes he gets angry, and we gotta leave again.”

Instead, the American author just slowly starts to add layers to the dynamics of the kid’s dysfunctional, ever-erratic life on board a travelling bus, and the increasingly worrying criminal lifestyle of Henry Lang – who evidently enjoys dealing in stolen goods after work. In addition, the titular character himself is shown as having some serious self-doubts as to whether he truly wants to be left alone after all, and actually appears to be slowly warming up to the notion that perhaps instead of being a monster, the Hulk could become a force for good once again. 

Shockingly though, this dream of redemption is suddenly brought crashing down around the founding Avenger’s ears when he overhears Petey’s dad telling his wife they have to leave Tennessee immediately following a gun-fight with the local Police. Initially, this scene suggests that the boy will simply be left behind to his fate in the forest. However, it soon becomes crystal clear that things are far more sinister than mere abandonment, and that partially buried under “the Falling-Down Tree” is a dark secret infinitely worse than any creature from the kid’s vivid imagination.

Sadly what isn’t as successful as this book’s cataclysmic conclusion is debatably its drawing, with Kev Walker’s pencils proving rather disappointing when it comes to the look of this ongoing series’ titular character. The British illustrator does a first-rate job in depicting the disagreeable violence Henry is willing to subject his poor, ever-loyal spouse to, and resultantly should make the fellow utterly despicable in the eyes of this publication’s audience. Yet the artist's sketches of a long-haired, chisel-chinned Hulk is perplexing at best, and simply doesn’t portray the heavily-conflicted brute all that well – at least until the gamma mutate decides to take revenge upon poor Petey’s unrepentant murderer.

The regular cover art of "THE INCREDIBLE HULK" #27 by Nic Klein

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

BRING ON THE BAD GUYS: ABOMINATION No. 1, September 2025

Forming part of its New York City-based publisher’s special event to celebrate fifty years since “Marvel Comics” first released it original collection of “key early stories” featuring some of their most iconic super-villains, Phillip Kennedy Johnston’s script for Issue One of “Bring On The Bad Guys: Abomination” certainly seems to depict Emil Blonsky’s grotesque alter-ego in a highly entertaining light. In fact, rather than try to turn Stan Lee’s co-creation into some kind of anti-hero who ultimately risks all to save a group of hapless archaeology students, this particular publication instead debatably doubles-down on the gamma mutate’s more murderous inclinations.

Furthermore, the American author does an excellent job in underscoring the scaly-skinned former spy’s often ignored mental savvy by imbuing him with plenty of brains as well as brawn. This scheming intelligence genuinely pulls the entire narrative together from beginning to end - especially once it’s been revealed just how many favours the Yugoslavian-born monster has ‘cashed in’ so as to specially “get that [ancient] well dug up”, and have the highly out-of-place analyst Mokinyo specifically put in charge of his probationary mission to explore its deadly depths. 

Of course, the big draw for this twenty-page book's audience is Blonsky’s pulse-pounding battle against “the mighty Grootslang” in a water-logged underground cavern, and frankly the Eisner-nominated writer definitely does not disappoint. Freed from his Wakandan prison cell, this incarnation of the Abomination is as much of a cold-blooded a killer as he ever was, and absolutely annihilates his opponent without any mercy whatsoever. In addition, the two-toed terror doesn’t even momentarily pause in his tracks to rescue the surviving excavators either, and simply leaves them to die of starvation beneath the surface along with the bones of the supernatural being he’s just pulverised; “If you wanted lives saved and kids tucked in, you could’ve brought back your exiled king.”

Also helping enormously to make this comic such a sense-shattering success are penciler Sergio Davila, inker Aure Jimenez and colorist Arif Prianto. Together this creative team genuinely bring the entire story to vivid, animated life – whether it be the excited irritation of the poor professor who first encounters the well a little way “outside our permit zone”, or the sincere, cold-blooded clarity of Emil’s thinking when it comes to simply killing someone with his bare hands just because it's part of his job.

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

The Thing [2025] #3 - Marvel Comics

THE THING No. 3, September 2025

Simply pairing sweet Aunt Petunia's favourite nephew up with a little girl for the vast majority of a twenty-page publication packed full of gun-happy triggermen and super-powered villains might have struck some within this comic’s audience as an odd choice for Tony Fleecs; especially when Ben Grimm has so many notable New York City-based allies with which he can ordinarily turn to in times of trouble. But in doing so, the author rather surprisingly generates a palpable sense of danger throughout this narrative, which genuinely should make most readers uneasy as to whether the faint-hearted adolescent is actually going to survive the book intact.

Indeed, just as soon as Mary’s niece makes a shocking appearance amidst the burning ruins of a dockland warehouse, it arguably seems almost certain that a stray bullet from one of Hammerhead’s goons, or a projectile thrown by the deadly Bullseye, may well end her young life before this mini-series’ titular character has had the chance to rescue her. Such a concern really does stick to the storytelling throughout too, and even increases once the vicious gangster’s threat has been replaced by that of the crowbar-wielding Dirk Garthwaite and his murderous Wrecking Crew; “You four are about to find out that it’s a bad idea to pick on little kids when I’m around.”

Adding to this growing sense of Grimm’s inability to protect the understandably distressed child is Fleecs’ knack to also imbue one of the founding members of the Fantastic Four with his own physical vulnerabilities – such as being completely exhausted from not having slept in days. This fragility is debatably seldom shown in one of the Marvel Universe’s most popular power-houses, and helps highlight that despite all the slugger’s extraordinary strength, he is in reality just one man fighting off a veritable army of criminals – all of which desperately want to claim the ten million dollar bounty on his head.

Sadly, what does slightly let this comic down though is some of Justin Mason’s pencilling, which every now and then depicts the Thing as being disconcertingly smooth and circular in appearance. Obviously such a drawing technique is well-known to help artists work out the composition of their panels, and the location of any figures within it. However, the illustrator seems to incorporate this technique into his actual finished work, and resultantly presents Ben as an unnervingly fluid, ball-headed bruiser, as opposed to his much more irregular, chitinous-covered appearance.

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

Nightwing #108 - DC Comics

NIGHTWING No. 108, January 2024

Presumably catching many a bibliophile off-guard with Bea Bennett’s secret pirate society being successfully infiltrated by a boatload of traitors, Tom Taylor’s script for Issue One Hundred and Eight of “Nightwing” must surely have got their blood boiling at the way Captain Blud is so poorly treated by her adoptive brother, Dirk. Indeed, the twenty-two page periodical’s plot genuinely emits a palpable aura of perfidy throughout, especially once the steadfastly loyal Lucas is devastatingly dispatched with a cowardly gut-shot whilst entering the supposedly safe Crow’s Nest; “This is the seat of power for the Crossed Keys.”

Intriguingly however, such is the quality of the “New York Times bestselling” author’s penmanship that most within this comic’s audience won’t even see the murderous betrayal coming either, and will instead walk straight into the treasonous trap as readily as Bea’s poor right-hand-man does. So savage a shock is entirely due to the Australian writer fooling the reader into dropping their guard by lulling them into believing Dick Grayson’s former lover is always one step ahead of her mortal enemies – a technique he later doubles down on when Bennett appears to once again be the hunter only to suddenly find her innards on the wrong end of a sword blade.

Quite possibly also adding to the tension is Nightwing’s apparent desire to predominantly remain on the sidelines for much of the adventure, and simply allow events to progress without any influence from Bludhaven’s sworn protector. True, the super-hero does personally detain Travis for trying to assassinate his captain in her sleep. But that particular sequence is debatably played for laughs more than anything else, and it’s not until the (non) costumed crime-fighter confronts Lucas’ killer that he finally takes the centre-stage in his own book.

Artist Stephen Byrne also needs a big shout-out for helping to make “The Crew Of The Crossed” a visual feast for the eyes. The Irish illustrator proves particularly proficient at embedding humour into his pencilling, such as the aforementioned capture of Travis, as well as being able to completely turn a scene upon its head, like when the tongue-in-cheek exchange between Grayson and Lucas dramatically transforms into the scene of a foul, cold-blooded murder.

Writer: Tom Taylor, Artist: Stephen Byrne, and Colors: Adriano Lucas

Space Ghost #5 - Dynamite Entertainment

SPACE GHOST No. 5, September 2024

It’s probably fair to say that David Pepose’s storyline for Issue Five of “Space Ghost” may well appear a little rushed for a twenty-two page conclusion to a much-hyped “impossible battle”. Indeed, despite the comic’s intoxicating pace and adrenalin-fuelled action sequences, some readers may well feel that the titular character defeats both Zorak and the alien’s fanatical Cult of Lokar a little too easily for their liking; “I know you’re scared, son -- But you saved us all. If you hadn’t stepped in, I’d be dead…”

These doubts as to just how convincingly this comic’s plot plays out arguably begins almost from the start too, when Hanna-Barbera Productions’ cartoon creation quickly kneels in supplication before his arch-nemesis, and fully co-operates with the multi-limbed lunatic’s plan to open the universe up to the feeding frenzy of a gigantic extra-dimensional locust deity. Now admittedly, at the time the Dokarian is about to horribly kill Jan and Jace in a vacuum chamber if his orders aren't obeyed. But Dax’s submission is so startlingly swift, that he appears to instantly give up the fight without any thought as to the fact he’s surrendering the lives of the entire galaxy for the sake of just two people.

Similarly as sudden and unpersuasive though is debatably young Jace’s decision to quit being a sidekick because he zaps Zorak just before the maniac can fatally stab Space Ghost in the back with a blade. It’s clear this moment has a dramatic impact upon the ordinarily happy-go-lucky boy, and in many ways is really well-penned by this book’s author. However, it’s certainly not the first time the lad has blazed away at his opponents with a laser gun, including the escaped convicts who recently beat him semi-senseless, so just why this particular death affects him so very badly is a bit unclear – and resultantly seems somewhat forced for theatrical effect.

By far this publication’s best element therefore is Jonathan Lau’s phenomenal pencilling, which does a fantastic job in showing just how desperate the situation becomes once the central protagonist unwisely chooses to aid his long-time opponent. Furthermore, the artist does a great job in showing just how physically undersized and underpowered the children actually are when it comes to tussling with their much larger, adult captors.

The regular cover art of "SPACE GHOST" #5 by Francesco Mattina

Teenage Mutant Ninja Turtles [2024] #6 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 6, January 2025

Pouring the pressure on this series’ titular characters straight from the start, it must have been hard for many readers to imagine what more Jason Aaron could throw at Leonardo, Donatello, Raphael, and Michelangelo during their journey back to New York City. In fact, considering the lengths the Alabama-born writer goes to in order to show how dysfunctional a unit Splinter’s students have become, it is quite incredible the quartet of warriors don’t eventually succumb to the nefarious Foot Clan’s unrelenting assault waves before his twenty-two page plot comes to an end.

Perhaps somewhat surprisingly however, it is precisely the four brothers’ aggression towards one another which makes this comic’s pulse-pounding pace so successful, with the likes of Raph even having time to slug Mikey straight across the jaw during this book’s sense-shattering shenanigans. Furthermore, the tenderness still shown towards a mentally deranged Donnie during these frustration-filled vents cleverly reminds the audience that despite all their bluster, bull-headedness, and eye-wincing in-fighting, the 'Heroes in a half shell' still care very deeply for each other; “I’m standing in a sewer! You call this being saved?! I was about to have my own action figure, you butt-faced --”

Easily this publication’s biggest hook though has to be the sheer grandeur of District Attorney Hale’s scheme to ‘frame’ the turtles as “a bunch of crazed mutants, wanted for murder, [who are] beating up public servants.” The corrupt lawyer appears to have infiltrated every emergency service department possible with his deadly ninja assassins, and resultantly helps provide this issue with one of its funniest moments when an axe-wielding fireman suddenly attempts to chop an unsuspecting Donatello in two.  

Also making an impressive “debut as Teenage Mutant Ninja Turtle’s new ongoing artist” is Juan Ferreyra, who quite sensationally imbues all this comic’s considerably-sized cast with plenty of enthralling, animated life. Of particular note has to be the protagonists’ leap across the Big Apple’s night-time skyline so as to evade the Foot Clan’s gas arrows. This entire sequence looks set to literally run on for several more panels, only for the “superstar artist” to suddenly pencil the New York Fire Department humorously hosing down the green-hued fugitives with water from far below.

Script by: Jason Aaron, Art by: Juan Ferreyra, and Letters by: Shawn Lee

Astonishing Tales #28 - Marvel Comics

ASTONISHING TALES No. 28, February 1975

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

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

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

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

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

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

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

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

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

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

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

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

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

TEENAGE MUTANT NINJA TURTLES No. 5, December 2024

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

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

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

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

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

Astonishing Tales #27 - Marvel Comics

ASTONISHING TALES No. 27, December 1974

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

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

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

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

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