Unstoppable Doom Patrol #7 - DC Comics

UNSTOPPABLE DOOM PATROL No. 7, December 2023

Disconcertingly living up to its pre-solicitation promise of “a happy ending is not guaranteed”, Dennis Culver’s conclusion to his “Unstoppable Doom Patrol” mini-series also packs plenty of punch with which to keep its audience thoroughly engrossed in the action. Indeed, due to the sheer grandeur and pulse-pounding pace of this publication’s frantic fisticuffs, many a bibliophile was probably left wishing that the “prolific comic book writer based in Los Angeles” was given at least one more issue within which to depict Degenerate’s single-handed battle against the ever disagreeable Peacemaker and the anti-hero’s United States Army giant robots; “Damn you! You’ll pay for that! It’s on!”

Intriguingly however, not all of this twenty-two page periodical’s plot solely relies upon its super-sized cast trading blows with a menagerie of villains and deadly psychic manifestations. But instead contains plenty of thought-provoking verbal arguments too, such as when the likes of Crazy Jane and the Negative Man anxiously attempt to persuade their ‘opponents’ to join them against a much larger threat to the world’s existence which neither group ever imagined possible.

Equally as well delivered as this comic’s penmanship is also its visuals, with Chris Burnham and colorist Brian Reber absolutely knocking the layouts right out of the park. Of particular note has to be the growing sense of desperation and physical fatigue felt by the titular characters during their protracted conflict. In fact, by the time Willoughby Kipling has finally festooned Robot Man’s armoured shell with all manner of protective runes and incantations, the leader of the Grave Minders genuinely extrudes so much sheer, total exhaustion that his haggard look may well cause the odd reader to actually breathe a bit harder themselves in sympathy.

Debatably this book’s biggest hook though, frustratingly comes at its very end, when the thoroughly detestable General Immortus-turned-Candlemaker suddenly lands upon Danny the Street in the space between universes, and encounters the macabre-looking Batwoman Who Laughs. This meeting comes completely out of the blue, and should have any fan of Doctor Niles Caulder’s Doom Patrol absolutely frothing at the mouth for this book to be awarded a second volume at some point very soon in the future…

Writer: Dennis Culver, Artist: Chris Burnham, and Colorist: Brian Reber

Moon Knight: City Of The Dead #4 - Marvel Comics

MOON KNIGHT: CITY OF THE DEAD No. 4, December 2023

Disconcertingly depicting Marc Spector (once again) relieving his origin in becoming the Fist of Khonshu and battling the ghost of Raoul Bushman, many a bibliophile probably felt this fourth instalment to David Pepose’s “Moon Knight: City Of The Dead” mini-series was a bit of a filler issue. In fact, it’s hard to shake the impression that the American author couldn’t have simply reached this particular comic’s cataclysmic conclusion with just a mere handful of pages or less, rather than use the cowled crime-fighter’s mental doubts and emotional insecurities to pad out an entire twenty-page periodical; “You may think of yourself as a monster… But you should know… I forgave you a long time ago.”

To make matters even more bemusing though, this book’s secondary plot-thread features Layla El-Faouly rather unimaginatively just flying across the mythical Egyptian metropolis, determined to reach the Gates of Osiris before her poor young ward expires. Admittedly, this headlong dash through toppling tower blocks and the shifting sands makes for a pulse-pounding experience. But its pacing is so intrinsically linked to that of the titular character’s haunted recollections of murder, collateral damage and death that the chase sequence arguably feels like it's only been penned to help break up the monotony of Spector’s sedentary storyline.

Indeed, it will debatably have come as no surprise to any within this publication’s audience, that Moon Knight somehow manages to recover his wits and successfully slice his way out of the gigantic Ammut the Devourer’s bloated belly at precisely the same moment a badly battered Scarlet Scarab finally falls to the ground just a few feet away from her goal. This ending is sadly ‘telegraphed’ straight from the comic’s opening, and resultantly there’s rarely a moment where either super-hero genuinely feels as if they’re in peril – even when Marc imagines receiving a loaded hand-gun from his god and makes a suicidal move to end his own life.

Much more enthralling than this book’s narrative is probably therefore its artwork with returning illustrator Marcelo Ferreira doing a first-rate job in providing many of ghouls and demons the mentally-scarred vigilante encounters with plenty of gruesomeness. In addition, there’s a real sense of speed to El-Faouly racing across the sky, and hefty impact to all the tall buildings crashing into one another as she passes them by.

Writer: David Pepose, Penciler: Marcelo Ferreira, and Inker: Jay Leisten

DC Vs. Vampires: World War V #5 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 5, February 2025

There can surely be little doubt that Matthew Rosenberg’s revelation towards the end of this twenty-four page publication’s plot had its readers genuinely gasping in revulsion at “the horrifying secret” behind how the vampires were still defeating the human resistance. In fact, many a bibliophile will probably find themselves unable to move along from Green Arrow’s discovery and its “shocking connection to the Speed Force” without at least re-visiting the disturbing scene a couple more times; “They’re doing something with all that food they grow. If they’re not feeding a large group of people. What are they feeding.?”

Impressively though, this eye-opener isn’t the only surprise Issue Five of “DC Vs Vampires: World War V” has in store for its audience, with the comic’s American author clearly still having a few more trump cards tucked up his sleeves. Foremost of these disclosures is probably Big Barda’s sudden emergence from out of a dark, winter night’s sky to absolutely clobber the blood-drinking fiends intent on murdering her husband (and potentially harm their infant baby). To say Jack Kirby’s creation completely annihilates the likes of a heavily-fanged Power Girl and Raven is a massive understatement, and genuinely helps imbue this comic with some truly palpable energy at a time when its other simultaneous story-threads are undeniably dialogue-driven.

Likewise John Constantine’s ill-advised visit upon the convalescing vampire queen, Barbara Gordon, doesn’t pan out quite as some onlookers might have expected – albeit the Hellblazer is seemingly a little too cocksure for his own good when it comes to antagonising Gorilla Grodd. In fact, the anti-hero’s decision to visit the dark heart of the Nosferatu Empire appears suicidally insane straight from the start, largely due to him not actually having anything tangible with which to bargain for his life.

Prodigiously pencilling all these sense-shattering shenanigans is Otto Schmidt, who really imbues Big Barda with all the momentous muscle a member of the New Gods is expected to wield. Furthermore, the Siberian-born artist does an incredible job of capturing Batgirl’s myriad of emotions using just her eyes and mouth - a talent which is particularly impressive considering that the undead creature’s entire body is covered with unsightly burns and blemishes, so it must have been extra hard providing the figure with even the smallest of facial expressions.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #5 by Otto Schmidt

Moon Knight: City Of The Dead #3 - Marvel Comics

MOON KNIGHT: CITY OF THE DEAD No. 3, November 2023

Whilst few fans of Marc Spector’s cowl-wearing alter-ego will surely disagree with "Marvel Worldwide" that “the First of Khonsu brings the fireworks in this action-packed new chapter”, it is similarly difficult to believe many followed the comic’s word-heavy storytelling without needing to reread certain panels, pages and even entire set-pieces. Furthermore, the executive decision to have Sean Damien Hill ‘step in’ as penciler doesn’t debatably do the publication any favours either, with the Alexandria-born illustrator’s style seemingly struggling to convey much of eye-catching spectacle needed for a story set in the Egyptian City of the Dead.

Indeed, despite the American artist doing a stellar job of imbuing Moon Knight’s dastardly brother with all the dynamic villainy a bibliophile might expect from a despot bitterly twisted by his ghastly demise in the real world – including being able to instantaneously summon a veritable army of green-hued ghostly minions, the “character designer” frustratingly draws Ammut the Devourer as simply an unimpressive-looking crocodile with a mane of dark green hair. This lack of deity-like detail for the giant Sphinx arguably fails to sell much of the demon-beast’s menace, especially when the creature’s surprisingly thin, somewhat floundering figure is repeatedly sketched up against a boring, disappointingly bare background.

Perhaps what makes this mini-series’ instalment most disheartening though is David Pepose’s decision to populate every situation with numerous thought-boxes containing Spector’s plans, feelings and the history of whoever the costumed crime-fighter is currently confronting. Ordinarily, this technique would probably have landed rather well. But because the smart-mouthed vigilante, as well as the rest of the cast, are also all persistently talking and hurling wisecracks, it soon becomes frustratingly unclear as to which balloon or bubble the audience needs to read so as to follow the correct flow of the action; “Because if there’s one thing I’m good at… It’s coming up with bad ideas.”

Despite all these criticisms and complaints however, there is still plenty to enjoy with the former “Newsrama” editor’s penmanship. The way Spector and his beloved Layla El-Faouly outwit the Jackal Night’s numerous henchmen is quite convincing, as is the revelation that everything is going sour within the City of the Dead because Osiris has decided to once again pay a visit to the Land of the Living. Indeed, even the schizophrenic entrepreneur’s sacrifice at the end of the comic makes perfect sense as a last gamble to ensure his mission is an overall a success. Yet sadly, much of the book’s impact is ultimately lost through the aforementioned gripes and groans.

Writer: David Pepose, Penciler: Sean Damien Hill, and Inker: Jay Leisten

Dune: House Corrino #8 - BOOM! Studios

DUNE: HOUSE CORRINO No. 8, November 2024

Considering the sheer speed with which events are concluded inside this final issue of “Dune: House Corrino”, many a fan of Frank Herbert’s “feudal interstellar society” must have felt its Editor-in-Chief Matt Gagnon probably regretted the decision to cram this comic book adaptation into just eight instalments. Indeed, by the time the thirty-three page periodical draws to an end after a cataclysmic carousel of captures, treacherous murders and nuclear-powered stand-offs, a good percentage of the audience will have already forgotten poor C’Tair Pilru’s noble sacrifice during this publication’s blood-drenched opening; “You served Ix valiantly… I only pray that the Guild heard you.”

Perhaps this tome’s biggest achievement however, is not in how tightly its collaborative writing team close their fists around all the numerous plot threads they previously had dangling throughout this mini-series. But that they still somehow manage to also include an impressive surprise concerning Piter De Vries, following the dastardly Mentat’s ill-fated brush with the formidable Bene Gesserit, Gaius Helen Mohiam. Those bibliophiles familiar with Baron Vladimir Harkonnen’s servant, will know well the part he has to play in this science fiction franchise’s future narrative. So for the likes of Brian Herbert and Kevin J. Anderson to unexpectedly pull the rug out from under their feet is tremendously well done.

Likewise, the way the authors manage to imbue the Padishah Emperor will much of the impotence later seen in the “Analog” magazine serials is impressive. Shaddam IV has appeared throughout this title as a vindictive power-seeker, who despite being “the hereditary ruler of the Imperium” continues to crave more control over his subject’s affairs and wealth. In this comic, all that momentum is skilfully stripped away from him with a single misstep, and arguably leaves the conceited ruler semi-broken, as well as in the debt of the truly all-powerful Spacing Guild.

Sadly, what doesn’t really ring true for this book are some of the pencilled panels by Andrea Scalmazzi, whose rather wooden, stiff-looking figures occasionally detract from what should be a mesmerising battle scene or incredibly tense moment of high drama. This lack of dynamic drawing is particularly noticeable when the Emperor angrily confronts the Spacing Guild over their refusal to allow him to attack the Harkonnen Headquarters on Carthag, and wipe it from the face of Arrakis. Apart from Shaddam IV’s face contorting with visible anger, there’s no atmosphere to the deadly confrontation, and in fact the penciller repeatedly pulls any onlooker away from the grim stand-off by simply sketching exterior shots of the spaceships within which the main players reside.

Written by: Brian Herbert & Kevin J. Anderson, and Illustrated by Andrea Scalmazzi

Dune: House Corrino #7 - BOOM! Studios

DUNE: HOUSE CORRINO No. 7, October 2024

To say that this “penultimate issue of the final prequel to Dune” is ferociously paced would arguably be a massive understatement considering the breath-taking speed with which Brian Herbert and Kevin J. Anderson's storytelling races through this comic’s thirty-three page count. Sure, some of the sense-shattering scenarios depicted aren’t all that convincingly told, such as the massive Moritani invasion force suddenly being stopped dead in its tracks by a few Atreides fishing boats projecting a false fleet of Caladan’s own spaceships. But such manufactured moments are perhaps forgivable given the sweeping grandeur of the book’s other interplanetary conflicts.

Indeed, this publication’s opening salvo involving both Gurney Halleck and Prince Rhombur spearheading an assault upon the Tleilaxu tyrants on the planet Ix is so large, that many a fan of the science fiction franchise probably felt that the highly anticipated revolt was worthy of an edition all on its own. Certainly, the mass battles between the spice-addled Sardaukar and heavily-armed uprising makes for a gripping read - especially once the vengeful population gains a foothold on their planet’s lower residential levels, and bravely begin forging a route to the Grand Palais; “We blasted open the access points, Duncan Idaho.!”

Just as enthralling however, though understandably much more sedentary and dialogue-driven, is the birth of the Kwisatz Haderach in the Imperial Palace on Kaitain. Everyone who has ever encountered Frank Herbert’s Nebula Award-winning novel from 1965 will know full well that the baby boy is destined to live. And yet, by cleverly having the Duke’s consort surrounded by politically powerful enemies during the child's momentous arrival, the authors are still able to imbue the scene with a healthy dose of tension – largely due to the presence of a highly-deranged Emperor’s wife who arrives armed with a lethal laser scalpel.

Also well worth a mention are the well laid layouts of illustrators Simone Ragazzoni and Francesco Mazzoli, who together pack as many of this comic’s panels with adrenalin-fuelled action as they can muster. The pair are particularly good at giving Rhombur’s rampage through his former home world all the headlong fury an audience would expect from a returning ruler. Whilst the sheer terror pencilled across poor Lady Jessica’s face as she realises her great treachery is about to become known by the Bene Gesserit is truly palpable.

Written by: Brian Herbert & Kevin J. Anderson, and Illustrated by Simone Ragazzoni with Francesco Mazzoli

The Incredible Hulk [2023] #21- Marvel Comics

THE INCREDIBLE HULK No. 21, March 2025

Whilst most Hulk-heads probably felt rather misled by this comic’s solicitation synopsis in which its New York City-based publisher promised a team-up between the titular character and Werewolf By Night “against the immortal wolf-demon Varcolac", it’s highly doubtful many still harboured a grudge after reading the entire twenty-page periodical. True, Bruce Banner’s super-strong alter-ego actually goes it alone against the heavily-fanged spawn of Chthon. But such is the sheer, utterly enthralling intensity of the one-on-one fracas that the vast majority of onlookers would argue the brutal battle didn’t need any more combatants.

In addition, Phillip Kennedy Johnson is far too busy penning a fast-paced sub-plot for Jack Russell’s wolf-form anyway. This fight involving a winged Charlie Tidwell and the former Legion Of Monsters member is just as exciting as this comic’s main event, and despite making the Green Goliath’s young sidekick disagreeably arrogant at times, rather nicely holds the audience’s attention throughout a series of painful bites and vicious-looking claw attacks; “This is not the fight you want, girl. Poor lost child. Don’t even know your own power yet, do you?”

However, alongside all these punches, kicks and thunderous smack-downs, the “American Eisner-nominated” author adds an emotionally-charged moment by having the founding Avenger’s companion risk everything so as to save him from the clutches of Varcolac’s werewolf-infested domain. So daring a move may well capture the odd bibliophile completely off-guard at its spontaneity – especially when it appears that Werewolf By Night has already stopped the adolescent from following her friend to his doom - as well as upset them when the Hulk subsequently lies to his foolhardy rescuer as to what horrible fate he now knows she faces.

Fortuitously, both the frantically-fast scuffles and desperate drop into the fiery chasms of Hell are magnificently pencilled by Danny Earls, whose layouts are arguably at the pinnacle of his profession throughout this book. Of particular note though has to be the unbridled savagery which is on show during the wolf-demon’s conflict against an increasingly angry former Defender. The physicality of this encounter resonates right off of the printed page, to the point where many a bibliophile will surely be able to smell the sweat, blood and tears pooling around the participants’ feet.

The regular cover art of "THE INCREDIBLE HULK" #21 by Nic Klein

Dune: House Corrino #6 - BOOM! Studios

DUNE: HOUSE CORRINO No. 6, September 2024

It’s probably a bit doubtful that even those fans who are fanatically familiar with Frank Herbert’s “celebrated” epic science fiction franchise will completely get their heads around all this comic’s Machiavellian machinations upon their first read. Indeed, some likely needed to take a break from the thirty-three page book about two thirds of the way through – on account of all the new characters, astonishing plot-twists and disconcerting declarations of war it contains; “I have no time, cousin! There are urgent matters afoot.”

One of the most striking revelations is Brian Herbert and Kevin J. Anderson's sudden introduction of the Spacing Guild's incredibly tall agent for all the Spice smuggling taking place on Arrakis. This giant, bald-headed envoy was apparently the treacherous Rondo Tuek’s former contact in the stellar trading conglomerate, and creates such a shocking storm for the lead antagonists that by this publication’s end the Padishah Emperor himself is fully intent on bringing House Harkonnen down upon its knees as a scapegoat for Shaddam IV’s own murderous manoeuvres with tainted Melange.

To make matters even more confusing though, the collaborative authors also pen the mysterious Viscount Moritani inexplicably bypassing Giedi Prime’s supposedly significant security measures so the brutal noble can speak directly to Lord Rabban, and conveniently incite him to invade the Atreides home world of Caladan without any preparation (or even convincing cause) that instant. Disappointingly, this entire conversation comes completely out of nowhere, and arguably smacks of the writers needing some excuse to further up the ante as this prequel approaches it cataclysmic conclusion.

By far this adaption’s biggest problem however, has to be Andrea Scalmazzi stepping (back) in as the comic’s artist. Now, despite being quite a noticeable change when it comes to the mini-series’ visuals, the vast majority of its readers will still readily recognise the likes of primary personalities Count Hasimir Fenring and Earl Rhombur Vernius. But scenes such as those set inside the Harkonnen Headquarters are much more confusing, with Rabban’s surprisingly thin-faced visage only becoming identifiable after he’s been addressed by name. This uncertainty can also be experienced with a number of Duke Leto’s courtiers, such as Thufir Hawat, who debatably appears as little more than a faceless servant until he too is directly addressed by the head of his House.

The regular cover art of "DUNE: HOUSE CORRINO" #6 by Raymond Swanland

Titans #15 - DC Comics

TITANS No. 15, November 2024

Promising “a major death [which] will shake the DCU” in its solicitation synopsis, Tom Taylor’s narrative for Issue Fifteen of “Titans” probably disappointed the vast majority of its audience in September 2024. Sure, the twenty-two page periodical’s plot does contain poor Dick Grayson’s demise, courtesy of Batman’s former sidekick being crushed to death by a large boulder. But Nightwing’s passing is so very short lived, that its occurrence hardly has any time to impact upon the reader’s mind before the first Boy Wonder is back on his feet fighting alongside his team-mates; “My friends will not be harmed. I will not allow it.”

Furthermore, the “New York Times bestselling author” also frustratingly pens a largely dialogue-driven ending to this title’s long-running “Dark-Winged Queen” storyline, with an emotional Beast Boy spending far too much time talking to the two distinct and physically separate personalities of his beloved Raven. This conversation debatably goes on and on and on, completely killing any of the pulse-pounding pace previously established by a guest-starring Superman getting his clock absolutely cleaned by a blow from the almighty Trigon.

Mercifully, the writing for this book’s final third, which sees a sense-shattering slugfest between the powerful demon and his equally formidable daughter, at least provides some measure of a cataclysmic confrontation to keep the long-term fans slightly happy. Such a fracas would arguably make for an enthralling experience just on its own. However, Taylor doubles-down on its intensity by having the entire Titans’ roster join the conflict, and empower Rachel Roth’s hellish alter-ego with all their special abilities too.

Equally as inconsistent as this publication’s storytelling though, is arguably the artwork by Lucas Meyer. The aforementioned brutalisation of Trigon by Raven is incredibly well pencilled, and really sells the earth-shattering nature of the two giants’ clash as the very ground around them opens up in response to the strength of their strikes. Yet sadly, the same can hardly be said of the Brazilian illustrator’s sketches concerning Garfield Logan yammering on to the love of his life. These layouts, which admittedly contain some slightly humorous transformations by the green-skinned shape-shifter, persistently nullify any sense of momentum generated by the panels depicting the chaos of the frantic battle for survival surrounding them, and resultantly take any onlookers completely out of the fight.

The regular cover art of "TITANS" #15 by Lucas Meyer & Marcelo Maiolo

Star Wars: Legacy Of Vader #1 - Marvel Comics

STAR WARS: LEGACY OF VADER No. 1, February 2025

Set shortly after the events of Rian Johnson’s somewhat contentious 2017 science fiction flick “Star Wars: The Last Jedi”, Charles Soule’s narrative for this twenty-five page periodical probably struck many readers as a somewhat sedentary, surprisingly lack-lustre affair, which focuses far too much upon Kylon Ren’s inner demons and paranoia. Indeed, very little actually happens in this comic until Darth Vader’s grandson suddenly decides to pay an unexpected trip to Mustafar, and encounters the primitively armed Alazmec of Winsit; “There’s still more to do. More has to die. I’ll start with you.”

Unfortunately though, even this short-lived action sequence isn’t really all that dramatic, due to Ben Solo’s deeply dark-hearted alter-ego easily besting his much smaller opponents with a series of wild light-sabre swings. True, one of the Sith cultists does manage to get his spear-point under the over-confident warrior’s guard and cause the (newly-installed) Supreme Leader of the First Order a moment of discomfort. But apart from a single drop of blood, the wound debatably doesn’t appear to cause Ren much of a problem – at least not to the point where anyone in the audience would feel that the character was actually in any jeopardy.

In fact, for much of this book its American author repeatedly attempts to project the supposed “hereditary Prince of Alderaan” as being an all-powerful force-user, who gratuitously presents the disembowelled corpse of Snoke before his stormtroopers as if it were some sort of prize which he’d won in battle, as opposed to the body of an honoured mentor treacherously slain in his own throne room. This air of omnipotence may well successfully thicken the atmosphere in Kylo’s quarters when he repeatedly berates Hux for daring to think/act without his commander’s permission. However, it also means that Soule’s storyline needs to conjure up some pretty formidable foes for the Master of the Knights of Ren to face in close combat, and frankly a gaggle of diminutive aliens carrying medieval-looking weapons just doesn’t cut it.

Far more successful than this publication’s penmanship is Luke Ross’ layouts, which do a cracking job in imbuing Ren with all the insanely immature mannerisms actor Adam Driver demonstrated on the big screen. There is a genuinely palpable sense of dread emanating from anyone in close proximity to the former Jedi Padawan, and this helps enormously in selling a predominantly dialogue-driven script.

The regular cover art of "STAR WARS: LEGACY OF VADER" #1 by Derrick Chew

Space Ghost #2 - Dynamite Entertainment

SPACE GHOST No. 2, June 2024

It’s probably a safe bet that many a reader of David Pepose’s twenty-two page plot for Issue Two of “Space Ghost” wasn’t expecting the American author to take them on a genuinely emotional journey back to when the “Hanna-Barbera Productions” animated super-hero was just plain old family-doting father Dax. However, not only does the former crime reporter impressively do just that, he also manages to pen an enjoyably pulse-pounding central storyline which sees the mysterious titular character recruit recent orphans Jan and Jace as his unlikely sidekicks; “If we do this, you follow my lead -- There’s no room for recklessness.”

Admittedly, some critics might point out that all this publication’s harrowing loss of immediate family members does somewhat smack of Bob Kane’s origin for Batman and Robin - especially when it results in the cowl-clad protagonist asking his new found adolescent helpers to don their own colourful costumes and face masks. But whereas the Dark Knight’s grounded backstory is inescapably entwined with the seedy streets of downtown Gotham City, this ‘fresh take’ on the intergalactic crime fighter heavily leans into all things science fiction, including a seemingly unstoppable energy creature.

In addition, this comic intriguingly shows Jan and Jace rescuing Space Ghost from both a gruesome death and his own inner demons, as opposed to the all-powerful vigilante saving them. This delightful nod to the children’s talents neatly highlights that the kids’ relationship with their mentor won’t be boringly one-sided, and that they’ll actually be bringing certain specialisms of their own to the partnership. Furthermore, Pepose even somehow manages to give the cybernetically-enhanced monkey Blip a moment in the spotlight, by having the pet “organ grinder” masterfully fire a pair of particle cannons at an increasingly formidable opponent. 

Just as successful as this book’s sense-shattering script is Jonathan Lau’s artwork and Andrew Dalhouse’s colours. Together the pair of creatives do a masterful job in depicting poor Dax with all the haunting gravity a bibliophile might expect of a man who instantly loses his beloved family and wife during a devastatingly evil attack upon their planet. The “exclusive penciller at Dynamite Entertainment" is also exceptional when it comes to showing just how much fun the younger cast are having during their adventure, even when the pressure on them to succeed is dangerously high.

The regular cover art of "SPACE GHOST" #2 by Francesco Mattina

The Batman And Scooby-Doo Mysteries [2024] #8 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 8, October 2024

Despite featuring easily one of this mini-series’ most annoying secondary cast members - in the guise of Finger Memorial Museum owner, Ally Babble - Sholly Fisch’s start to “Big Trouble” must surely have still proved tantalizing enough for many a bibliophile to have stuck around until the twenty-page periodical’s conclusion. Frustratingly however, this commitment arguably isn’t really worth it, as the American author suddenly turns his story about a thieving giant looming over Gotham City completely upon its head, when he swaps that villain out for the much less impressive felonious trap-maker Eivol Ekdal.

Indeed, many onlookers may well get the feeling that this publication’s plot was thrown together using several elements which on their own simply wouldn’t fill this comic’s sheet space. For example, it’s never explained just why the chef jacket-wearing criminal built such a huge pinball machine in the first place..? True, the gigantic table makes for a thrillingly deadly location in which to trap this title’s considerably-sized central characters, and have them all running away from the arcade game’s hefty metal ball like some second-rate Indiana Jones’. But the motivation behind such a creation, or the other huge household items dotted about the exhibition, is never convincingly explored; “Take this teacup for instance. The mouth of this cup is big enough to dunk a baby hippo.”

Disappointingly, the villain’s explanation as to how he managed to create the illusion of a massively-tall man walking amidst the metropolis’ streets is equally as unimpressive, regardless of Fred Jones’ best attempt to persuade the audience otherwise. The notion that four flying drones could carry the weight of a wrecking ball heavy enough to knock a hole through a building’s brick wall, as well as cause the imprint of a massive foot in a concrete sidewalk, is as utterly preposterous as Batman’s decision to thwart the radio-controlled steel sphere with a ridiculously gargantuan baseball glove.

Perhaps this comic’s saving grace therefore lies within the layouts of Erich Owen, whose pencilling does a tip-top job of imbuing many of the set-pieces with an almost alarming sense of height. The scene of Mystery Incorporated clambering up a conveniently-placed ladder to the top of the aforementioned pinball machine is especially well-drawn. Whilst the Ringo Award-winning cartoonist is also very good at creating an almost animated film-cell quality to his panels, by making his oft-times subtly defined backgrounds contrast quite differently in tone to the sharp, crisp figures in the foreground.

Written by: Sholly Fisch, Darwn and Colored by: Erich Owen, and Lettered by Saida Temofonte

Space Ghost #1 - Dynamite Entertainment

SPACE GHOST No. 1, May 2024

Announced by “Dynamite Entertainment” in December 2023, this opening issue to an “action-packed series” penned by David Pepose clearly built up a solid fanbase when it was first published some sixteen weeks later - becoming the thirteenth best-selling title of the month according to “ICv2.com”. True, the “award-winning writer” doesn’t spend much time at all explaining just why poor space colony Omicron has become the target of mass-murdering space pirates. But that’s just part of this twenty-two page periodical’s initial hook, as its largely bewildered audience are only fed the odd scrap of information whilst the adrenalin-fuelled action continues to ramp itself up.

Furthermore, the entire story is arguably told from the somewhat naïve viewpoint of adolescents Jan and Jace Keplar. This wholly innocent perspective genuinely adds some extra “KATHOOOM” to proceedings, as every threat, curse and weapon discharge appears even more calamitous through their eyes. Indeed, due to the pair of children witnessing the horrific demise of their hapless father shortly after this comic starts, the entire publication appears to take both the young antagonists, as well as the utterly enthralled audience, on a serious rollercoaster ride packed full of dramatic physical exertions and excruciating emotional trauma.

In addition, to make matters even more intriguing, the “former crime reporter” seems to keep the titular character well in the shadows for a significant portion of his book. This actually does generate some enjoyable doubt within the mind of the reader that perhaps this particular incarnation of “Hanna-Barbera Productions” creation might be a little darker than that seen on the small screen during his animated cartoon series in the Sixties. It also quite nicely helps sell the suggestion that the two kids don't even know just who their would-be rescuer is – making their headlong flight from the caped super-hero straight into the hands of some corrupt Galactic Patrolmen even more believable.

Lastly, the pulse-pounding pencils of Jonathan Lau are well worth mentioning, seeing as his layouts do a truly stellar job in depicting all the chaos and fear filling the children’s previously perfect world. In particular, the “superstar artist” clearly knows how to sketch someone throwing a formidably-strong punch straight into an opponent’s side or a corrupt cop getting roasted alive by a spaceship's engine blast; “Not after you spend the next six months in traction!”

The regular cover art of "SPACE GHOST" #1 by Francesco Mattina

G-Men United #5 - G-Man Comics

G-MEN UNITED No. 5, November 2024

Financed through the crowdfunding platform “Kickstarter” to the tune of $5,033 back in August 2024, those 77 backers who pledged for Issue Five of “G-Men United” were probably almost overwhelmed by the quality of the various stories contained within this anthology comic book. In fact, many doubtless found it difficult to find anything to criticise when it comes to the forty-page periodical’s considerably-sized content, courtesy of some pulse-pounding penmanship by the likes of Rik Offenberger, Chris Squires, Jim Burrows, and Eric N. Bennett.

However if pushed, many a bibliophile may well point to the tome’s narrative concerning Agent Squires and Kid Terror as the 'cream of the crop', due to their paths intermingling with the short-lived plots of several of this publication’s adventures – starting with the wonderfully written “Generation Gap”, where the duo’s humour-filled banter with one another proves incredibly entertaining, and impressively also continues to progress this title’s ongoing storyline involving the fascist criminal mastermind, Rothlander; “This is music.? I thought you ran over a cat!”

Following on from this tongue-in-cheek tale is the much more serious “Temptation”, in which Offenberger manages to cleverly show the significant difference in morals between the aforementioned non-powered F.B.I. operative and the slightly shady protagonist Mateo Martinez. Featuring some awesome layouts by Samir Simao, which genuinely help emphasise the pair’s disparity, it soon becomes incredibly clear just why Squires was asked to mentor the late Jamal Rashed’s vengeance-obsessed son, as opposed to an overtly violent super-hero who debatably kids himself into thinking he can use the ‘good graces’ of his department’s arch-nemesis against him.

Lastly, this comic’s final yarn once again taps into the naïve jesting of the young, by depicting Kid Terror, All-American Kid and Pollita confronting the reasonably formidable Firebomb in Washington D.C. To be perfectly honest this is a pretty straightforward affair, where the adolescent trio are badly underestimated by their fiery foe. But despite such relative simplicity, Bennett’s script once again serves to show just how trustworthy Agent Squires is as a role model for the G-Men’s upcoming generation, as well as how proud the man can be of the kids' achievements when they skilfully apprehend their opponent using combined tactics and teamwork. Furthermore, who can’t love the ever-effervescent Mary Willams Tapia been dynamically drawn by Joshua 1:9 Holley excitedly shouting “Pio! Pio!” in every other panel..!?!

The regular cover art to "G-MEN UNITED" #5 by Dave Matsuoka

The Incredible Hulk [2023] #20- Marvel Comics

THE INCREDIBLE HULK No. 20, February 2025

Having previously penned “Banner and Charlie’s dramatic escape from Las Vegas” in this ongoing series’ last issue, Phillip Kennedy Johnson’s narrative for “Wolves Of The Old World” certainly seems to walk a delicate tight-rope between making young Tidwell a tragically doomed supporting character whose enthusiasm for her freshly found super-powers has blinded her to their bloody cost, or a highly dislikeable brat who suddenly seems to want to break and bully everything around her. Indeed, there were probably a fair few Hulk-heads within this publication’s audience who by the end of its twenty-page plot were left hoping Jack Russell’s furry alter-ego absolutely cleans the arrogant teenager’s clock; “Oh no… A monster… Whatever will I do.? I’m just a kid, right.? Poor… helpless… little ol’… me.”

Of course, having been threatened and assaulted all her short life by those who should have actually been busy protecting her from such harm, it is pretty clear just why this “scrappy teenager” quickly becomes all that she previously despised - especially when the child can now pummel a hapless ‘pumpjack’ to pieces with her bare hands, and simultaneously garner the praise of the walking Jade Giant which she so unwisely hero-worships. But this sudden strength doesn’t debatably excuse the sheer destructive glee seen in Charlie’s eyes as she’s busy trashing the “puny oil… thing”, or her haughty reaction to Werewolf By Night’s advice by immediately going on the offensive against him.

Fortunately for those bibliophiles who struggle with Tidwell’s superciliousness, this comic also contains an intriguing secondary thread concerning Eldest’s surviving Skinwalkers reaching out to Varcolac, Father of the Wolf Lords, in an effort to take their revenge upon the Hulk. This storyline proves particularly successful, as it also depicts the founding Avenger conceitedly dismissing a lone werewolf who stands in his way, only to then find himself facing a seriously enraged spawn of Chthon who looks scarily able to carve Stan Lee’s co-creation into ruddy-coloured ribbons.

Definitely enabling Johnson to sell all these supernatural shenanigans are the layouts of Danny Earls, who absolutely nails the carousel of physical deformities taking place off-grid. Of particular note has to be the artist’s marvellous sketches showing both Russell and Charlie turning into their respective formidably-fanged wolf-forms, as well as the aforementioned Varcolac rising out of a fiery pit right in front of the incredible Hulk.

The regular cover art of "THE INCREDIBLE HULK" #20 by Nic Klein

Deliver Us From Evil #4 - Blood Moon Comics

DELIVER US FROM EVIL No. 4, September 2024

Described by its Pennsylvania-based publisher as a “climactic finale” in which its “readers are plunged into an epic showdown spanning centuries”, this twenty-page periodical’s plot certainly had a lot to live up. And fortunately, Peter Breau’s time-travelling narrative seemingly does just that, depicting a nail-biting confrontation on the streets of ancient Judea between this comic’s eclectic central characters and their fanatical foes. Indeed, despite the subsequent skirmish involving all manner of magical spells and the odd bladed hand-weapon, some bibliophiles may find its fast-paced ferociousness strangely reminiscent of the savage gunfight at the O.K. Corral; “They dare trespass here? I’ve witnessed empires crumble, felt the weight of ancient thrones.”

In addition to this book’s pulse-pounding biblical battle however, Issue Four of “Deliver Us From Evil” should also grab its audience’s attention with the (return) appearance of the highly intellectual sasquatch Solomon Bishop, and the utterly bizarre Admiral Tentara. Between them, this pair of unlikely figures rather enjoyably progress one of this title’s secondary threads which results in the Agents of D.R.E.D.D. successfully storming the cultists’ covert headquarters and reclaiming the slightly disconcerting Jesus Battery. These sense-shattering sequences are debatably made all the more intriguingly surreal by the presence of the heavily-armed assault squad’s leader, who despite utilising an unmistakably female robotic form, is actually just an octopus squirming its way inside a water-filled dome-for-a-head.

Prodigiously pencilling all these surprising shenanigans in black and white, is Mattia Doghini. The artist does an excellent job in making even the more sedentary, dialogue driven panels remarkably bewitching by rather cleverly ‘shooting each shot’ from a different ‘camera’ angle. This technique genuinely imbues all the cast with some convincing dynamism – even when they’re the aforementioned walking yeti and an aquatic, eight-limbed mollusc riding around in a large goldfish bowl. Furthermore, the Italian illustrator absolutely nails the tense stand-off between the Obsidian Veritatis Dominion and the Abyssal Covenant of the Shrouded Traitor, with his thunderous sketch of Silent Violent soundly defeating the “insidious cult bent on rewriting history” proving to be a picture well worth perusing for some time before moving on to the deadly after-effects of the facially disfigured nun’s war cry.

The regular cover art to "DELIVER US FROM EVIL" #4 by Stefano Cardoselli

Conan: Battle Of The Black Stone - Titan Comics #4

CONAN: BATTLE OF THE BLACK STONE No. 4, January 2025

Having made the shockingly bold decision to kill off this mini-series’ titular character in the preceding instalment, many a bibliophile was probably a bit perplexed that Jim Zub’s opening gambit for Issue Four of “Conan: Battle Of The Black Stone” was to quickly back-peddle on the Cimmerian’s brutal death, and quickly get the barbarian back on his sandaled feet. Indeed, the Canadian author’s decision to have the Sword and Sorcery adventurer shake off his numerous mortal wounds courtesy of Professor John Kirowan sacrificially stabbing out his own left eye with a knife, is easily as bizarre a plot-twist as the act of physical mutilation is disconcertingly gratuitous.

Furthermore, the fictional scholar of the Cthulhu Mythos doesn’t appear to suffer any ill-effects of his self-harm. But instead, uses the traumatic wound to help guide his team-mates straight to the source of the black stone’s power – and somewhat cynically rather neatly bring this comic’s pulse-pounding finale to a semi-satisfying conclusion within its limited page count; “Like Odin the Norseman, I asked for insight… A way to see paths of power normally closed to mortal minds.”

Seemingly just as contrived is this book’s rather inconsistent ending, which sees some of Robert E. Howard’s creations completely forget about their exploits in a Hyborian Age jungle, whilst others haphazardly carry their injuries/disintegrations ever onwards. These disconcerting discrepancies are perhaps best seen with the aforementioned Kirowan and his semi-regular partner. Hurled forward in time to when they first encountered El Borak in his nightclub, neither John Conrad or Francis Xavier Gordon (for that matter) appear to have any recollection that they died horribly during this publication's run, and yet the poor professor is depicted wearing a black patch over his lost eye.

Arguably far more successful than the Animex Honorary Award-winner’s awkwardly erratic storytelling is Jonas Scharf’s first-rate pencilling, which definitely adds plenty of adrenalin-fuelled action to the final battle. Coupled with some excellent colour work by Jao Canola, whose ghastly, green-hued spirits practically leap-off every panel in which they feature, the German illustrator’s artwork completely captivates the reader – to the point where the audience can actually hear Conan’s death-defying war-cry as he starts slaughtering the Picts protecting their demonic god with his deadly sword.

The regular cover art of "CONAN: BATTLE OF THE BLACK STONE" #4 by Thomas Nachlik

The Incredible Hulk [2023] #19 - Marvel Comics [Part Two]

THE INCREDIBLE HULK No. 19, January 2025

Following on from Phillip Kennedy Johnson’s ‘main event’, Issue Nineteen of “Incredible Hulk” probably disappointed many of its customers due to "Marvel Worldwide" padding out the celebratory, super-sized special with a trio of arguably underwhelming side-shows. Sadly, none of these 'fillers' have been penned by this ongoing series’ guiding hand, and resultantly bear little relationship with the publication’s current “City Of Idols” storyline. Indeed, two of the “all-new tales” don’t even feature either the theoretical physicist or the Jade Giant at all, and instead frustratingly focus upon some minor exploits of She-Hulk and Thunderbolt Ross.

Leading the ‘charge’ is Greg Pak’s ten-page trek to some undisclosed American woodland, where Bruce Banner is suddenly attacked by a pack of peculiar-looking skeletons because “that’s what’s what these days.” Seemingly making little to no sense whatsoever, the long-haired scientist is unable to transform into his sensationally strong counter-part, and resultantly has to rely upon the ultra-convenient appearance of a laser-beam gun packing Amadeus Cho – who just happened to implausibly hear that his friend was being “hunted by ghosts and zombies…” Rather stiffly illustrated by Lan Medina, this tale is just plain odd, and rather shockingly ends with a smiling Banner mercilessly gunning down his would-be protector with Braun’s own wrist-mounted weapon.

Far more entertaining, largely on account of Torun Gronbekk’s tongue-in-cheek humour and Lynne Yoshii’s somewhat anime-like art style, is “Night Eternal”. Debatably emanating El Dorado vibes, this reasonably fast-paced little narrative hurls the reader to the mysterious frozen land of Henunder, and subsequently explores the distinctly dishonest behaviour of the late explorer Harold Dawson; “The family is convinced the items are cursed, which is why you’re tasked with figuring out what to do with them.”

Perhaps the best of the bunch though is Benjamin Percy’s “Prisons”, which within the space of just ten pages manages to quite beautifully encapsulate the cold-blooded, patriotic persona of disgraced American General Thunderbolt Ross. Admittedly, its plot is seemingly penned to be an enticing advertisement for the New York City-based publisher’s upcoming “Red Hulk” title. But alongside Geoff Shaw’s prodigious pencils, this covert penetration of a Russian penal colony makes for a truly mesmerising read.

The regular cover art of "THE INCREDIBLE HULK" #19 by Nic Klein

Deliver Us From Evil #3 - Blood Moon Comics

DELIVER US FROM EVIL No. 3, July 2024

Absolutely crammed full of mind-blowing changes to the planet’s time continuum, and a genuinely palpable sense of the supernatural, Peter Breau’s script for Issue Three of “Deliver Us From Evil” is also one twenty-page periodical which is most definitely worth multiple reads in order to get the best out of its narrative. However, rather than this ‘requirement’ be perceived by comic book critics as a complaint, in this particular publication’s case the condition is entirely complimentary, with the “distinguished” writer’s storyline proving increasingly dark and disconcertingly disturbing the more familiar a bibliophile becomes with it; “Time is like the secret Fourth Dimension!”

Foremost of these shadowy evils has to be the sinister hooded cult which seem to stalk antiquity like unseen assassins, and protect some of the most notorious historical figures in recorded history – such as one of the original Twelve Apostles, Judas Iscariot. Their presence throughout this perturbing tome simply can’t be overstated, as their actions appear to malignantly transform the modern day for the poorer, even when there’s no physical sign of the robed radicals themselves.

In addition, the mystery surrounding central protagonists Lazar and Silent Violet is only heightened by the appearance of two agent of the Obsidian Veritatis Dominion. Largely penned as simple observers to all this comic’s unholy manifestations and utterly alarming chronological retcons, the two politely spoken Inquisitors make it crystal clear to the audience that all is doom and gloom for Mankind unless the heroes somehow manage to thwart whatever head-spinning machinations are taking place. But cleverly, it is yet to be revealed just how the smart-mouthed Brother Lazar and his Nun friend are going to even achieve this, and therein lies this book’s biggest hook.

Of course, little of this rather complicated plot would probably make all that much sense without some absolutely stellar pencilling by Mattia Doghini. The illustrator’s decision to depict events in plain black and white really helps focus the eyes upon each exquisitely sketched panel or wonderfully imaginative splash page, and makes adrenalin-fuelled action sequences like Captain Barnhill’s hideously-doomed assault upon a mountain fortress in Nazi-occupied Poland during the Second World War, well worth this title’s cover price alone.

Writer: Peter Breau, Artist: Mattia Doghini, and Letterer: Christopher Bousquet

The Incredible Hulk [2023] #19 - Marvel Comics [Part One]

THE INCREDIBLE HULK No. 19, January 2025

For those fans anticipating something sensational from the pen of Phillip Kennedy Johnson for this celebratory eight hundredth “Hulk-size issue”, his twenty-four page script depicting “the newly resurrected Charlie Tidwell” as a winged werewolf was probably the last thing they expected. True, the subsequent battle between the runaway lycanthrope and all-powerful Eldest is certainly pulse-pounding. But considering the sheer girth of this publication it’s probably a good bet many readers were expecting a tad more than the titular character simply showing up at the last moment to beat the ancient antagonist with just a couple of blows; “Wretched little thief. My darling Lycana would never have chosen you as her --”

In addition, quite a few within this comic’s audience were probably scratching their heads in bewilderment at the American author’s bizarre opening, which has quite significantly moved events on from where the previous instalment finished. This ‘time jump’ is arguably partially explained in the writer’s summary of events at the very start of the book. However, his scribblings don’t really prepare any onlooker for the sight of Bruce Banner and his strangely emaciated, grey-hued alter-ego suddenly appearing as a sedentary, shrub-like gestalt entity – whose heart-shaped fruit is ferociously feasted upon by a gaggle of demonic Skinwalkers.

Possibly making matters even worse though is that the founding Avenger is largely not even seen in his own commemorative comic book. Instead, this publication’s Eisner-nominated writer relegates the “World-Breaker” to an impotent observer of his young side-kick’s rather painful-looking transformation into a fearsomely-fanged, furry fiend, and only finally intercedes on Charlie’s behalf when it becomes clear that the ‘wannabe heroine’ is badly outmatched by the towering demonic entity which she’s bravely battling.

Fortunately, all these monsters metamorphosing into even more ferocious creatures and then tearing great big gory chunks of flesh out of one another, is probably what artists Nic Klein and Danny Earls are best at pencilling. The creative duo are clearly doing their upmost with Johnson’s somewhat puzzling plot, and despite its disconcerting deficiencies, do a first-rate job of trying to immerse any perusing bibliophile with their mesmerising illustrations and mind-bogglingly good dynamically-charged double-splashes.

The regular cover art of "THE INCREDIBLE HULK" #19 by Nic Klein

Never By Night: Disturbing Passages Into The Unknown - SnowyWorks [Part Four]

NEVER BY NIGHT: DISTURBING PASSAGES INTO THE UNKNOWN, October 2024

Rather neatly rounding off this anthology title’s “brand-new collection of horror stories”, Jonathan Chance’s “This One’s A Winner!” originally seems set to focus upon the trials and tribulations of weak-willed ex-smoker Don Patterson. However, that particular notion is soon dispelled once the man’s fairly run-of-the-mill family arrive in Las Vegas, and he mysteriously disappears during the dead of night whilst the others are fast asleep; “I’m so sorry to say he isn’t there either. Can we call the Police for you..?”

What then follows is the wife’s intriguing search to find her husband, and discover just what trouble he has gotten himself into. This investigation is as enthralling as its end is gratuitously gruesome, and soon reveals the magnificent metropolis to be a much more corrupt and sinister place than its mesmerizingly bright lights initially suggest. Indeed, the notion that the evil mastermind behind Don’s departure even owns the very hotel in which the story’s central protagonist dwells is enough to cast a shadow of doubt as to the sincerity of every character the woman encounters – in particular the occasionally unhelpful attendant on reception.

Perhaps this tragic tale’s biggest draw though lies inside the impressively large, freshly-built casino known as The Odyssey. Up until this point in the yarn, there is always the distinct possibility that poor Don might actually still be alive. But once his wife and children begin innocently playing some of the gambling machines, that likelihood is quickly put to bed in a genuinely terrifying way. Indeed, the notion that it is Patterson’s entirely innocent kids who begin finding their father’s numerous body parts is super-shocking, and leads straight into a wonderfully chilling one-liner by the heartless murderer behind the mutilated man’s demise.

Definitely imbuing these pulse-pounding proceedings with a distinctly clean-cut look is the pencilling of Fernando Damasio. Admittedly, some of this story’s later panels might strike the odd reader as being a little less physically animated than perhaps the emotionally-charged script requires. But the artist’s straight-lined style certainly makes it clear just what is happening, and perhaps most importantly, what bits of Don are unceremoniously discharged from out of the arcade apparatuses whenever his family hit the jackpot.

Written by: Jonathan Chance, Illustrated by: Fernando Damasio and Colored by: Roman Stevens