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