Teenage Mutant Ninja Turtles [2024] #11- IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 11, September 2025

There is no doubt that Jason Aaron’s penmanship for Issue Eleven of “Teenage Mutant Ninja Turtles” imbues the comic with plenty of pace. But despite this twenty-two page periodical containing a fair amount of adrenalin-fuelled action, it will arguably be hard for many long-term readers not to think that its opening half simply repeats much of what they already knew had occurred. In fact, the vast majority of this book’s courtroom antics simply regurgitates past events from the titular character’s previous battles; “Apologies to the jury, as this footage is quite graphic and disturbing.”

Happily however, this feeling of being somehow slightly ‘cheated’ courtesy of numerous flashbacks and witness testimony, is eventually lifted once District Attorney Hale’s nerve finally breaks and the rotund lawyer makes an ill-advised bolt for the supposed safety of Karai’s inner sanctum. This escape bid finally provides the honest people of New York City with an opportunity to witness first hand just what a cowardly bully Hieronymus really is, as well as show the corrupt politician’s police brutally beating up anyone foolish enough to get in their way.

Furthermore, the sequence generates a much anticipated ‘feel-good’ feeling for the likes of Leonardo, Donatello, Michelangelo, Raphael and April O’Neil, as the Big Apple’s population unite behind them as the metropolis’ protectors. Indeed, many a bibliophile can probably hear Chuck Lorre’s instantly recognisable TMNT television theme song starting in the background as the ‘Heroes in a Half-shell’ lose their handcuffs, collect their weapons from the evidence desk, and bound outside the court building to batter the Foot Clan once again.

Convincingly illustrating Hale’s rapid descent into an anger-fuelled madness is Juan Ferreyra, who increasingly pencils the wannabe tyrant’s corpulent face struggling under the weight of all his lies and grisly murders. Such close-ups really help ‘sell’ just how overconfident the portly prosecutor had been when he first arranged the mutants’ show trial, and just how insane the counsellor has come now his grand scheme is unravelling before his reddening eyes. Furthermore, the artist also provides this comic with an absolutely cracking double splash of the Turtles and O’Neil-turned-Casey Jones smashing into a line of undercover ninjas, whilst taking the fight back out onto the streets of “the most populous city in the United States.”

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #11 by Jorge Fornes

Astonishing Tales #35 - Marvel Comics

ASTONISHING TALES No. 35, May 1976

Initially appearing to pit Deathlok against Simon Ryker deep inside the virtual world of the Omni-computer, Rich Buckler’s plot for Issue Thirty Five of “Astonishing Tales” contains so many twists and turns that it probably had many a bibliophile’s head spinning once they'd perused the entire seventeen-page periodical. Indeed, by the time this publication is only half-way through the Demolisher has already been depicted witnessing the backstory behind an enforced exodus of the Big Apple’s population to Long Island, participating in a battle of wills against his arch-nemesis, and awakening to find his consciousness momentarily inhabiting the physical body of Project: Alpha Mech’s diabolical leader.

Enjoyably however, despite many of these sensational incidents occurring without too much rhyme or reason, Bill Mantlo’s wonderful writing still makes many of their elements sound potentially plausible, and such is the euphoric pace of the prolific penmanship that most readers would have been merrily carried along for the ride without much thought as to its believability anyway; “Reverse the molecular flow! Blast it, man! Move!!”

Possibly this comic’s biggest ‘shake-up’ though comes in the guise of Teresa Deveraux and the seemingly limitless advanced technological savvy of Earth-7484’s Central Intelligence Agency. Almost within the space of just a handful of panels this latest organisation competing for control of a post-apocalyptic America not only manages to ensure Ryker is reduced to a naked, gibbering madman. But also does the supposedly impossible by relocating Luther Manning’s brainwaves into a fully-functioning clone body during “the first successful mind transference on a live subject” ever.

Equally as enthralling as a book packed full of arrogant dictators, all-knowing computer programmes, and highly covert government operatives, is Buckler’s prodigious pencilling. Along with the inks and colours of Klaus Janson, Deathlok’s creator does a first-rate job in sketching the cyborg at the height of his mechanical powers – whether that be him staying steadfast during the heat of battle as he locks hands with his mortal enemy in an unbreakable hold, or unhappily following along with Deveraux’s suspicious trip back to Fort Dix and the facility’s ominous surgical theatre. Furthermore, the artist provides Ryker with a convincing mental breakdown – especially when the tyrant discovers his personality has been inadvertently channelled directly into Manning’s decaying, undead corpse.

Script: Bill Mantlo, Concept, Plot & Art: Rich Butler, and Inks & Colors: Klaus Janson

West Coast Avengers [2024] #2 - Marvel Comics

WEST COAST AVENGERS No. 2, February 2025

Whilst parts of this twenty-page periodical may strike some within its audience as being a little rough around the edges, Gerry Duggan’s script for Issue Two of “West Coast Avengers” certainly should have held their attention. Indeed, the comic contains a genuinely enthralling mixture of pulse-pounding pugilism and dysfunctional super-team dynamics, as Iron Man’s squad face-off against an international arms smuggling ring and Firestar “officially joins” the "Wackos"; “All right. I admit I have a thing about robots at the moment. But… Why are you trusting Ultron.?!”

Furthermore, the book initially provides Spider-Woman with a significant amount of ‘screentime’, and this really helps sell the covert operative background to Jessica Drew’s colourfully costumed alter-ego, before she then just brutally batters Flag Smasher and his minions aboard Grant Rogers’ re-papered sea vessel. Such an insight proves a great reminder to the reader as to the character’s lengthy background, and also helps inject some humour into the tense situation by showing how grossed out she becomes when the lecherous Blue Bolt pays some interest in her.

Equally as enjoyable however is this book’s much more sedentary second-half, which focuses upon Angelica Jones’ arrival at the Los Angeles Avengers Campus. There’s a very clear suggestion in this publication that all is not what it seems with Tony Stark’s supposed “A-List Hero”, and her extreme overreaction upon first encountering the former, would-be world conqueror Ultron, does not bode well for whichever reformed villain Chris Claremont’s co-creation is meant to be mentoring.

Unfortunately, the same praise can not be heaped upon the interior artwork of this comic due to some occasional, jarringly weak pencilling by Danny Kim. There is no doubt that the illustrator can create some dynamic, adrenalin-fuelled moments with his drawing – such as when Spider-Woman singlehandedly takes down a helicopter crammed full of heavily-armed goons. Yet, every now and then, a panel or two will look disconcertingly amateurish at best, like one picture where an exasperated Stark is shown clasping his hands to the sides of his head. Sadly, such sketches will undoubtedly snatch any perusing bibliophile straight out of the moment, and make them question just how much time the creative team were given before this particular title was thrown together.

The regular cover art of "WEST COAST AVENGERS" #2 by Ben Harvey

Star Wars: Jedi Knights #2 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 2, June 2025

Rather cleverly throwing his audience straight in at the deep-end of this comic’s storyline by utilising its opening scrawl to quickly establish a sense-shattering scene, Marc Guggenheim’s penmanship for Issue Two of “Star Wars: Jedi Knights” certainly imbues the twenty-page periodical with a pulse-pounding pace. In fact, even when the American television producer does decide to step away from the action and flashback to Yoda and Vetna Mooncrest's first steps upon “the remote moon of Veeros”, the diplomatic pleasantries with the majordomo droid Blue-Tark are politely short and succinct; “Thank you for your gracious hospitality. Extend our gratitude, please, to Atha Prime."

Of course, most of the readers’ attention will probably be focused upon the diminutive legendary Jedi Grand Master actually being 'out in the field’ fighting off a horde of seriously-fanged extra-terrestrials. Impressively demonstrating that numbers “matter not” before leaping off for a one-on-one duel with this ongoing series’ leading antagonist, it is hard to take your eyes off of the green-skinned leader of the Jedi Order. However, his female human companion is also very well written, displaying plenty of wit when her comrade-in-arms leaves her alone to face a ton of murderous Xerexi, as well as vulnerability due to her congenital condition’s implants being susceptible to the local radiation.

Similarly as successful as the heroes though, has to be the New York City-born author’s use of “a never-released Kenner action figure.” Atha Prime genuinely comes across as a terrifyingly mad, homicidal maniac, who whilst not up to the Dark Lord of the Sith’s standard, still manages to dominant all of the set-pieces in which he appears. Indeed, desperate to transform the galaxy in his own image by using his deadly creations to cut away its ills, the character appears to have been cut from a similar cloth to that of David 8 – the dangerous android seen in Ridley Scott’s 2012 science fiction film “Prometheus”.

Finally, a huge amount of praise should be heaped upon the shoulders of Madibek Musabekov and color artist Luis Guerrero for bringing this “strange, fantastic and mysterious world” to incredible life. The sense of so many vicious killers encircling this publication’s Jedi is truly palpable, as are the blows poor Yoda suffers at the hands of a clearly formidably trained Atha Prime.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #2 by Rahzzah

G.I. Joe: A Real American Hero #308 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 308, July 2024

Contending with a colossally-large cast of characters, Larry Hama’s pulse-pounding plot for Issue Three Hundred and Eight of “G.I. Joe: A Real American Hero” surely shows just how well the Vietnam War veteran can provide a twenty-page periodical with an enthralling mixture of fast-paced punch-ups, strategic bombing runs and military jargon. True, this particular comic doesn’t contain all that much adrenalin-fuelled action – except for when Helix and her deadly Recon Team decide to escape the clutches of Cobra Island’s Casino. But its various dialogue-driven scenes still do a great job in largely keeping the audience hooked by bringing all the warring parties together on the outskirts of Springfield just as Serpentor Khan’s enhanced mutant, cyborg Cobra troopers crash-land upon its suburbs.

Indeed, the quiet hum of the Revanche-designed aeroplanes heading towards ground zero with their deadly payloads palpably throbs throughout all of this publication’s proceedings, constantly reminding the audience that the likes of Duke’s “whole ninja team”, as well as Destro’s beloved Baroness, are haplessly heading straight into a death-trap; “That’s a world of hurt those bad boys are bringing down on Cobra Central.”

Equally as enjoyable as this magazine’s tangible sense of events fatefully bringing all the central players together in one place, is the New York City-born writer’s sheer sense of fun. As opposed to the heavy nature of Dawn Moreno’s van ride in which the death of her parents hangs heavy in the air, Muskrat, Wet Suit and Multo’s incarceration is packed full of smile-inducing gags, as well as a genuine laugh-out-loud nod to George Lucas’ 1977 “Star Wars” film when Doctor Mindbender encounters the disguised G.I. Joes rifling through his laboratory’s papers and bemusingly exclaims “Aren’t you a little short to be a Viper?”

Impressively switching between all these sense-shattering shenanigans and word-heavy exchanges is Paul Pelletier, who interestingly appears to prefer pencilling the Recon Team’s escape from something of a distance, whilst getting up nice and close and personal when it comes to drawing the various discussions. This technique really helps bring the audience right into the conversations, almost as if they were actually inside the driver’s cab of Zartan’s ‘Frozen Haggis’ lorry, or sat alongside Scarlett and Storm Shadow during their ill-fated journey to Springfield.

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

Nightwing #110 - DC Comics

NIGHTWING No. 110, March 2024

For those readers who enjoy team-up titles, Tom Taylor’s narrative for Issue One Hundred and Ten of “Nightwing” should have been right up their alley, with its wonderfully penned pairing of the titular character with Jonathan Kent. Sure, the hilarious inclusion of a feline-looking Damian Wayne as Mister Mittens undoubtedly steals all the limelight once the Dark Knight’s heavily-mutated side-kick makes his appearance in the former Gotham Blades hockey arena. But it is still arguably a joy to watch Dick Grayson and Superman’s son undertake a covert infiltration of the Pit together, and show that both have brains, as well as brawn; “With your powers, you’re a magnet for the spores. If you’re down here and get slowed down, even for a moment, you could be infected.”

Indeed, rather than simply rely upon “the first Earth-born Superman” to just barge his way into the criminal fighting arena, the New York Times bestselling author instead shows the Human/Kryptonian hybrid demonstrating great restraint by listening to the more experienced guidance of his comrade-in-arms. This plot device really helps to sell the tale’s sense of danger to the audience, and makes it clear that despite all Jon-El’s incredible powers, he might actually make the metropolis-wide beast plague all the more formidable if he interferes in his friend’s plan to rescue Robin, and resultantly succumbs to the Star Conqueror’s infection himself.

Of course, Mister Mittens is by far and away the most memorable of this thirty-page periodical’s cast, imbuing its plot with an antagonist who is simultaneously both adorable and deadly. However, the humanoid cat creature provides the overall villain, Apex Ava, with plenty of impressively convincing punch too - especially when it’s made clear that the ordinarily extremely strong-willed young master Wayne could do absolutely nothing except obey the green-skinned, heavily-tattooed woman whilst he was in his feline form.

Also well worth a shout-out for making this comic’s storytelling so successful are artist Sami Basri, inker/finisher Vicente Cifuentes and colorist Adriano Lucas. The trio are easily as potent when it comes to bringing this book’s pencils to eye-catching, vivid life, as Dick, Jon and Damian are bringing an end to the murderous spectacle pf the Pit, with the sheer savagery of the place’s gladiatorial bouts almost leaping off of the printed page whenever the clawed combatants fight to the death.

The regular cover art of "NIGHTWING" #110 by Bruno Redondo

Space Ghost #8 - Dynamite Entertainment

SPACE GHOST No. 8, December 2024

For any fans of the “Hanna-Barbera Productions” mid-Sixties “American Saturday-morning superhero animated television series”, David Pepose’s introduction of the mass-murdering Metallus at the start to Issue Eight of “Space Ghost” probably did live up to young Jace’s claim that “this is like every Birthday and Christmas rolled into one.” In fact, the American author manages to cleverly establish an incredibly dark tone to this comic, by initially showing its titular character openly enjoying himself battling a supposedly nameless band of deep-space pirates, only to suddenly discover he is actually facing the former “War Captain of the Galactic Federation” who murdered Dax's entire family on the planet Vector.

This shocking revelation genuinely reverberates throughout the twenty-two page periodical, predominantly by it transforming a slightly overconfident cosmic vigilante into an arguably unthinking, reckless avenger, who just repeatedly hurls himself physically at his arch-nemesis without any plan of action. Such blind anger should really strike home to this book’s audience just how much pain and hurt the costumed crusader still carries for his lost loved ones, as well as making it incredibly clear just how different this ongoing series’ storytelling tone is from the old aforementioned cartoons shown on the CBS network approximately sixty years ago. 

Equally as intriguing as this publication’s plummet into the depth’s of Space Ghost’s rage is its depiction of his adolescent sidekicks - who together also provide a notable lesson in being a tad too self-assured in one’s own abilities. The notion that Robo-Trooper A-X-8’s severed head could still pose a severe threat to the children doesn’t enter the mind of Jace, who even rebukes his sister for suggesting such a thing. However, it soon becomes clear that Metallus is using his damaged droid for his own purposes, and demonstrates that just like Dax, the young wannabe heroes have acquired an unhealthy does of hubris following their recent victories; “Yes -- I’ve been aware of your clumsy intrusions ever since you reactivated my loyal soldier.”

Undoubtedly helping to add even more captivating drama to all these proceedings is penciller Jonathan Lau and colorist Andrew Dalhouse. Together, the creative team genuinely deliver some stand-out moments within this magazine, such as when Space Ghost is startled to hear the Iron General’s machines voicing precisely the same ‘mantra’ as they did when destroying his own planet, and the very evident anguish etched across the central protagonist’s face whenever he sees General Metallus.

Writer: David Pepose, Artist: Jonathan Lau, and Colorist: Andrew Dalhouse

West Coast Avengers [2024] #1 - Marvel Comics

WEST COAST AVENGERS No. 1, January 2025

Announced at the 2024 San Diego Comic Con, and promising an “iconic team with a superstar lineup of Earth’s Mightiest Heroes, including a seemingly redeemed Ultron”, Gerry Duggan’s script for Issue One of “West Coast Avengers” arguably lives up to all its pre-publication hype. In fact, the comic contains a considerable number of intriguing conundrums which should keep its audience well and truly engrossed throughout the ongoing series’ run; “Did you ask me to join because I have a rap sheet?”

Foremost of these hooks has to be the inclusion of Hank Pym’s homicidal robot on the super-team’s roster. Responsible for countless failed attempts to dominate the world, the mass-murdering machine understandably brings an element of menace to every scene in which he appears - including those where he is clearly saving the lives of innocent Californians. So palpable an atmosphere of deadly duplicity should genuinely convince this book’s audience that at any moment the adamantium-bodied artificial intelligence will brutally betray his team-makes, and such unease will arguably make it really difficult for any reader to put this twenty-six page publication down.

In addition, the American author is very good at sowing plenty of discontent and disharmony within the remaining squad members, despite the likes of Iron Man, War Machine, and even Spider-Woman having plenty of experience working with others. Much of this friction is undoubtedly caused by the disagreeably arrogant Blue Bolt, who seems utterly resistant to any other options than just blowing his opponents up with his Electrokinesis. However, Tony Stark too appears to be fighting plenty of other demons himself, as well as rather humorously weighing a couple more pounds than he did when he first donned his Silver Centurion armour.

Disappointingly, what does let this comic down though are some of Danny Kim’s layouts, which whilst being proficiently pencilled overall, also appear a little too rough and ready from time to time. Indeed, a considerable number of the artist’s panels contain little to no background whatsoever, and after a while this frustratingly bland-looking technique unfortunately gives the impression that the illustrator was in some sort of a hurry to get on to the next drawing assignment, rather than provide his audience with an enticing view of events as they unfold.

The regular cover art of "WEST COAST AVENGERS" #1 by Ben Harvey

Absolute Batman #6 - DC Comics

ABSOLUTE BATMAN No. 6, May 2025

Enthusiastically described by “DC Comics” as concluding with a “larger-than-life story”, this final instalment to Scott Snyder’s opening story arc for “Absolute Batman” must surely have left a few fans somewhat disappointed by just how easily Bruce Wayne’s alter-ego defeated the Black Mask. Indeed, considering just how rich and powerful Roman Sionis is supposed to be, the fact that the Dark Knight simply parachutes down onto yacht to face a single, disco-bopping bodyguard (and a kid) is pretty bemusing; “You think you can stop them? You think you can stop anything that’s coming?”

Furthermore, the city-wide chaos created by the criminal mastermind which now threatens to transform Gotham City into a cesspit of mass murderers, robbers and thieves, is disappointingly largely focused upon Martha Wayne and Mayor Jim Gordon’s face-off against a trio of wannabe Party Animals. Admittedly, the comic does depict one poor citizen being attacked on a tube train. But predominantly, the American author dedicates an incredible amount of this twenty-two page periodical to solely showing the courageous couple desperately trying to talk the low-life down from shooting them dead in the street.

Lastly, a lot of this book’s pace and impact is arguably lost by a string of flashbacks to a time when an adolescent Bruce was looking at pictures in his mother’s photograph album following a bedtime nightmare. This moment is undoubtedly key in the growth of the titular character’s personality and determination to see things through to the end, even an unfavourable one. However, it debatably also gets tiring quite quickly - especially as it continues to run until almost the tale’s last panel, and resultantly keeps pulling the reader straight out from all the adrenalin-fuelled action which is taking place during the present day.

By far this publication’s biggest asset is therefore the artwork of Nick Dragotta, who rather superbly manages to imbue Batman’s battle against the Black Mask with some eye-wateringly violent moments and some truly frenetic-fighting. In addition, the illustrator surprisingly manages to provide Gordon’s aforementioned dialogue-driven stand-off with plenty of palpable suspense, and actually uses the fact that this adventure takes place in a reimagined universe to cause any onlooker to constantly second guess as to whether either Jim, Martha or both will actually die whilst conversing with Sionis' latest recruits.

The regular cover art of "ABSOLUTE BATMAN" #6 by Nick Dragotta & Frank Martin

Astonishing Tales #34 - Marvel Comics

ASTONISHING TALES No. 34, March 1976

Apparently produced, conceived, plotted and drawn by Deathlok’s creator Rich Buckler, it’s difficult to imagine what more could possibly have been squeezed into Bill Mantlo’s script for this seventeen-page periodical. Sure, the seemingly never ending twists and turns of Luther Manning’s ordeal may well have threatened to confound the senses of anyone picking the book up off from their local comic store’s spinner rack. But it’s arguably hard to find too much fault with a storyline that contains such an adrenalin-fuelled concoction of laser guns, helicopter attacks, enormous explosions, and sense-shattering sonic assaults.

Furthermore, this publication genuinely shows just how complex a post-apocalyptic world the cyborg assassin inhabits, with New York City’s civilisation evolving from just a dilapidated metropolis where cannibals lurk in every shadow into a genuine war zone in which various heavily-armed, and technologically-advanced factions are fighting tooth and nail for domination. Indeed, just as this ongoing series’ audience were settling down to the simple notion of the ill-equipped Provisional Revolutionary Army rebelling against Simon Ryker’s evil military dictatorship, the Demolisher discovers both the existence of Teresa Deveraux’s Central Intelligence Agency, and the deadly Machiavellian machinations of Hellinger’s covert operation too.

Of course, in order to make so many conflicting sub-plots merge together into a single, albeit complicated, storyline the Brooklyn-born writer has to take a few liberties when it comes to highly convenient happenstances - such as the C.I.A. having the expertise necessary to rebuild a badly-damaged Deathlok, and the mind of the surgeon responsible for the cyborg being transferred into a clone of Manning’s original body. However, the creative team appear to be rather laudably trying to tie together an incredible number of loose ends, whilst simultaneously introducing their audience to a number of all-new twists and enthralling turns; “You may not believe this, Luth’… Even if you could hear me -- But I hope you’re alive!”

It’s also clear that letterer Karen Mantlo was incredibly busy on this book, with panel after panel being filled to the brim with some occasionally utterly illegible text boxes. Resultantly, there’s a lot more weight resting upon Buckler’s artistic shoulders to keep any perusing bibliophile’s eyes locked onto the action – a task he does incredibly well, especially during the scene where Deathlok has his bionic arm destroyed.

Script: Bill Mantlo, Concept, Plot & Art: Rich Butler, and Inks & Colors: Klaus Janson

Star Wars: Jedi Knights #1 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 1, May 2025

Announced at the 2024 New York Comic Con by “Marvel Worldwide”, Marc Guggenheim’s narrative for Issue One of “Star Wars: Jedi Knights” certainly seems to do a decent job in showing its audience just how “the guardians of peace and justice” went about their work prior to George Lucas’ 1999 movie “The Phantom Menace”. Indeed, during a month when rivals “DC Comics” published the top six best-selling titles (at least according to “icv2.com”), the fact that this ongoing series managed to rank twenty-seventh is arguably a testament to just how excited collectors possibly were for the Emmy Award-winning screenwriter’s vision of “a galaxy far, far away…”

Delightfully, these hopes certainly appear to be met with “The Invasion Of Syrinx Prime”, which quite cleverly manages to depict both the sheer scope of Supreme Chancellor Valorum’s democratic rule across the Republic, as well as simultaneously spotlight a fair few fan-favourite Jedi Knights too. This combination of Galactic Senate politics and light-sabre battles is quite beautifully intertwined within the American author’s narrative – especially once an assassination attempt is made upon Qui-Gon Jinn whilst he’s negotiating with General Lafco on the planet Vekura.

In addition, this twenty-four page periodical lives up to its pre-publication promise of introducing some “brand-new Jedi” into the era. Whether or not the “overconfident” Berem Khana will prove as popular as the likes of Obi-Wan Kenobi, Yoda and Mace Windu is rather doubtful. But the recently knighted character certainly seems to show potential with his mix of youthful arrogance and apparent willingness to learn from his more experienced mentors. In fact, the somewhat cynical young man rather surprisingly brings some much-needed humour to the narrative when he appears to ‘win’ favour with the Jedi Order’s legendary leader by simply quoting something Jinn had actually said to him in admonishment; “Suspicion is not knowledge. Theories are not truth.”  

Also helping to make this book a success is “rising star artist” Madibek Musabekov, who appears absolutely determined to cram as many recognisable Jedi Knights into their layouts as they can. Furthermore, the Kazakhstan-born penciller appears particularly adept at drawing the fast-paced action needed to depict a fully mature “member of the Order” who is at the height of their powers, with Qui-Gon’s aforementioned fight demonstrating just what the impressive Master of the Force can do with both his light-sabre and other special abilities.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #1 by Rahzzah

The Thing [2025] #4 - Marvel Comics

THE THING No. 4, October 2025

There’s a distinct atmosphere of sheer zaniness to Issue Four of “The Thing” that may well please many fans of the Fantastic Four's founding member. Indeed, whether it be the members of the Serpent Society all wisely agreeing that ten million dollars isn’t anywhere near enough cash to tackle Ben Grimm head-on, or the rock-covered Yancy Streeter running as fast as he can from the Red Ghost and his nefarious apes, everything within Tony Fleecs’ twenty-page long narrative appears to have been penned for laughs; “Nope. Absolutely not! I ain’t punchin’ monkeys today.”

However, such a humorous tone also wrecks any solemnity to the titular character’s dilemma of desperately needing to return a seemingly vulnerable, kidnapped child to her home, whilst simultaneously fending off a seriously long roster of the Marvel Universe’s most notorious super-villains. Poor little Sara is clearly becoming increasingly traumatised by the entire ordeal. Yet due the sheer number of slap-stick scenes crammed into this comic, the child’s terror arguably just doesn’t appear all that convincing, and resultantly therefore loses much of the drama it ordinarily would have had.

Easily this book’s biggest disappointment though surely comes with the Thing’s abrupt ability to stop the mighty Juggernaut mid-charge with a single hand, and then end the pair’s highly anticipated confrontation after just a few panels. Such a titanic, highly promising punch-up – which even garners the attention of cover artists Nick Bradshaw and Rachelle Rosenberg - probably had a high number of this mini-series’ readers drooling at the prospect of some top tier fisticuffs. But instead Grimm doesn’t do much of anything except toss Black Tom across Lower Manhattan, so the supposedly unstoppable Cain Marko has to regrettably rush off to find him.

Also rather disappointing is Justin Mason’s pencilling, which just seems to be slightly off-kilter when it comes to him depicting this publication’s considerably-sized cast. The illustrator's goofy facial expressions and awkward-looking poses particularly jar with the seriousness of Ben's perilous predicament, and such a sketching style resultantly detracts from some of the more adrenalin-fuelled moments - like when the Thing and Moonstone momentarily stand toe-to-toe so as to exchange punches on a street corner.

The regular cover art of "THE THING" #4 by Nick Bradshaw & Rachelel Rosenberg

The Incredible Hulk [2023] #28 - Marvel Comics

THE INCREDIBLE HULK No. 28, October 2025

Promising “the biggest status quo change in Hulk's history” in its pre-publication synopsis, this twenty-page periodical’s plot probably disappointed the vast majority of its readers, due to Phillip Kennedy Johnson seemingly throwing a series of story-threads up against the wall and seeing what successfully stuck. Indeed, this comic genuinely feels like the American author had a handful of different ideas floating about his head, and simply decided to crowbar them all together into this one book; “Hear me, Eldest. Your prey is here. Send your Ferryman, Djieien of the Many Eyes.”

For starters just how Bruce Banner’s gamma-irradiated alter-ego comes to be deputised by Inspector Francis Bergeron of the Pinkerton Detective Agency is rather bemusing to say the least. One moment the founding Avenger is shown climbing the top of a frozen mountain peak, and then in the next panel the Green Goliath is suddenly struck by a massive bolt of lightning. Just how this electrical blast takes him back to the streets of New Orleans isn’t in any way explained, and is frustratingly just left as an unconvincingly convenient occurrence.

Likewise the Hulk's highly intriguing partnership with the stuttering Ghost Detective appears to pointlessly end on a whim, after it initially looked set to throw the audience head-first into an underground laboratory packed full of macabre, Frankenstein-like undead cadavers. This unexpected decision is particularly frustrating as it smacks of the Eisner-nominated writer realising he had nothing for the long deceased policeman to specifically do, and so abruptly disposes of his spirit with a nonchalant hand gesture by “the greater of the Brothers Drumm.”

Quite possibly this comic’s biggest disappointment though, stems from the debatably rough-looking layouts of Adam Gorham. The Canadian artist certainly does an excellent job of capturing all the tranquil beauty an onlooker might imagine if they were sat far beneath the ocean waves aboard a sunken ship and merely looking at the shoals of fish passing them by. But by the time the action has moved on to the Hulk encountering Betty at “the place where the One Below All emerged”, the illustrator’s rather raw pencils have probably raised more questions in the audience’s minds, than they've answered – such as just what are the strange, yellow orbs he keeps sketching that then shatter upon the titular character’s chest..?

The regular cover art of "THE INCREDIBLE HULK" #28 by Nic Klein

Unholy Nightmare #1 - Mutant Farm Comics

UNHOLY NIGHTMARE No. 1, December 2024

It’s probably a safe bet that the 183 backers who pledged $6,786 on Kickstarter to make Issue One of “Unholy Nightmare” a reality were more than pleased when they finally received a copy of their comic book. Indeed, Dolan Waddick’s script for this twenty-six page fright-fest, genuinely lives up to its pre-publication promise of being a “new terrifying horror adventure” by taking its readers on an adrenalin-fuelled roller-coaster ride crammed full of sense-shattering shoot-outs, grisly bone-ripping dismemberment, and blood-soaked gory mutilation; “You may call me Vlad. I wish to extend my greetings… and welcome you both to the club."

Of particular note though has to be the way the author wastes absolutely no time in bringing his audience bang up to date with the Windy City’s current crime wave, as well as how both a masked vigilante and an undercover police officer have formed an unlikely alliance to battle such evil. These flashbacks are as fascinatingly informative as they are short-lived, and impressively allow the writer to quickly get any perusing bibliophile fully immersed in a highly lucrative drug deal taking place during the dead of night.

In addition, Waddick is also very good at suddenly transforming what initially appears to be a police procedural piece into an utterly insane monster mash-up that repeatedly calls for more human body parts to be thrown into its panels. So sudden (and shocking) a metamorphosis really should catch a fair few onlookers off-guard, as it arrives just as everyone is doubtless expecting the colourfully-costumed crime-fighter skulking in the shadows to make his move – rather than a somewhat nervous Jenny painfully shape-shifting into a truly terrifying, savage beast.

Equally as up to scratch as this comic’s storyline however, are Aurelio Mazzara’s mesmerising layouts, which immediately capture the eye with the illustrator’s impressive attention to detail and ability to inject every action sequence with raw energy. The disagreeable arrogance of Clyde Bishop, the largest narcotics dealer in Chicago, is also a great example of the artist’s ability to pencil plenty of personality into his figures, with the False Prophet’s leader clearly swaggering his way through the exchange and subsequent firefight with all the hubris one might expect from someone so high up in the trafficking business.

Writer: Dolan Waddick, Illustrator: Aurelio Mazzara, and Colorist: Gene Jimenez

Space Ghost #7 - Dynamite Entertainment

SPACE GHOST No. 7, November 2024

Definitely managing to keep this ongoing series’ storylines refreshingly different, David Pepose’s twenty-two page plot for Issue Seven of “Space Ghost” must surely have thoroughly entertained the comic’s audience back in November 2024 with its heartfelt spotlight upon Blip. True, Jan and Jace's pet primate is admittedly changed into an English-speaking animal for the vast majority of this publication in order to help facilitate its readers understanding him. But such is the American author’s convincing delivery of the Creature King’s nefarious Encephala-Ray, that few onlookers won’t be convinced by the Robo Corp built beam’s temporary transformation; “Don’t worry, old friend -- You’ve taken care of me long enough. Now it’s my turn to take care of you.” 

In addition, this book’s basic narrative of “our human heroes” being imprisoned upon a mysterious planet where its intriguingly eclectic menagerie of beasts rule with an iron paw proves incredibly enthralling; especially once it becomes clear that the titular character’s powerful wrist gauntlets are apparently no longer functioning. Coupled with the disconcerting notion that the cosmic vigilante is rapidly degenerating into some sort of lesser-functioning sub-human, and events really do not look too bright for “Hanna-Barbera Productions” costumed creation.

Furthermore, Blip isn’t simply depicted as being some all-powerful protagonist either. But rather still a somewhat physically frail Capuchin monkey who very much needs the help of a badly-battered Jace, as well as a sizeable slice of luck, to succeed in toppling the tower housing the aforementioned Encephala-Ray. This vulnerability arguably makes the tiny sidekick’s mission all the more exciting, and genuinely suggests the possibility in the mind’s eye that the little fellow could actually fail at any moment.

Lastly, it’s difficult to find any fault with Jonathan Lau’s artwork for this periodical, with “the resident artist at Dynamite Entertainment for more than a decade” appearing to take a page out of Jack “King” Kirby’s notebook when it comes to quickly creating a wealth of varied and colourful extra-terrestrial life-forms. Indeed, the first splash page to feature the so-called Creature King upon his throne, surrounded by multi-eyed monsters and a wooden cage filled with ragged-looking people, instantly establishes that the Space Ghost has landed on a world unlike any other he has so far encountered.

The regular cover art of "SPACE GHOST" #7 by Francesco Mattina

Absolute Batman #5 - DC Comics

ABSOLUTE BATMAN No. 5, April 2025

Apparently the best-selling comic book in February 2025, few Bat-fans were probably expecting Scott Snyder to pen Bruce Wayne’s alter-ego suffering such as painful-looking smackdown as the one he receives in this particular twenty-page publication. Sure, the young, costumed crime-fighter ultimately manages to survive his severe beating at the hands of Black Mask’s most notorious, heavily-armed followers. But in doing so some bibliophiles might argue that this title’s American author was seriously pushing up against any onlooker’s willing suspension of disbelief as to just how many physical injuries the human body can take; “My god. You actually think you achieved something here, don’t you.?”

Minor quibble aside though, this entire adrenalin-fuelled action sequence does make for a truly marvellous read, with Batman actually appearing to have the upper-hand for most of the fight. Indeed, the impressively armoured vigilante initially seems to anticipate every assault before it occurs – with the one-handed, meat-cleaver wielding maniac who unwittingly impales himself upon the super-hero’s shoulder-spikes whilst charging from behind probably being the best moment of the battle.

In addition, the “broken, beaten and ultimately defeated” Caped Crusader’s subsequent flight also allows this comic’s writer to show Officer Gordon is having her doubts as to whether Batman is a public menace, as well as demonstrate just how strong Roman Sionis’ grip upon the population of Gotham City may actually be. These sub-plots are neatly crowbarred into all the much more pulse-pounding proceedings, and resultantly don’t arguably appear to slow down the periodical’s quite frantic pace one iota. In fact, they just provide this comic’s audience with a necessary breather, before the book delivers its somewhat jaw-dropping conclusion concerning Mayor Jim Gordon and Martha Wayne.

Also adding an incredible amount of tension and vigour to Issue Five of “Absolute Batman” is Nick Dragotta. Of particular note has to be the way the artist holds everyone’s attention with a single, splash-page of the Dark Knight stood out against the metropolis’ skyline, before pencilling a ton of small-sized panels showing him subsequently battering every member of the Party Animals he can get his gloves on. However, such is the “highly acclaimed” illustrator’s ability to quickly establish a scene, that you can additionally almost hear the sigh in Barbara’s voice over her police car’s sirens, as she lowers her hand-gun and refrains from shooting a fleeing “avenger of the night”.

The regular cover art of "ABSOLUTE BATMAN" #5 by Nick Dragotta & Frank Martin

Teenage Mutant Ninja Turtles [2024] #10 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 10, July 2025

Whilst District Attorney Hieronymus Hale’s hours long opening speech might not have got a single member of the captivated jury yawning, the same can probably not be said for those bibliophiles perusing Issue Ten of “Teenage Mutant Ninja Turtles”. Indeed, apart from a couple of all-too brief moments of action, Jason Aaron’s predominantly sedentary script surely had a fair portion of this comic’s audience switching off in their droves as the titular characters do nothing but bicker with one another, as well as quietly sit through a lengthy show trial; “Anybody know a good lawyer.”

Infuriatingly though, the Alabama-born writer arguably makes things appear even more lethargic by raising his readers’ hopes at the start of this book, that the likes of Leonardo, Donatello, Raphael, and Michelangelo might finally be coming together again as a team. This somewhat sentimental scene, which depicts the half-shelled heroes embracing one another in a zoo cell, genuinely appears to promise that the quartet are about to make a dramatic come-back after they all “got beat up by the cops.” However, within seconds two of the brothers Hamato are at one another’s throats again, and the entire ‘magical moment’ is replaced by the aforementioned lacklustre court room antics.

So disappointing a decision by the American author really does just leave Raph’s recognition of three Foot Clan members who “killed the warden” as this twenty-two page periodical’s sole source of fast-paced fisticuffs, and even this potentially pulse-pounding punch-up during the trial is reduced to a single splash page. Such a missed opportunity seriously seems to sap any remaining life out of the book’s atmosphere, to the point where even the appearance of a hockey-stick wielding April O'Neil at the publication’s conclusion isn’t likely to generate that loud a cheer by any remaining onlookers.

Instead, this comic’s biggest asset lies with Juan Ferreyra’s layouts. The Argentinian artist clearly has a lot of work to do with Aaron’s soporific script. Yet still manages to pencil some truly memorable visual moments, such as when Raphael flashbacks to his time fighting inmates at the San Quentin State Prison and the Turtles’ group-hug. In addition, the illustrator is also able to imbue the magazine with a few laugh-out-loud moments, with the Judge’s stupefied reaction to Donnie’s extremely short defence statement debatably being the best of the bunch.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #10 by Jorge Fornes

Astonishing Tales #33 - Marvel Comics

ASTONISHING TALES No. 33, January 1976

Buried beneath a veritable ton of hard to read white coloured text upon an inky black background, Bill Mantlo’s script for Issue Thirty Three of “Astonishing Tales” probably still managed to please most of its audience. In fact, the eighteen-page periodical contains a genuinely perturbing series of sub-plots which range from Deathlok slowly dying from a “partial drainage of life-support fluid”, through to the revelation that the despicable Major Simon Ryker apparently has an equally-evil brother who is known as the Homo-Ascendant!”

Disappointingly though, very few of these story-threads are arguably given the time they need to fully develop, and instead are seemingly just hurled together without much in the way of rhyme or reason. One such sequence involves the villainous Ryker himself undergoing some sort of surgical operation which results in the maniac being completely sedated and connected to his all-power Omni-Computer. It seems abundantly clear that the terrified doctors transforming the military officer into “the Saviour Machine” could easily assassinate him during the complicated procedure by “a slight adjustment in its programming” and escape. Yet even though this option is voiced aloud, the general consensus is that the moustached monster would apparently still somehow survive, and then simply take a terrible revenge upon them.

In addition, the sudden appearance of Hellinger (Harlan Ryker) inside a guarded estate belonging to the man-turned-machine’s sibling, debatably makes little sense whatsoever either. Just why the major would knowingly allow so dangerous an adversary access to his futuristic computer systems, create a clone of Luther Manning, and reside next to a room packed full of state-of-the-art laser weapons is never explained. Nor just how the shady character somehow manages to convince the Demolisher to hand-cuff himself to a bomb so as to blow up a castle containing Mike Travers and Nina Ferry; “Hey! The cable! It’s still on! It hasn’t released! That dirty, double-crossin’ son of a -- It’s gonna blow any second, ‘puter!”

What does work however, at least for the majority of this comic book, are Rich Buckler’s layouts. The creator of Deathlok appears to be particularly good at pencilling the inner turmoil taking place behind the resurrected soldier’s eyes, as well as the six-hundred pound cyborg’s physicality – even if he’s simply striding across a grass-covered lawn breaking its blades wherever he steps, or deciding whether to gun someone down.

Script: Bill Mantlo, Pencils: Rich Butler, & Inks/Colors: Klaus Janson

Conan The Barbarian #23 - Titan Comics

CONAN THE BARBARIAN No. 23, September 2025

Despite containing a momentary glimpse of the titular character’s sword-fighting skills early on when Conan just about overcomes a rival sorcerer’s two bodyguards during the dead of night, the vast majority of Jim Zub’s narrative for this particular twenty-two page periodical consists of the barbarian conversing with either Zula, or his arch-nemesis Thoth-Amon. In fact, in many ways the Canadian author arguably appears to be utterly obsessed with penning Robert E. Howard’s literary creation just standing still and listening to all manner of bizarre, god-led machinations and grand schemes for the Hyborian Age’s future; “We move toward a time where lines will be drawn between the weak and the strong.”

By far the biggest (and debatably bemusing) of these dialogue-heavy discussions occurs within Thoth-Amon’s own Inner Sanctum, where Set’s foremost magician rather conveniently explains all of his plans to both the heavily-muscled, black-haired Cimmerian and his shape-shifting friend. To be frank, much of what the beetle-eating warlock spouts doesn’t debatably make all that much sense, though its general gist suggests the Great Serpent’s 'most loyal servant' requires allies to help Stygia bring its foes to heel.

However, as if Zubkavich himself realised that by this point many a bibliophile might have started to slowly nod off, the dark-hearted sorcerer suddenly decides that the heavily-disguised Guardian of the Grasslands might be a threat, and makes a move to eradicate Zula with a truly horrific, spiritual effigy of fang-filled skulls. Admittedly, even though this inexplicable attack comes completely out of the blue, it should – even for a mere instant – jar this comic’s audience awake. But then frustratingly, the owner of the Black Ring of Set completely changes his mind for no rational reason, and even forgives Conan for being about to stab him to death with his sword.

Desperately attempting to make so many of these head-scratching sequences at least attractive to the eye is Fernando Dagnino, who at least manages to imbue the Cimmerian with many of his more well-known physical mannerisms – most notably his uneasiness when in the presence of magic. In addition, colour artist Diego Rodriguez deserves an enthusiastic pat on the back for transforming Thoth-Amon’s private chamber into a genuinely disturbing realm packed full of sinister, serpent-shaped shadows and coiled, green-hued ghosts.

The regular cover art of "CONAN THE BARBARIAN" #23 by Dan Panosian

Absolute Batman #4 - DC Comics

ABSOLUTE BATMAN No. 4, March 2025

Fully focused upon establishing just how “Absolute Batman has established himself as an extremely large force to be reckoned with”, Scott Snyder’s storyline for this particular twenty-five page publication probably frustrated a fair few within the comic’s audience. Indeed, for any bibliophiles solely interested in just the Dark Knight’s battle against Roman Sionis’ metropolis-wide criminal organisation, this entire so-called “pivotal” issue could easily be missed out entirely – as regrettably little in the way of the ongoing title’s overarching narrative is actually progressed; “It’s unconventional, but given the extraordinary nature of this case, I’ve granted you that right.”

Instead, this book’s American author pens a hefty flashback to a time when an adolescent Bruce Wayne apparently continually overthinks his entry for the Young Engineers Competition, and later takes his first tentative steps as a pistol-packing Caped Crusader following “the tragic events of his childhood”. Of course, the crime-fighter’s first foray out into Gotham City’s night-time skyline is pretty engrossing, especially as the costumed vigilante is depicted wearing “silicon fangs loaded with paralytic” and pointing a hand-gun. Yet such adrenalin-fuelled sequences soon debatably become lost amidst the suffocating morass of this publication’s word-heavy exposition, rather than simply adding to an already engrossing read.

Sadly, just as unclear and choppily penned is young Bruce’s competition entry, which initially appears to be some sort of animal-influenced bridge that has adjustable pilings and extendable girders. The boy appears to constantly rework the actual design throughout this comic, and rather unconvincingly eventually creates some sort of flying, origami-like bridge which can supposedly “be dropped from a plane and parachute down” to where it is most needed.   

By far this book’s biggest disappointment though surely lies in the layouts of “guest artist Gabriel Walta”, who alongside colorist Frank Martin, arguably provides its proceedings with an inauspicious, almost amateurish look. This substandard ‘style’ seems especially disagreeable to the eye during Batman’s first ever mission, with the lead protagonist appearing strangely awkward and slightly misshapen. Admittedly, things do seem to increasingly improve as the adventure continues. But overall it would seem that the penciller is far better at sketching sedentary figures stood talking, than anyone involved in a little bit of action.

The regular cover art of "ABSOLUTE BATMAN" #4 by Nick Dragotta & Frank Martin

Teenage Mutant Ninja Turtles [2024] #9 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 9, June 2025

Described by “IDW Publishing” as containing an “already weakened, weary, and a little deranged” Donatello, many fans of Kevin Eastman and Peter Laird’s creations may well have felt similarly exhausted by Michelangelo’s blatant contempt for his half-shelled siblings – which rather tediously continues throughout this twenty-two page periodical. Happily however, the incessant in-fighting between the other mutant brothers does come to an end a lot sooner, and resultantly brings a few moments respite from the nunchucks-wielding ninja’s unremitting moaning.

Such relief probably couldn’t have come soon enough for many a reader either, as the brutal bickering genuinely grates upon the nerves the longer it goes on, and for some may well ruin an otherwise exhilarating opening action sequence which depicts two of the central protagonists battling shoulder-to-shoulder against a sizeable army of Foot patrol officers – many of which appear to be armed with flame-throwers; “Fine. Just stay outta my way. I ain’t no guest star on your stupid TV show. I can only deal with one crazy brother at a time.”

In addition, the intriguing notion that Splinter is somehow able to communicate with his students through the decaying carcass of a dead rat, provides Donnie with a wonderfully penned meeting with District Attorney Hale which really strikes home how omnipotent the turtles’ deceased master may well have become. The disagreeable boastful barrister appears to be about to bring a severe beating down upon his helpless, emaciated prisoner. Yet it is the placid prisoner, who quietly tries to reach out to Hale’s remaining humanity over the horrible murder of the man’s parents, which resonates far louder than any threats or actions the loud-mouthed lawyer can utter.

By far this comic book’s biggest ‘hook’ though is undoubtedly the absolutely adrenalin-fuelled layouts pencilled by Juan Ferreyra. The illustrator provides this publication with some truly mouth-watering fight scenes, such as Michelangelo taking on a trio of pistol-packing Metro Sharks in a subway train. But it is his almost ‘workshop manual’ approach to the turtle’s overt infiltration of the Foot Patrol Precinct Headquarters which really captures the eye, with its incredible attention to all the different floor sections and weaponry that is on hand for its black-clad occupants to utilise.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #9 by Jorge Fornes