The Incredible Hulk [2023] #23 - Marvel Comics

THE INCREDIBLE HULK No. 23, May 2025

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

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

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

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

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

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

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

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

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

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

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

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

The Incredible Hulk [2023] #22 - Marvel Comics

THE INCREDIBLE HULK No. 22, April 2025

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

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

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

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

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

Star Wars: Inquisitors #1 - Marvel Comics

STAR WARS: INQUISITORS No. 1, September 2024

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

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

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

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

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

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

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

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

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

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

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

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

Red Hulk #1 - Marvel Comics

RED HULK No. 1, April 2025

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

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

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

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

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

Moon Knight: City Of The Dead #5 - Marvel Comics

MOON KNIGHT: CITY OF THE DEAD No. 5, January 2024

Containing a truly sugar-sweet finale in which the titular character not only eventually saves the soul of poor Khalil Nasser, but also somehow manages to get the lonely orphan’s dead brother resurrected, David Pepose’s narrative for Issue Five of “Moon Knight: City Of The Dead” certainly seems to do a good job in tying up all the mini-series’ numerous past plot-threads. However, the fact that this “thrilling conclusion” only comes to a successful end due to the young boy dying – something which the Fist of Khonsu has desperately been trying to prevent since this adventure began – may well have bewildered or disconcerted the vast majority of its audience. Indeed, considering that the adolescent’s body actually contains the essence of the Mighty Osiris, the all-powerful ruler of the City of the Dead, many a fan of the Lunar Legionnaire was probably expecting Marc Spector’s character to somehow work out a much less grim way to release the Egyptian deity from its ‘physical prison’.

Furthermore, it’s arguably difficult to imagine that a fair few readers weren’t bitterly disappointed by the all-too short-lived nature of “Jackal Knight’s ultimate ascendance” causing the real world to suffer a supernatural incursion of the Marvel Universe’s most notorious dead super-villains. This tantalisingly peek into the ‘real world’ affairs of Tigra and Hunter’s Moon sadly only lasts a handful of phantom-filled panels. Yet could have so easily been expanded into one the New York City-based publisher’s famous, multi-book Summer events, such as “Blood Hunt” - with the likes of Death Adder, Jack O’Lantern, (the original) Kraven the Hunter and the Nazi vampire Baron Blood all rematerializing as green-hued ghostly apparitions to terrorise the population; “Does the Avengers Handbook say anything about zombie invasions.?”

Setting such quibbles aside though, the American author’s storyline for this twenty-page periodical should still be regarded as something of a success. Artist Marcelo Ferreira’s splash page of Moon Knight’s other persona emerging to battle alongside the Scarlet Scarab in a last stand against overwhelming odds is debatably worth this periodical’s cover price alone. Whilst Spector’s decision to defeat his brother’s vain belief that the masked vigilante has had an easier life as a mercenary than him is satisfying resolved, when Marc takes his delinquent sibling on an emotional, roller-coaster ride through the crime-fighter’s tragic history.

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

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