Conan The Barbarian #23 - Titan Comics

CONAN THE BARBARIAN No. 23, September 2025

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

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

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

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

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

Absolute Batman #4 - DC Comics

ABSOLUTE BATMAN No. 4, March 2025

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

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

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

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

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

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

TEENAGE MUTANT NINJA TURTLES No. 9, June 2025

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

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

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

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

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

Astonishing Tales #32 - Marvel Comics

ASTONISHING TALES No.32, November 1975

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

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

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

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

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

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

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

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

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

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

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

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

Nightwing #109 - DC Comics

NIGHTWING No. 109, February 2024

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

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

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

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

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

Space Ghost #6 - Dynamite Entertainment

SPACE GHOST No. 6, October 2024

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

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

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

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

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

Absolute Batman #3 - DC Comics

ABSOLUTE BATMAN No. 3, April 2025

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

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

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

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

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

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

TEENAGE MUTANT NINJA TURTLES No. 8, April 2025

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

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

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

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

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

Astonishing Tales #31 - Marvel Comics

ASTONISHING TALES No.31, August 1975

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

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

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

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

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

Red Hulk #7 - Marvel Comics

RED HULK No. 7, October 2025

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

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

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

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

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

Absolute Batman #2 - DC Comics

ABSOLUTE BATMAN No. 2, February 2025

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

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

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

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

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

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

TEENAGE MUTANT NINJA TURTLES No. 7, February 2025

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

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

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

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

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

Astonishing Tales #30 - Marvel Comics

ASTONISHING TALES No. 30, June 1975

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

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

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

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

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

The Incredible Hulk [2023] #27 - Marvel Comics

THE INCREDIBLE HULK No. 27, September 2025

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

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

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

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

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

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

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

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

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

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

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

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

The Thing [2025] #3 - Marvel Comics

THE THING No. 3, September 2025

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

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

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

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

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

Nightwing #108 - DC Comics

NIGHTWING No. 108, January 2024

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

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

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

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

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