Highlight #4 - G-Man Comics

HIGHLIGHT No. 4, November 2024

Considering just how many super-powered characters Gilbert Monsanto throws at his audience in Issue Four of “Highlight”, it’s rather impressive that the periodical’s thirteen-page plot still manages to make the titular character its focal point. Indeed, arguably many a writer may well have succumbed to all sorts of temptations with so large a cast, and relentlessly flung their readers all over the place with a plethora of head-swirling origin stories; “From across all realities, they come. They are their worlds’ most brilliant minds.”

Happily however, the former chief instructor for Whilce Portacio’s comic creation school in Manila controls just such an urge by largely concentrating upon some of the issues Highlight is currently struggling with as a visitor to both our dimension, and the human form. Furthermore, the opening sequence contains some ominous foreshadowing as to what the hero’s future might hold, and this mysterious potential attack upon his life rather intriguingly sits at the back of the bibliophile’s mind throughout the rest of the publication.

Of course, the best part of this comic is unequivocally Red Halo’s ability to surround her comrade-in-arms with a small army of “selected detectives from different corners of the created realities”. This so-called League of the Minds conjures up an almost insurmountable number of questions as to just who each colourfully-costumed protagonist is, and the promise that these queries will be answered in the forthcoming battle for the persistently tormented Multiversal-Man’s sanity should have onlookers hooked for a fair few more future instalments to come.

Rounding off this particular publication is Monsanto’s secondary yarn “Welcome To The Jungle Dark!”, which depicts the always foul-mouthed Sgt. Flag and Joe Dragon desperately attempting to rescue a congresswoman from a mythical land just outside Beringan city . Gilbert does a good job in penning some nice verbal interplay between this tale’s leads, and also manages to pencil some cracking splash pages to boot – most notably a pin-up just before the adventure starts which showcases the artist’s ability to imbue all his figures with resonating dynamic life, and an inventively angled illustration which shows the two G-Men tackling a forest full of wonderfully imaginative Mushroom Men.

Story & Art: Gilbert Monsanto, and Story Assist & Letters: Eric N. Bennett

DC Vs. Vampires: World War V #4 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 4, January 2025

Despite containing a couple of rather shocking revelations which should genuinely catch this comic’s audience by surprise, Matthew Rosenberg’s palpable pacing problems throughout Issue Four of “DC Vs Vampires: World War V” arguably bury much of their impact. Indeed, this twenty-four page periodical’s plot is so suffocatingly sedentary, that even a pulse-pounding battle between Alfred Pennyworth and Ra's al Ghul is somewhat drowned out amidst all the word-heavy dialogue – and at the time Bruce Wayne’s butler is wielding all the awesome power of a Green Lantern, whilst the dead billionaire’s estranged father-in-law has just been revealed as the new Batman.

Quite possibly one of this book’s other big problems are all the mysterious characters it suddenly introduces throughout the narrative. These shadowy figures are clearly going to be central to this mini-series’ main plot in the long-term. But they simply appear absolutely out of nowhere with little explanation, and supposedly shake the people they encounter to their very core, such as the shrouded old woman who confronts Gorilla Grodd inside his high-rise palace, and informs him that she knows he has lost his formidable psychic abilities since becoming one of the undead.

Likewise, many a bibliophile may well become increasingly confused as to just what Robin’s role within this convoluted storyline now plays, following the death of his mother and rebellious followers. Having previously appeared to be a major thorn in the Vampire Queen’s side, the Dark Knight’s former sidekick first appears to be a pawn in his grandfather’s scheme to become an immortal blood-drinker himself. However, once Alfred intervenes and this opportunity passes, poor Damian is simply penned as a pitiable traitor to his own kind, whose life is now seemingly without any purpose; “I’m sorry, kid. Tell yourself this is a mercy killing if that makes it easier.”

Debatably as uninspired by all these slow-moving shenanigans as many within the publication's audience is Otto Schmidt, predominantly just seems to go through the motions with his pencilling. Fortunately, the illustrator does somewhat up his game throughout the aforementioned fracas between Pennyworth and The Demon's Head, even if it does appear a little odd that the former butler’s formidable Oan energy-fuelled powers are apparently little match for the elderly mastermind’s punches.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #4 by Otto Schmidt

Blood Hunters #4 - Marvel Comics

BLOOD HUNTERS No. 4, January 2025

Considering that this comic contains a rather bizarre scene in which Elsa Bloodstone sends Spider-Man away for his own ‘safety’, rather than have him help the already under-powered titular characters battle against the formidably strong Bloodcoven, it is hard to imagine many “Children Of The Night” enjoying Erica Schultz’s plot for Issue Four of “Blood Hunters”. In fact, there’s arguably quite a bit about the American author’s twenty-page narrative which doesn’t appear to make all that much sense as a logical storyline; “You are a waste of Unusual’s time creature.”

For starters, if Miles Morales is so desperately struggling to fight off some sort of overwhelming desire to drink blood due to all his team-mates’ open wounds, why isn’t the gore having a similar impact upon all the other vampires surrounding him, such as the cat Moggy..? This quite stark inconsistency appears to have been penned solely to ensure that the all-female group can subsequently be bested by Bloodstorm One and his cronies, and a helpless Dagger be carried off to a disused warehouse by her enemies.

To make matters debatably even more contrived though, the only reason Spider-Man is able to depart is because Ulysses Bloodstone’s daughter suddenly stops wanting to kill the Brooklyn-born teenager “who was bitten by a Genetically Altered Spider”, and surprisingly, temporarily sates his unhealthy thirst via the power of her Bloodgem. Such a dramatic reversal of the quite disagreeable woman’s attitude seemingly comes completely out of the blue, and also begs the question why the additional time she has bought Morales couldn’t have been used by him to batter the likes of Damascene and Smoke Eater, rather than swing away like a coward in the night..?

Likewise, a number of other manufactured moments are needed to implausibly fall into place to allow the Blood Hunters to locate their fallen friend, Tandy Bowen. Foremost of these is the decision by Dracula’s clone to simply have the three women tied up on roof-top and instantly be set free straight after the villains have teleported away. Just where the motivation for this compassion comes from is a real head-scratcher, considering all of the antagonists are mass murderers with a taste for blood. However, without this act of unconvincing clemency, there wouldn’t be any likelihood of a third act in which White Widow handily reveals she knows Dagger’s location because she bugged Cloak’s former partner beforehand.

Writer: Erica Schultz, Pencilers: Robert Gill & Chris Campana, and Inkers: Robert Gill & Cam Smith

Sgt. Flag #4 - G-Man Comics

SGT. FLAG No. 4, November 2024

Arguably focusing more upon the trials and tribulations of a reality television show filming crew rather than this comic’s titular character, Rik Offenberger’s script for Issue Four of “Sgt. Flag” quite wonderfully captures all the restrained frustration found inside a super-hero having to do his difficult day-job under the scrutiny of the media’s spotlight. Indeed, such is Rob McFarlane’s increasing infuriation with Will White and Marcus Sherlock’s constant questioning and criticisms, that by the time the colourfully costumed Federal operative encounters an old Afghanistan veteran-turned-weapons dealer, the protagonist's barely contained fury is truly palpable to the reader; “There. Is that enough PG-13 for ya..?”

Likewise the audience should enjoy a fair amount of tongue-in-cheek humour, courtesy of some great one-liners from the rather straight-faced Agent Squires. Much of Christopher’s complaints about the naïve movie-makers exactly mirrors Flag’s own reservations. But when the security G-Man suddenly starts unfolding a giant inflatable splat calculator at the scene of a suicide bomber, and then later gets grumpy when the “idiots” misinterpret his request to prepare themselves for an attack by readying themselves to just film it, it’s surely going to be hard for many a bibliophile not to start laughing at the highly-trained martial artist’s evident impatience.

Equally as well done as all this twenty-page periodical’s pulse-pounding set-pieces, is the American author’s ability to make its more quieter moments feel just as authentic. This prodigious penmanship is perhaps best seen either when White and Sherlock decide to interview some of the other licenced meta-humans who work for the Federal Bureau of Investigation - so as to obtain a better picture as to what McFarlane’s team-mates think of working alongside him - Or after the pair verbally criticise Flag for “drinking on the clock” and for once, the former U.S. Marine Corps sergeant opens up as to the pressure he faces “Every. Single. Day.”

Finally, a considerable amount of this publication’s success also rests upon the shoulders of Gilbert Monsanto, who seemingly pours his heart and soul into making this book feel like a docuseries of some kind. The freelance artist is excellent in imbuing all the high-octane moments with plenty of explosive bang for the buyer’s buck. However, it’s the little things, such as Director Jameson’s obvious doubts as to the bankability of his department’s so-called social media superstar which help make each cast member’s motivations and physical behaviour much more believable.

The regular cover art of "SGT. FLAG" #4 by Stefani Rennee

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

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

Initially intimating that the highly disagreeable Jenna is probably going to be brutally murdered by some bald-headed maniac who lurks within the undergrowth of a children’s play park, Jonathan Chance’s script for “Respect Your Elders” does a good job in throwing its audience a disconcertingly dark curveball. True, the antagonistic teenager unsurprisingly soon meets a decidedly grim end at the Pit’s Rehabilitation Centre. But the manner of the rebellious tearaway’s demise is significantly different from what any bibliophile was probably anticipating, and resultantly ends the eleven-page plot on an unsettling high-note.

Indeed, many elements of this horror tale appear to have been introduced simply to cause its readers to feel uneasy - whether it be the increasingly large gathering of geriatrics surrounding the lone girl playing on a swing, Jenna seemingly being completely oblivious to her impending peril due to wearing a set of music-pounding ear-plugs, or the bubbling, bothersome chatter the encircling crones appear to be excitedly conversing in. Furthermore, at one point, some onlookers arguably might even fear it’s the young woman’s utterly impotent foster-carers who might be killed off, seeing as they’ve somewhat callously conveyed her to the “stay-cation” site and appear to be the only parents present within the caravan lot.

All of these well-penned possibilities continue to puzzle until the very moment when the antsy delinquent leaps from her swing, and encounters a death few would have seen coming. This shock is made all the more impactive when it’s revealed that the entire location is a well-guarded front for making its elderly occupants near-immortal, and that the purple-haired hothead clearly isn’t the first tiresome troublemaker to have succumbed to the coven's flesh-stripping sacrifice; “That’s another one down. I’m feeling younger already.”

Cleverly complimenting all this nocturnal wickedness are artist Ron Joseph and colorist Theresa Chechi, who together provide the story with a suitably quirky art-style and atmospherically dark palette. Of particular note though is just how well the visuals help sell Jenna’s anger and self-loathing through her physical movements. The girl has clearly given up on herself and resultantly appears to lash out at anyone offering her an alternative from the crime-laden future she’s resigned herself to.

Written by: Jonathan Chance, Illustrated by: Ron Joseph and Colored by: Theresa Chechi

The Incredible Hulk [2023] #18 - Marvel Comics

THE INCREDIBLE HULK No. 18, December 2024

Starting with the recently deceased Charlie Tidwell suddenly being brought back to life from whatever foul dimension her sprit was sent to, and then subsequently showing the poor girl floundering inside a four-walled room somewhere deep beneath Las Vegas, Phillip Kennedy Johnson’s opening to Issue Eighteen of “Incredible Hulk” probably caused a fair bit of confusion with its readers. Indeed, even for those bibliophiles wise enough to read the writer's story summary at the book's beginning, it arguably won’t be until Eldest personally spells it out to a heavily-chained Green Goliath that all the plot’s pieces will probably fall into place; “The Pactum Aeternus has been honoured. And now, a moment I’ve dreamt of for an age and an age.”

Happily though, once the penny does drop and it becomes clear that despite Bruce Banner’s betrayal of his super-strong alter-ego, the firstborn of the Mother of Horrors still won’t be able to access the founding Avenger’s great power, this twenty-page periodical becomes unputdownable. True, the swift treachery of skinwalker Katie does debatably lead to some scenes of bodily mutilation which appear as irrelevant as they are highly gratuitous. But the rest of the yarn cracks along at an enthralling pace, with danger seemingly lurking behind every dark corner for the wholly discombobulated Tidwell.

Furthermore, the Eisner-nominated author does a first-rate job in providing this publication’s primary antagonist with a quite memorable side-kick in the guise of the dog-like Teelget. This almost quite literal walking (and talking) bag of bones with a terrifying horned skull appears to be a serious threat to poor Charlie’s wellbeing, and the fact the demonic creature states its disagreeably depraved intentions right in front of the Hulk doesn’t bode well for the non-furry fiend’s future. 

Possibly only increasing the audience’s confusion at the start of this comic is the decision to have both Nic Klein and Danny Earls repeatedly swap back and forth as the book’s artist. This notion is perfectly acceptable when the focus is either exclusively on Stan Lee’s co-creation or the emerald-hued monster's young female friend. However, once the aforementioned Katie starts dipping into both illustrator’s panels, things start to get a bit visually bewildering – to the point where the odd bibliophile may well find themselves momentarily ‘thrown out’ of the tale, and annoyingly have to re-read whatever event has just taken place again.

The regular cover art of "THE INCREDIBLE HULK" #18 by Nic Klein

Simon N. Kirby, The Agent #9 - G-Man Comics

SIMON N. KIRBY, THE AGENT No. 9, November 2024

For those comic book fans who thoroughly enjoy their senses being smacked straight on the snout just as soon as they open up their latest read, Rik Offenberger’s narrative for Issue Nine of “Simon N. Kirby: The Agent” should land very well. Indeed, combined with an absolutely outrageous mass fist-fight which occurs inside a criminal-laden Tiki Bar towards the end of the publication, this twenty-page periodical’s beginning is arguably pure perfection – and should genuinely draw a sigh of exhilaration from any perusing bibliophile as alleged team-mates Sergeant Flag and Vencejo stand toe-to-toe with one another trading punches.

Just as exciting however, has to be this edition’s covert operation to locate the nefarious Tiki Man and bring “the Kingpin of the Underworld” into custody for questioning. Focusing on the feminine wiles of a disguised Pocahontas, this admittedly dialogue-driven sequence is packed full of tense, threat-laden verbal exchanges, and does a marvellous job in highlighting both how nasty a villain the mask-wearing hoodlum can be, as well as just how close to a painful demise the young Federal Agent actually gets; “Why don’t you come over to my table while I figure out what to do with you. I insist. If I decide you’re trustworthy, I’ll let you leave.”

Of course, probably the most eye-catching event within this comic is the aforementioned smackdown on the drinking club’s malodourous occupants by the titular character’s numerous comrades-in-arms. This rather one-sided battle was clearly a great chance for Offenberger to pen some of his creations (alongside others) having a blast whilst thumping a good dozen roughnecks in the mouth, and the American journalist appears to grab the opportunity with great gusto.

Prodigiously cramming all these adrenalin-fuelled antics into the confines of each printed panel is Gilbert Monsanto, who masterfully manages to capture the look and feel of the medium’s Bronze Age with sensational aplomb. Whether it be Rob McFarlane’s colourfully-costumed alter-ego genuinely appearing to be about to smash the reader straight in the face with this comic’s opening splash page, or the closely-confined combat between The Agent and the Tiki Man in a night-time alleyway, the artist manages to bring every movement to dynamic life with his top-tier pencilling.

The regular cover art of "SIMON N. KIRBY, THE AGENT" #9 by Stefani Rennee

Teenage Mutant Ninja Turtles [2024] #3 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 3, October 2024

Despite Jason Aaron’s skilfully penning an absorbing tale about a flesh-eating turtle colony on the banks of the Ganges, this twenty-two page periodical’s predominantly peaceful plot is debatably a bit slow for its opening two-thirds. In fact, its early storyline is so soothing, even failing to heat up once the reptiles’ existence is directly threatened by some poachers, that its low-key tone will probably fool most of the media franchise's fans into thinking that little action will actually be taking place within its covers; “I lose track of how many days I kneel. And the turtles never once acknowledge me. Until they do.”

Cue the deadly Foot Clan, and suddenly all semblance of tranquillity is immediately replaced by Leonardo battling his numerous black-clad arch-foes yet again. Admittedly, this particular fracas disappointingly isn’t actually shown in the comic book, with artist Cliff Chiang seemingly preferring to pencil its aftermath as opposed to a complicated sequence of rapid martial art moves. But such pacing is merely the quiet before the storm, as the Alabama-born writer disconcertingly throws his readers back to Tokyo where two of the pizza-eating mutant’s brothers are fighting for their lives against even more mask-wearing assassins.

This subsequent high-octane sequence is arguably the publication’s highlight, with Michelangelo and Raphael rather humorously taking angry pot-shots at one another during the intense, sense-shattering scrap. Indeed, in many ways this issue of “Teenage Mutant Ninja Turtles” is worth the cover price alone, simply to read the two veteran close combatants banter as they both protect and berate one another simultaneously.

Just as successful as the “legendary” comics scribe’s script though, are “fan-favourite” artist Chiang’s layouts. Whether the American illustrator is simply pencilling a pack of snap-happy shelled turtles scuttling across the shore, Leonardo standing alone surrounded by a veritable army of fanatical killers in the night-time jungle, or a room filled full of sword-wielding scum who plan on hacking its occupants to pieces, there’s an incredible amount of physical dynamism on show. Furthermore, the formerly assistant editor at “DC Comics” does a terrific job with his colour palette, making a strong contrast between the events taking place in India during the strongly-lit day and purple-hued night.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #3 by Rafael Albuqerque 

Invictus: Outrage #4 - G-Man Comics

INVICTUS: OUTRAGE No. 4, November 2024

For those bibliophiles unfamiliar with the events leading up to Jim Burrows’ script for Issue Four of “Invictus: Outrage”, the Editor-in-Emeritus quickly puts them in the picture with a comprehensive summary on this comic’s inside front page. This succinct ‘scoop’ proves absolutely essential to any reader ‘not in the know’, as once the action starts - courtesy of the Minions deciding they can do without murderous member Brut rather than have the central protagonist wrongfully imprisoned - the audience are thrown head-first into a rolling sea of numerous characters, political intrigues and fast-paced fist-cuffs.

Arguably the most beguiling of these head-spinning shenanigans is all the double-dealing taking place between the hyper-influential Midnight Blue and her killer cronies, who quite surprisingly appear to have some sense of moral obligation despite brazenly brutalising to death any “out of control” super-powered vigilantes they deem corrupt. This genuinely adds some enthralling depth to the former model’s personality, as well as an extra element of complexity to the world which the mogul is so desperately trying to disagreeably manipulate in her favour; “Some idiot framed Outrage! And MB News has to cover it! I have to! That idiot needs to be caught. Eliminated.”

Furthermore, this twenty-page periodical’s policing procedure sub-plot will almost certainly throw many in the audience a complete curve-ball, once it’s been revealed just how well played the likes of Falcon’s Federal investigators have been by the storyline’s central villains. Indeed, this surprising switcheroo is marvellously penned by the American author, and should cause much gnashing of teeth in some quarters at the sheer injustice of Agent Jardin’s initially-compelling case being completely dismissed ‘out of hand’.

Energetically pencilling all of these sense-shattering scenarios is Gilbert Monsanto, who truly seems to step up his game when it comes to sketching the obligatory slug-fests in this publication. Of particular note has to be the cruelly clinical demise of the Enforcer, whose neck is cold-heartedly snapped like a chicken wing by the behemoth Brut, and Outrage’s subsequent battle against the purple-hued monster towards the comic’s conclusion. In addition, the Pasay City-born freelance illustrator’s colour work is top notch, and helps add an almost ethereal sheen to Moneypenny’s computer-generated physical form.

The regular cover art to "INVICTUS: OUTRAGE" #4 by Gilbert Monsanta

Blood Hunters #3 - Marvel Comics

BLOOD HUNTERS No. 3, December 2024

Almost stupefyingly crammed full of sense-shattering action, mesmerising feats of demonic magic, and arguably more gore than you’ll ordinarily find in an “Rated T+” title, Erica Schultz’s storyline for Issue Three of “Blood Hunters” quite literally grabs its readers in an unbreakable neck hold and hammers them through an army of ravenous, mass-murdering revenants. Furthermore, the comic’s twenty-page plot does a terrific job in demonstrating just how deadly an opponent the villainous Bloodcoven can be when they’re not directly tackling the “Earth’s Mightiest Heroes” toe-to-toe, but rather a dysfunctional collection of the Marvel Universe’s more lower tiered crime-fighters.

Indeed, even “a vampirized Spider-Man” appears to be well out of his depth facing off against the likes of Cruel and a seemingly unstoppable horde of blood-drinking thralls, with only Hallows' Eve providing the titular team with any hope of victory whatsoever. Disappointingly, even this glimmer of light is eventually dimmed though, with long-time vigilante Dagger appearing to be the group’s surprising weak link, and so badly succumbing to the relentless undead assault surrounding her that she soon requires immediate medical treatment; “There’s a hospital twelve blocks away. I can swing her there fast.”

Fortunately, the decision to have poor Tandy Bowen’s brightly costumed alter-ego play the ‘patsy’ as opposed to non-powered White Widow, is easily overlooked in the face of the sheer carnage on show throughout this book, and many a bibliophile will doubtless have been physically worn out by the time Janine Godbe’s highly thematic bag of tricks sensationally brings the vampire army she is facing to a sudden, shocking end. Enjoyably however, this moment is simply the quiet before a (second) storm, with Miles Morales soon finding himself getting brutalised atop a New York apartment block whilst trying to protect a comatose Dagger.

Definitely providing all these pulse-pounding panels with plenty of dynamic life and “Wham” are Robert Gill’s pencils, which do a first-rate job in imbuing every blow with bone-breaking realism. In addition, the Billerica-born illustrator somehow manages to turn even the vampire cat Moggy into a believable combatant by sketching the stray animal doing its level best to outmanoeuvre Cruel’s tendril-like barbed wire projections.

The regular cover art of "BLOOD HUNTERS" #3 by Ema Lupacchino & Guru-eFX

The Batman And Scooby-Doo Mysteries [2024] #7 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 7, September 2024

Having revealed the villain of the piece to be the Scarecrow straight from this publication’s ‘get-go’, many a bibliophile will probably have felt Ivan Cohen’s script for Issue Seven of “The Batman And Scooby-Doo Mysteries” spookily read more like an actual serious comic about the Dark Knight’s exploits within Gotham City, as opposed to a children’s tale featuring an animated tongue-in-cheek cartoon franchise owned by the “Warner Brothers”. Indeed, despite Mystery Incorporated answering Commissioner Gordon’s Bat-Signal, much of this twenty-page periodical’s plot focuses upon the Caped Crusader trying to deduce the end goal of Jonathan Crane’s villainous alter-ego, rather than simply throwing a load of juvenile hijinks at the audience in the hope that some of it will garner a guffaw or two.

In addition, the yarn contains an interesting sub-thread which explores whether someone like Shaggy Rogers and his “lifelong companion”, who are seemingly always in a perpetual state of fright, are actually susceptible to the Scarecrow’s infamous fear toxin, or whether the duo are “weirdly immune”. This rather enthralling notion proves to be the key to unlock the murderous Professor of Psychology’s entire plan, whilst simultaneously showing Batman to favour using his brains over brawn whenever he can; “The gas did affect them. But not the same way it affects the rest of us!”

Of course, “Night Of The Scaredy-Bat!” does still contain some overt silliness on the odd occasion, such as when the book covers just what genuinely terrifies the “meddling kids”. Of particular note is poor Fred Jones being pursued by some giant toothbrushes and a jar of floss, due to the ascot tie-wearing sleuth suffering from a phobia of going to the Dentist.

Quite proficiently pencilling all these shenanigans is David Antón Gomis, a.k.a. Puste, who manages to sketch Batman as both a formidable physical specimen, as well as someone who likes to apply his grey matter to a problem when time allows. Furthermore, the artist includes some quite wonderful little touches into the layouts, such as when the Dark Knight liaises with Mystery Incorporated, and brings a tray of donuts for Shaggy and Scooby-Doo to scoff – something the pair impressively achieve within the space of a single panel.

Written by: Ivan Cohen, Drawn by: Puste, and Colored by: Carrie Strachan

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

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

Whilst some readers of “Chronicles Of The Occult: Tennison” may simply come away with a disturbing dread of some well-dressed gentleman lurking in the dark shadows of their bedroom, those bibliophiles who decide to peruse this sixteen-page fright-fest more than once should arguably find that Jonathan Chance’s narrative ages like a fine wine. In fact, this is almost certainly one of those tales which actually benefits from repeatedly viewings, as the central protagonist’s belief that ghosts don’t actually exist is clearly shaken to its core when he recalls a childhood terror he experienced alongside his brother.

In addition, the somewhat pedestrian pace to this story will doubtless lull many in its audience into dropping their guard just as the sceptical hero takes them back to a much more disconcerting time - when his adolescent imagination and perhaps a decidedly dangerous manifestation of the undead, completely robs the boy and his family of their happy home. This timing is incredibly well done, as the author completely wrong steps the onlooker into thinking they’ll soon be visiting “England’s most haunted house” for a ‘run-of-the-mill’ encounter with some ghastly ghoul. But are instead transported to a truly terrifying night set in West Sussex some thirty two years earlier.

Just as entertaining as what this yarn depicts though, is debatably what it does not. Indeed, it’s difficult to remember an adventure which leaves so many questions ruminating in the head, due to no afterword detailing just what subsequently happened to the two ‘ghost hunter’s when they finally did visit an eerie rectory, nor how an “open-minded” Henry was convinced to accompany his companion on such a journey in the first place; “Who knows what I will encounter. Maybe I’m just scared under it all. Because if ‘they’ do exist then I may have to face my fear.”

Rather neatly helping imbue this graphic novel’s second offering with a genuine antiquated atmosphere are they layouts of C.E. Zacherl and colours by Zachary Kjoge. Together, these two artistic forces provide a great deal of solemnity to the publication’s proceedings, which well-suit the professional pace of a politely spoken man who clearly takes great pride (and time) in his morning ritual. Furthermore, there’s some wonderful touches in the odd panel which really help sell the unholy nature of young Henry’s visitation, such as the breath leaving the boy's mouth whilst he sleeps.

Written by: Jonathan Chance, Illustrated by: C.E. Zacherl and Colored by: Zachary Kjoge

Doctor Who: The Fifteenth Doctor #4 - Titan Comics

DOCTOR WHO: THE FIFTEENTH DOCTOR No.4, December 2024

As “unmissable” conclusion’s go, Dan Watters’ narrative for Issue Four of “Doctor Who: The Fifteenth Doctor” certainly lives up to its publisher’s boast of being an “action-packed final part.” However, having regaled his audience with some headlong chases down the numerous corridors of a claustrophobic wine cellar, as well as witnessing the titular time traveller whack an almost endless supply of valuable bottles with a baseball bat, the British author rather disappointingly has the all-powerful Sommelier simply pack his bags up and meekly depart, rather than be bested by anything spectacular the Time Lord might have conjured up.

Indeed, the sense of anti-climax as Rose Sunday simply threatens to smash villain’s flask containing “the scream of Toraji, the living sun as it collapsed into a white star” unless he surrenders is truly palpable, and genuinely must have left many a Whovian wondering what the whole point behind this mini-series was - apart from a speculative cash-grab. True, the sudden departure of this comic’s central antagonist does then provide the writer to pen an endearing origin story for poor little Maria and her cuddly teddy bear. But as twenty-two page periodical’s go, the vast majority of its readers were probably not expecting the main threat to be defeated just half-way through; “Get out of here. Take your collection and leave.”

Also making matters even more sugary sweet than they needed to be is how this book deals with the apparent deaths of “two timid little cockroach aliens”, who were cold-bloodedly murdered by Earth’s last shoppers when they exposed the extra-terrestrials to a planet-wide solar storm. Ruby’s grief at their demise should generate plenty of sympathy, as it touches upon what monsters Mankind can become when people are scared. Sadly though, such a message is ruined, or at least greatly diminished, by the Gallifreyian taking his upset companion ten years into the future, and showing her that rather than be killed by the Sun's particles, the two Cankaranka were actually able to fly to safety.

Quite possibly this comic’s biggest asset therefore lies in the artwork of Kelsey Ramsay, who does a top job of imbuing the fifteenth incarnation with all the dynamic energy shown by actor Ncuti Gatwa on the small screen. In addition, along with colorist Valentina Bianconi, the London-born illustrator does a super job in turning the Sommerlier’s scream cellar into a truly terrifying location to navigate – especially when being relentlessly pursued by an army of emotionless Cybermen.

The regular cover art of "DOCTOR WHO: THE FIFTEENTH DOCTOR" #4 by V.V. Glass

Conan The Barbarian #17 - Titan Comics

CONAN THE BARBARIAN No. 17, January 2025

With “Titan Comics” boldly proclaiming Issue Seventeen of “Conan The Barbarian” to be the beginning of a new story arc for the heavily-muscled Cimmerian, many a fan of Robert E. Howard’s sword and sorcery adventurer were probably expecting something a bit more pulse-pounding than Jim Zub’s “Fangs And Foolish Thieves”. Sure, the twenty-page plot taps into one of the character’s most memorable partnerships by having him accompany Bêlit, Pirate Queen of the Black Coast, to the Port of Prosperity for some much-needed rest and recuperation. But considering that over half the book subsequently just covers the pair drinking, dancing and love-making, there isn’t arguably much to either entertain this title’s long-term readers, or attract any new ones for that matter.

To make matters slightly worse though, when the Canadian author does eventually decide to inject his tale with some much-needed action, a fair few within the audience debatably won’t be able to shake the notion that the writer has somehow slipped one his unused plot-threads for “Dungeons & Dragons” into the mix. Such a notion is genuinely hard to ignore, with the powerful pair suddenly being attacked at night by a quartet of incompetent robbers whose party consists of a nimble thief, axe-wielding fighter, bull-necked thug and classic, double-bladed rogue; “Oh, look, my dear -- Visitors. What kind of fool wears any eyepatch they don’t need?”

Unfortunately, even the resultant skirmish isn’t especially convincing, with the ill-fated foursome supposedly able to match skills – albeit temporarily – with a Conan and Bêlit who are already warned of their approach, and have had time to arms themselves appropriately. In the novels, the Cimmerian would likely as not have brutally dispatched all of his attackers with great aplomb, especially as he’s initially able to ambush them in the darkness. However, Zub would have his audience believe the warrior would actually struggle to take out the aforementioned rogue, and implausibly then lose out to a Gunderman’s double-handed axe – at least until he is able to stop the big man’s blade literally with his bare hands..?

Danica Brine’s layouts are certainly far less bemusing as this publication’s penmanship, thanks largely to the "death-defying” illustrator’s style being somewhat reminiscent of the late, great Carmine Infantino. Indeed, it would be interesting to see just how well the GLAAD Award-nominee’s panels held up to scrutiny if inked by someone like legendary embellisher Terry Austin, rather than just being coloured by “Jumping” Jao Canola.

The regular cover art of "CONAN THE BARBARIAN" #17 by Roberto De La Torre