Astonishing Tales #36 - Marvel Comics

ASTONISHING TALES No. 36, July 1976

Considering that this comic’s cover proudly boasts it contains “a new beginning for the most action-packed series of all”, it probably came as something of a shock to its audience that Issue Thirty Six of “Astonishing Tales” was actually the title’s final instalment. In fact, the book’s secondary tale – “What To Do After The Apocalypse!”, even ends with a tantalizing cliffhanger as Deathlok disappears alongside the mysterious Godwulf in a flash of light to some other universe, and the periodical’s final panel promises that its next edition will feature some sort of “Frenzy In The Future!”.

However, quite possibly with hindsight it now seems clear that the ‘writing was most definitely on the wall’ for Rick Buckler’s production, seeing as how the Demolisher’s creator had quite literally separated the man from its cybernetic machine courtesy of a clone body, and sent the post-apocalyptic assassin’s still functioning remnants off on a seemingly suicidal mission down inside the Twenty-Third Street [underground tube] Station. Admittedly, penning a dejected, almost depressed Luther Manning sat hunched over a typewriter working on a lengthy report of his time as a computer-controlled killer isn’t the most uplifting of fates for the former United States Army Colonel. But along with Simon Ryker’s permanent descent into insanity, it does bring to an end the major motivating factors behind the character’s previous existence as a traumatised automaton.

Furthermore, the appearance of Buckler’s Green Arrow-like “Skulker of the City’s Underside” sadly smacks of the Bronx-born author desperately scratching around for someone to snatch Deathlok away from Earth-7484, and permanently sever the two separate beings’ mind-link once and for all. Just how a nearly naked man is able to successfully battle the modern-day technology of Ryker’s numerous goon squads is never even hinted at, and yet the American author clearly expects his readers to accept that the acrobatic archer has already built up so formidable a reputation with his heavily-armed opponents that they bolt for safety just as soon as they spot the bearded saboteur; “It’s him again! We haven't got a chance in --”

Lastly, it also seems arguably clear that some of the previous problems getting this particular publication out on time have returned, with Keith Pollard back providing some ‘embellishments’ and inks to Rich’s pencils. This ‘helping hand’ definitely has an impact upon the look of some of this comic’s layouts – especially during its aforementioned later yarn, and whilst theses panels look proficient enough, their overall different style would probably have caused any perusing bibliophile to have momentarily paused in their tracks – temporarily jarring them from out of the adrenalin-fuelled action.

Concept, Story & Art: Rich Butler, and Embellishment: Keith Pollard

Red Hulk #8 - Marvel Comics

RED HULK No. 8, November 2025

Seemingly pulling all of this ongoing series’ numerous plot-threads back together into a single storyline with a mixture of timely rescues and expedient encounters, it will be debatably difficult for any "Marvelites" reading Issue Eight of “Red Hulk” not to be impressed with Benjamin Percy’s prodigious penmanship. Indeed, the sheer breathtaking momentum of Deathlok’s attempt to find his ‘friend’ deep within a top secret military-controlled laboratory, and that of First Sergeant Bowden’s investigation into “Ryker’s illegal collusion with Doctor Doom” should easily carry this comic’s audience straight through the twenty-page periodical, as well as help its readers forgive the odd all-too convenient coincidence or two; “Change your heading. We’re going straight to the Pentagon.”

Furthermore, the American author does a good job in showing just how both the facility’s cruel experiments, alongside the passage of years, have finally taken a tough toll upon the emaciated, physical frame of Major Thaddeus Ross. Such evident frailty genuinely helps to convince any onlookers that Bruce Banner’s old arch-nemesis is finally at the end of his limits, and generates plenty of plausibility to the notion that an almost feral War Wolf may well catch the fleeing General and Wildstrike as they slowly stumble through the villain’s maze of corridors looking for an exit to safety.

Also well worthy of a mention is Luther Manning’s realisation that despite him being carried “through that whole damn operation” by Machine Man, the experience has actually helped the two heroes form an even stronger bond with one another than before. This moment proves particularly poignant as it initially starts with the Demolisher angrily verbalising his trademark frustrations at his comrade-in-arms, only to then realise that previously it was him who was carrying a useless X-51 “many miles through hostile territory” in Latveria.

Equally as responsible for imbuing all these enjoyable events with a sizeable amount of speed are Geoff Shaw’s pencils. The Iowa-born illustrator appears especially adept at highlighting the significant contrast in pace between Ryker’s cybernetically enhanced werewolf form as he races through Project Alpha in Virginia looking for his prey, and Ross’ worryingly slow, tentative steps alongside Bowden. Furthermore, many a bibliophile will doubtless find themselves holding their own breath as Deathlok repeatedly batters away at a super-thick panel of glass whilst underwater, as he tries to evade a sharp-toothed Sharkman snapping him in two with its deadly jaws.

The regular cover art of "RED HULK" #8 by Geoff Shaw & Marte Gracia

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

BRING ON THE BAD GUYS: DOOM No. 1, August 2025

As the opening instalment to an “overarching saga” goes, Marc Guggenheim’s narrative for Issue One of “Bring On The Bad Guys: Doom” does a first-rate job in enticing his audience into wanting to know more about the “ancient artifact known as the Soul Forge”. In fact, the twenty-five page periodical probably raises so many intriguing questions within the reader’s mind, not least of which is just how a Berlin-based Emil Blonsky happened to locate a long-lost dagger in the first place, that many of them doubtless immediately pre-ordered the rest of this series’ much-touted “seven villainous one-shots” from their friendly local comic book store.

Of particular note is undoubtedly the Emmy Award-winning writer’s handling of the titular character, who absolutely reeks of contemptuous arrogance just as soon as he’s shown sitting upon his throne in Latervia. This publication delightfully portrays Victor Von Doom at his most haughtiest, whether the Fantastic Four’s arch-nemesis is scornfully belittling one of his lesser spies, or childishly deceiving himself that the gamma-irradiated strength of the Abomination “would offer no contest” if the tyrant decided to pit himself against the monster in a fight; “Blonsky goes. Unaware of the mercy Doom has granted him.”

Furthermore, the actual premise behind "Mephisto's ultimate scheme" is surprisingly well explained, with the American author quite patiently spelling out just how the Soul Forge was apparently created by the sorcerous arts of the world’s six Lords of Darkness. Packed with some (obligatory) blood sacrifices and a somewhat astonishing act of treachery, this backstory shows just how long a game the Machiavellian Lord of Evil is clearly playing, and rather shockingly may even make the odd bibliophile believe that perhaps it would actually be in humanity’s best interest if Latveria’s heavily-armoured monarch won the day as opposed to Stan Lee’s demonic co-creation.

Lastly, “acclaimed artist Stefano Raffaele” also deserves some applause for proficiency pencilling plenty of attention-holding panels throughout this comic. In addition to the Abomination’s incongruous disguise outside Platz Der Republik, the Italian illustrator also serves up a wonderful, atmospheric dish for the Forge’s aforementioned flashback sequences, as well as leaves no doubt as to the sheer hellish grandeur of Mephisto’s fiery domain – courtesy of a deeply disconcerting double splash page.

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

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

TEENAGE MUTANT NINJA TURTLES No. 11, September 2025

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

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

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

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

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

Astonishing Tales #35 - Marvel Comics

ASTONISHING TALES No. 35, May 1976

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

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

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

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

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

West Coast Avengers [2024] #2 - Marvel Comics

WEST COAST AVENGERS No. 2, February 2025

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

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

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

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

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

Star Wars: Jedi Knights #2 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 2, June 2025

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

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

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

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

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

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

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

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

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

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

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

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

Nightwing #110 - DC Comics

NIGHTWING No. 110, March 2024

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

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

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

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

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

Space Ghost #8 - Dynamite Entertainment

SPACE GHOST No. 8, December 2024

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

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

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

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

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

West Coast Avengers [2024] #1 - Marvel Comics

WEST COAST AVENGERS No. 1, January 2025

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

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

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

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

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

Absolute Batman #6 - DC Comics

ABSOLUTE BATMAN No. 6, May 2025

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

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

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

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

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

Astonishing Tales #34 - Marvel Comics

ASTONISHING TALES No. 34, March 1976

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

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

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

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

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

Star Wars: Jedi Knights #1 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 1, May 2025

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

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

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

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

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