Red Hulk #10 - Marvel Comics

RED HULK No. 10, January 2026

Despite this twenty-page periodical undeniably containing a pulse-pounding punch-up between Thaddeus Ross’ crimson-coloured alter-ego and the cybernetically-enhanced War-Wolf, there’s probably a fair few readers of “Red Flag” which felt the comic was far from being “this explosive series finale!” Indeed, for many Marvelites who can recall the utterly unrelenting, vice-like grip Victor Von Doom holds his kingdom of Latveria with, the notion of four mercenaries – no matter how super-powered – walking into the totalitarian state and planting the American flag atop the tyrant’s own version of Mount Rushmore is utterly preposterous.

Unfortunately though, that is precisely what Benjamin Percy has the three-star General do in Issue Ten of “Red Hulk”, courtesy of Thunderbolt easily overpowering both Simon Ryker and a cavern full of gamma-spawned monstrosities. So swift a victory really is difficult to digest, especially when just a handful of the treacherous Captain’s incredibly strong mutants quickly defeat the likes of Machine Man, Deathlok and Wildstreak without breaking much of a sweat; “Now put down the gun or your friends die.”

Of course there is a significant difference in power levels between Ross and his fellow comrades-in-arms. But doubtless many a reader would have preferred to see this last edition either lengthened, or possibly even extended by another instalment or two, to better depict the old war veteran matching brains and brawn against Ryker’s misshapen army of monsters. Instead, all the audience gets are the grotesque ghouls meekly returning Thaddeus’ friends to him unharmed, and impotently walking off into the darker depths of Doctor Doom’s hollowed out mountainside without even raising a misshapen fist to him in defiance. 

So strong an aura of the creative team simply just ‘wanting to get the comic completed’ also debatably extends to Gabriel Guzman’s pencils too, with an incredible amount of the book’s backgrounds just being bare, empty spaces rather than providing any suggestion of the rugged terrain within which the story is set. This notion of ‘haste’ is also particularly noticeable when Wildstreak and Machine Man are quickly overcome, with only Luther Manning’s defeat being given much in the way of screen time – an oversight which proves especially infuriating when the artist subsequently spends seventeen panels illustrating Red Hulk’s emotional dilemma as to whether to “claim this country or reduce it to rubble.”

The regular cover art of "RED HULK" #10 by Geoff Shaw & Marte Gracia

The Infernal Hulk #2 - Marvel Comics

THE INFERNAL HULK No. 2, February 2026

Quite possibly surprising many of this comic’s audience by having the (new) titular character first go up against a deep-sea adversary rather than a land-based opponent, Phillip Kennedy Johnson’s narrative for Issue Two of “Infernal Hulk” is unequivocally packed full of some serious stomach-churning action. Indeed, Eldest’s grisly journey straight through Ngathil the Endless’ internal organs is graphically gratuitous at best, and certainly should put the odd patron of this publication off their food in the short-term.

Of course having the central lead get swallowed whole by a titanic-sized monstrosity and then punching his way to freedom is disappointingly a trope used before by this book’s American author. But at least on this occasion the American Eisner-nominated writer mixes things up a little bit by having the God-Eater’s gut populated by a seemingly sentient form of large beetle – a plot device which debatably deserves far more screen time than the half dozen panels it is eventually awarded.

Similarly as unfortunate is the fact that despite all the pre-publication promise that this twenty-page periodical would pit the Hulk against Namor the Sub-Mariner in a battle for Atlantis’ future, the former Defenders never actually come face-to-face until the adventure’s end. And then Bill Everett’s creation is casually cast aside by the firstborn of Vinruviel like he was just a hapless, impotent doll. This confrontation, or rather lack of, is really frustrating, and brings the comic to a less than satisfactory conclusion; “Hrrnn. I sent Ngathil away because your deaths do not yet interest me. When they do interest me you will see me again.”

Also slightly off-kilter appears to be the pencilling of Nic Klein whose pictures featuring the ruler of Atlantis are strangely somewhat roughly-hewn when compared to the smoother, more detailed art of the Hulk. In addition, the sudden switch from the German’s heavily embellished layouts to the cartoon style of Kev Walker for this book’s cliff-hanger is shockingly jarring, and incredibly off-putting. True, using such markedly different artists to depict contrasting situations within a storyline is not new. However, on this occasion it wouldn’t come as a great surprise if some bibliophiles passed over the British illustrator’s work the first time round – thinking it to be an advertisement of some kind rather than the magazine’s actual conclusion.

Writer: Phillip Kennedy Johnson, Artist: Nic Klein, and Color Artist: Matthew Wilson

Conan The Barbarian #26 - Titan Comics

CONAN THE BARBARIAN No. 26, December 2025

For those fans of Robert E. Howard’s sword and sorcery hero who were unaware of this ongoing series by “Titan Comics”, Jim Zub’s script for Issue Twenty-Six of “Conan The Barbarian” may well have proved the “perfect jumping on point”. In fact, such is the Canadian writer’s uncanny ability to mimic the late author’s storytelling style, that many within this book’s audience could easily have believed that “The Implausible General” was an actual adaption of one of the tales printed within the covers of “Strange Tales of Mystery and Terror” almost a hundred years ago.

Much of this marvellous mimicry seems to stem from the plot managing to mix sweeping political intrigues and betrayal, with the day-to-day exploits of the Cimmerian, and as such provides an enthralling insight into Aquilonian’s desperate days under the rule of its deranged king. Sure, sometimes it appears to be a pity that the spotlight doesn’t remain upon poor Count Trocero’s plight a little longer – such as when the soldier first leads a charge against the Zingaran blockade of his capital alongside the Westermarck Wolves. But it soon becomes clear that the Eisner Award-nominee needs this twenty-two page periodical to maintain a pulse-pounding pace, if it is to conclude on just the right note for his cliff-hanger; “Let us meet this strange Barbarian-General and see what kind of man he is!”

Furthermore, this “all new Conan story arc” fits rather snugly into Howard’s own prose canon, and promises a fascinating ‘take’ on just how the titular character might have toppled King Numedides to claim the mad tyrant’s crown. Indeed, Zub appears to have put a great deal of thought into just why an 'advanced' civilisation might have abruptly backed a primitive foreigner to become their undisputed leader, and the mercenary’s hard-fought victory at the Great Battle of Poitain goes a sizeable way to explaining the population's rationale – at least as far as Count Trocero and Captain Prospero are concerned.

Lastly, “ferocious” Fernando Dagnino does a first-rate job of depicting all the adrenalin-fuelled action, and ‘splash pages’ required for some of the yarn’s more broader brushstrokes. Of particular note though has to be the artist’s ability to imbue the Barbarian’s swordplay with all the heavily-muscled violence an onlooker would expect from a man whose living is solely carved out with a bloody blade.

The regular cover art of "CONAN THE BARBARIAN" #26 by Gerardo Zaffino

Titans #18 - DC Comics

TITANS No. 18, February 2025

Initially focusing upon Roy Harper’s numerous complaints about Donna Troy’s decision to house the titular characters three hundred feet underground in New York City, as well as the gripes and groans of the archer’s fellow team-mates, a fair few readers of “All In The Family” probably felt John Layman’s narrative made the comic somewhat difficult to ‘get into.’ Sure, the dialogue-driven sequence only lasts six pages. But it also makes Arsenal appear extremely disagreeable, and doubtless there were plenty in this book’s audience who cheered when he’s succinctly told to shut up by Starfire at the end of the scene.

Sadly however, this doesn’t seem to be the end of the American author’s obsession to portray the former sidekicks as a group of grumpy protagonists who appear to barely get along, rather than be a warm, caring collection of experienced crime-fighters who have been together since they were teenagers. Indeed, Nightwing’s sudden spate with Wonder Girl when he well intentionally addresses the Amazonian’s somewhat confrontational leadership style, strongly suggests that Batman’s former Robin may well already be questioning whether he should have stood down as team leader in her favour; “Before ruling that out, shouldn’t we find out who or what we’re up against?”

What does work though is the Titan’s subsequent battle against Mammoth and Shimmer, with the powerful pair providing an intriguing moral predicament for Troy concerning the Justice League’s current stance to simply “toss enemies into the Phantom Zone and leave them.” In addition, it eventually becomes clear that the Clock King and Deathstroke are playing a seriously long game when it comes to taking their revenge against the constantly bickering heroes – with Slade Wilson’s sudden announcement of a “newly re-formed Crime Syndicate” providing a promising cliff-hanger. 

Similarly as solid as this book’s bout of fisticuffs are the layouts (and colours) of Pete Woods, whose ability to capture all the facial expressions a bibliophile would expect of an emotionally-charged group of meta-humans battling both their own self-doubts, as well as a villain who can quite literally “transmute anything into what I want it to be -- even the air around” her. Of particular note has to be the way the artist blurs parts of his panels to denote movement, and how well this technique sells the notion of Raven’s spell attack or a shower of ice shards lashing out towards the startled do-gooders.

The regular cover art of "TITANS" #18 by Pete Woods

The Infernal Hulk #1 - Marvel Comics

THE INFERNAL HULK No. 1, January 2026

Proudly publicised by its New York City based publisher in August 2025 as “a brand-new take on Hulk” in which “an ancient horror begins its conquest of the Marvel Universe”, and weighing in as the twenty-sixth best-selling comic book of November, many a bibliophile would probably argue that Issue One of “Infernal Hulk” had an awful lot to live up to. Fortunately, Phillip Kennedy Johnson’s script succeeds in doing just that by quite literally hurling its audience straight into the thick of things as “the vessel of Eldest” descends upon poor hapless Red Creek, Kentucky, and utterly annihilates the armed forces hastily assembled to meet its threat.

Impressively though, this twenty-five page periodical isn’t simply a senseless, seemingly endless display of gratuitous violence and physical dismemberment either, with the American author cleverly weaving some more ‘humane moments’ into his narrative through the experiences of war hero-turned-local builder David Bridger. This resolute and determined soldier comes across as a character the reader can actually believe in, and resultantly makes the man's gruesome fate towards this tome’s end all the more hauntingly impactful.

Likewise, the creation of the Living City of Gologolthia should hook many a Marvelite with both its grotesque grandeur, as well as the future potential in attracting the attention of such notable super-heroes as Captain America, Spider-Man and the Avengers to its monster-infested streets. Indeed, in many ways “Rise” plays out like a major Summer Event rather than just the debut edition of a new ongoing series, and certainly seems to live up to its writer’s promise that “no corner of the Marvel Universe will be left untouched before the end."

Helping add to the sheer carnage on show throughout Johnson’s sensational storyline are the prodigious pencils of Nic Klein and Matthew Wilson’s colours. Together the creative duo really provide a pulse-poundingly strong sequence of interior visuals, with many a piece of brain matter, internal organ and partially-shredded limb being overtly splattered all over the panel whenever the utterly merciless titular character can get his enormous, purple-hued hands wrapped around a soon-to-be-slaughtered individual; “Bridger. Come down. You said you’d look out for us, Bridger. Remember? You promised.”

Writer: Phillip Kennedy Johnson, Artist: Nic Klein, and Color Artist: Matthew Wilson

Titans #17 - DC Comics

TITANS No. 17, January 2025

Having rather unconvincingly incapacitated the titular characters' entire roster due to suddenly suffering some “bizarre growth” in the centre of his brain, it probably came as quite a surprise to many of this comic’s readers that the Clock King would subsequently be so easily outwitted just twenty pages later. In fact, William Tockman’s defeat occurs so abruptly at the hands of Donna Troy, that much of John Layman’s storytelling in Issue Seventeen of “Titans” has to heavily rely upon artist Pete Woods padding the book out with a series of lengthy flashback sequences, rather than depict the protagonists making some complicated counter-attack; “No. I- -I didn’t plan for this. I - -I should have anticipated this.”

In addition, just how the former Suicide Squad member is even able to utilise Arsenal’s memories in order to mentally overwhelm the rest of the archer’s team-mates is never explained or explored. Instead, the American author expects his audience to simply accept that the villain has inexplicably gained some sort of extra-sensory, time-manipulation ability following his explosive exposure to Amanda Waller’s stolen super-powers, and is able to almost immediately use it to seek his revenge.

Similarly as unfathomable is debatably Troy’s ability to resist her fears and turn the tables upon Clock King using a shared memory. All the other Titans, including Nightwing, are subconsciously thrown back in time to repeatedly face their greatest nightmares over and over again. Yet somehow Wonder Girl manages to return to a moment “just a few hours old”, and subsequently relive it long enough for the likes of Cyborg, Beast Boy and Starfire to cross over into the recollection too.

Far more successful at entertaining any perusing bibliophiles, though just as bemusing as this publication’s penmanship, are Woods’ aforementioned layouts. The illustrator is very good at bringing some much sought after dynamic energy to Tockman’s dialogue-heavy scenes whenever the criminal is lecturing his helplessly bound prisoners. Furthermore, his splash pages showing the heroes getting beaten up by their most ferocious foes from the past are prodigiously pencilled – such as the horror on Dick Grayson’s face when he witnesses the android Failsafe mercilessly murder Batman with a giant bat-a-rang.

The regular cover art of "TITANS" #17 by Pete Woods

White Tiger: Reborn #1 - Marvel Comics

WHITE TIGER: REBORN No. 1, December 2025

Published by “Marvel Worldwide” to celebrate Hispanic and Latin America Heritage Month, this one-shot special certainly seems to do a good job of assimilating all of the titular character’s dysfunctional backstory, and setting the current wearer of the amulet of power up as a future force to be reckoned with on the streets of the South Bronx. In fact, in many ways Daniel Jose Older’s narrative for “White Tiger: Reborn” arguably reads more like the opening issue of a brand new ongoing series of adventures, rather than just a twenty-page limited release, and doubtless left many a bibliophile desperate to learn more about Ava Ayala’s new found powers, as well has her exploits alongside the private detective Nathaniel Blackbyrd.

Of particular note has to be the way in which the “superstar writer” has the “fifth incarnation of White Tiger” initially demonstrate her naivety to crime-fighting by falling hook, line and sinker for D’Spayre’s spectral shenanigans. Then impressively regain her composure when she realises the Fear God is simply feeding off her dead brother's past sorrows. Such intelligence shows there’s a lot more to this particular human mutate than just being a hot-headed, angry at the entire world vigilante, and provides some conviction to the notion that the woman won’t just be borrowing the mantle of the White Tiger, but actually owning it.

Also helping to successfully sell this yarn is Bruno Abdias, who does a splendid job of showing just how catlike Ayala’s physical movements are. Admittedly, some of the panels showing a disembodied ghost of Hector look a bit cluttered and clumsily composed. However, by the time D’Spayre is receiving his just comeuppance the Top Cow Talent Hunt Winner has clearly gotten into his stride, and does a marvellous job of super-imposing the claws of a great cat over the White Tiger’s far less sizeable fists; “This power surging through me! It’s like nothing I’ve ever felt!”

Far less impactful, though still a fun enough experience, is this publication’s second tale “Song Of The Coqui” by Cynthia Pelayo and artist Moises Hidalgo. Rather simplistic in its basic plot, as a group of Roxxon operatives storm a seemingly harmless talk at the Bronx Zoo, this five-pager shows just how much of a guiding light Hector’s phantom may well be in the future, and also brings Aya closer to her estranged cousin-turned-predecessor Angela Del Toro.

The regular cover art of "WHITE TIGER: REBORN" #1 by Mike Hawthorne & Federico Blee

Titans #16 - DC Comics

TITANS No. 16, December 2024

Set during the aftermath of DC Comics’ “Absolute Power” major storyline in which “Amanda Waller seized power and launched a worldwide crackdown on superheroes”, John Layman’s script for “Stitches In Time” doesn’t waste much sheet space in bringing any readers ignorant of the four-issue mini-series up to speed with its consequences. Indeed, for those within this nineteen-page periodical’s audience who never even encountered one of the 2024 event’s numerous tie-in titles, the sheer sense of disorientation with the super-team’s sudden roster changes must have been incredibly disconcerting at best; “You’re okay with this, Donna? Me coming back onboard the Titans?”

Foremost of these ‘swaps’ is debatably Arsenal’s unexpected decision to re-join the group, and then immediately begin to become upset when he realises that the Flash isn’t staying on, or that Nightwing will be leading him. Whether intentional or not, this discontent, coupled with Roy Harper’s arrogantly brazen attitude towards an extra-terrestrial incident aboard the Justice League’s Watchtower marks his character out as being particularly disagreeable, and simply doesn’t bode well for those bibliophiles who buy this book for its ‘family feeling’.

Furthermore, the American author doesn’t portray poor Garfield Logan in much of a good light either, with the hapless shape-shifter being depicted as a bit of a well-meaning buffoon who inadvertently puts his team-mates in jeopardy when he enrages a massively-fanged Tamaranean Carcaline. Admittedly, this mix-up is perhaps penned for laughs by the former editor for “Wildstorm” – or at least to inject a predominantly dialogue-driven comic with a bit of action. But any sense of humour is soon dispelled by the Question’s seething response to Beast Boy’s behaviour, and her all-too quick retort that it's not the first “sloppy mistake that could easily have ended in disaster” that he’s made recently.

Disappointingly, even Pete Woods’ pencils and colours arguably don’t help sell the word-heavy narrative either, with the Harvey Award-nominee’s clean lined figures appearing a little stiff-looking during some of the action sequences. Having said that though, the artist’s use of blurred figures to emphasize a sense of depth to his panels is absolutely first-rate, with the Clock King kicking Arsenal unconscious being one of the visual highlights of this entire publication.

The regular cover art of "TITANS" #16 by Pete Woods

Alien Verses Captain America #1 - Marvel Comics

ALIEN VERSES CAPTAIN AMERICA No. 1, January 2026

Announced at San Diego Comic-Con's Retailer Panel in July 2025, this four-part mini-series’ opening issue perhaps a little surprisingly focuses far more upon Baron Wolfgang von Strucker’s desperate search for a new weapon which will turn the tide of World War Two in the Red Skull’s favour than anything America’s Sentinel of Liberty is concerned with during 1944. But in doing so, Frank Tieri pens a thoroughly absorbing expedition to find “the fabled city of Attilan”, and a genuinely terrifying introduction to Twentieth Century Studios’ deadly race of killer xenomorphs.

Indeed, buried beneath the Himalayas and assaulted from every side by a small army of lightning-fast Facehuggers, it actually appears that the High Commander of Hydra himself may well succumb to the merciless aliens – just as the hapless Inhuman royal family apparently did some centuries before him. Fortuitously however, at least for the goose-stepping fascist super-villain, the human mutate’s Satan Claw provides the war criminal with just enough of an edge to escape such a horrible demise with a single, captive specimen, and subsequently plunge an already exhausted France into utter darkness; “Les monstres. We were…used as test subjects, oui? To breed… whatever those things are.”

Of course, the titular Captain America does eventually make a rather memorable appearance at this comic’s very end, when he thwarts an infant alien’s attempt to successfully escape Sergeant Nick Fury and his Howling Commandos. However, rather than be warmly welcomed by his fellow veteran, Steve Rogers (and Bucky Barnes) are quite shockingly met with angry resentment and hostility – something which bodes ill for the Silver Age of Comics characters working well together throughout the rest of this adventure.

Equally as on-form as this twenty-five-page periodical’s Brooklyn-born writer is artist Stefano Raffaele, whose layouts do a first-rate job in capturing all of Strucker’s uncompromising haughtiness and the Xenomorphs’ sheer deadliness in either a claustrophobically confined tomb or the initially idyllic, open space of a French village. Of particular note though has to be the Italian illustrator’s ability to harness all the chilling cold a reader would expect of anyone foolish enough to hike the snowy mountaintops of the Earth's highest peaks whilst doggedly looking for a potentially mythical, long-lost civilisation.

Writer: Frank Tieri, Artist: Stefano Raffaele, and Color Artist: Neeraj Menon

Conan The Barbarian #25 - Titan Comics

CONAN THE BARBARIAN No. 25, November 2025

Despite an arguably slow start to this “spectacular extra-sized twenty-fifth issue”, and a rather worrying insistence by its Canadian author to simply depict a series of nostalgic-flavoured flashbacks featuring some of Conan’s earliest adventures, “The Nomad” eventually takes on an intriguing life all of its own, and actually ends on a rather clever note that will surely have many a reader returning to this comic’s opening page for a re-read. Indeed, Jim Zub’s plan to craft a mysterious, almost hypnotic, white-skinned wanderer as the actual chronicler who pens the Cimmerian’s numerous exploits throughout the Hyborian Age is really well executed, and soundly sells the notion that the hooded wanderer’s gift of immortality to Aquilonia’s monarch is far more complex than merely making the aged King physically exist beyond the norm.

Furthermore, once the Animex Honorary Award-winner steers his ship away from merely retreading Robert E. Howard’s original short stories such as “The Frost-Giant’s Daughter”, the mix of old monsters and new predicaments proves rather exhilarating – especially when it comes to the ape-like Thak crucifying the barbarian whilst the terrifying Satha the Old One evilly watches on; “Life’s blood-rich wine still stings my palate, and I have not yet had my fill.”

Also well worthy of a mention, and a revisit, is the tension gradually built up by the disconcerting presence of the traveller before he ‘strikes’ during a grand feast. Admittedly, such is the patience shown by this book’s writer to reach this point in his narrative that a fair few bibliophiles might start to get a little tired of all the apprehension supposedly filling Conan’s royal courtiers. But with hindsight, the disquiet of Pallantides, the outrage of Publius, and loving concern of Zenobia, all help establish just how serious the situation is whilst the “tattered man” dwells within the grand gates of Tarantia.

Lastly, much of this “fully painted” periodical’s success also rests upon the shoulders of Alex Horley, whose artwork genuinely captures all the rich, colourfully vibrant life a sword and sorcery fan might envisage when visiting Howard’s Flower of the West. Of particular note has to be the illustration on canvas of this tale’s ‘antagonist’ dutifully approaching the Capital of Aquilonia, with the diminutive figure being absolutely dwarfed by the city’s huge walls and ornate entranceway.

The regular cover art of "CONAN THE BARBARIAN" #25 by Alex Horley

The Incredible Hulk [2023] #30 - Marvel Comics

THE INCREDIBLE HULK No. 30, December 2025

Whilst this “end of an era” certainly seemed to enjoy some success in October 2025 by becoming the thirty-third best-selling comic of the month, it’s probably not all that likely that the majority of its readers agreed with its New York City-based publisher’s claim that the book was a “landmark issue”. Furthermore, despite the title’s claim in its solicitation, Phillip Kennedy Johnson’s script doesn’t really feature the return of the Abomination either. But rather disappointingly, just poor Emil Blonsky’s corpse being possessed by Eldest; “Your flesh is mine!!! All flesh is mine!!! Give it to me!!!”

However, arguably this twenty-page periodical’s biggest problem is that it simply doesn’t address any of the ongoing series’ numerous plot-threads, such as the fates of Betty Ross, Doctor Voodoo or even Charlie Tidwell. In fact, none of these supporting cast members even appear in this heavily publicised “rematch to the death”, and are simply shelved off-screen in favour of Eldest apparently having the power to shockingly reach inside the founding Avenger’s chest cavity and quite literally pull Bruce Banner’s gore-splattered persona from out of it.

So sickening a spectacle is certainly as stomach-churning as it is dramatic. Yet even in victory, the Hulk’s arch-nemesis is then regrettably shown to have battled her way through countless gamma-infused characters for nothing, as the firstborn of Vinruvie soon discovers that the Mother of Horrors has actually withered and died whilst languishing in chains many moons ago. Such a lack-lustre fate for a villain who has repeatedly been plugged by this comic’s American author as being so formidable she was even capable of deposing the One Above All must surely have struck many as being something of a major cop out – and doubtless done purely to ensure the majority of this title’s audience move over to the writer’s next project “Infernal Hulk”.

Far more entertaining than this book’s narrative are Nic Klein’s layouts, which provide a truly eye-wateringly painful bout of fisticuffs between Banner's green skinned alter-ego and the aforementioned Eldest/Abomination. Any onlooker should really fell the exchange of bone-shattering blows, especially once the Green Goliath takes hold of a truly gigantic chained skull, and unceremoniously bashes Blonsky’s animated cadaver straight into the next panel.

The regular cover art of "THE INCREDIBLE HULK" #30 by Nic Klein

Bring On The Bad Guys: Green Goblin #1 - Marvel Comics

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

There’s probably a fair few fans of the Bronze Age of Comics who quickly became rather concerned with Ethan S. Parker and Griffin Sheridan’s script for “Bring On The Bad Guys: Green Goblin”, as the twenty-page one-shot soon makes it clear that its narrative will somehow be squeezed into Norman Osborne’s already convoluted time-line just when the merciless businessman is first succumbing to the homicidal tendencies of his criminally insane alter-ego. Indeed, this book’s plot even goes so far as to suggest that it was Mephisto who was behind the man's mental breakdown and that it was all due to the Lord of Evil needing a good person’s soul to temporarily sate the appetite of this mini-series’ mysterious Soul Forge.

Happily however, this retcon or “all-new piece” of the Green Goblin’s backstory doesn’t prove too problematic or even disagreeable, on account of the collaborative writers penning a rather touching, and ultimately tragic tale concerning one of Osborn Industries’ most hard-working employees. True, Alan’s grisly demise at the end of a demonic knife is never in any doubt. But the build-up to the workaholic’s murder must have genuinely hooked the hearts of many a reader, especially when it momentarily appears that the dutiful husband and devoted father’s behaviour might even cause his ghoulishly-masked assassin to have second thoughts; “Ten minutes! Then bed for everyone!”

In addition, the authors appear to be very aware that this ‘re-treading of old ground’ could potentially cause some inadvertent ripples in the titular character’s continuity, so drastically limit the number of cast members featured. So savvy a decision means that much of the publication has to solely focus upon Norman’s unpleasant thoughts as he wrestles with the consequences of his deal with Mephisto, and such a deep-dive into this unbalanced state-of-mind intriguingly soon shows that the maniac always had it in him to become both “the defining archnemesis of Spider-Man”, as well as “one of the most terrifying villains in the Marvel Universe.”

Competently completing this comic’s storytelling are artist Matteo Della Fonte and colourist Mattia Iacono, who together do a fine job of physically illustrating Osborn’s mania – whether it be the figure’s face suddenly featuring a deranged grin, or the Green Goblin’s wide-eyes almost hypnotically zooming in upon his victim during the death blow. Furthermore, there’s a couple of great nods to some of the criminal’s most memorable moments, most notably when the despot drags a heavily-bound, white-shirted Alan through the night sky behind his jet-glider.

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

Absolute Batman #11 - DC Comics

ABSOLUTE BATMAN No. 11, October 2025

Providing the much anticipated all-new “origin of Bane” according to Scott Snyder’s alternative universe, the heavily worded storyline for Issue Eleven of “Absolute Batman” must have physically exhausted many within the comic’s audience. True, the publication delivers a somewhat compulsive account of the muscle-bound behemoth’s early life upon the tiny island of Santa Prisca. But such is the sheer amount of narration hurled at the reader throughout its twenty-one pages that anyone picking up this book would definitely have had to work to reach the tale’s end; “He’s coming for you at this very moment. Wherever you are, kid, I’m sorry.”

Similarly as exhausting is arguably the pacing of this periodical, which repeatedly relies upon tiny, micro-panels to help tell its plot. These layouts seemingly slow down even the most pulse-pounding of military coups to a soporific speed which disconcertingly induces much of the weariness felt by the rebel fighters whenever they are forced to race across their homeland’s sandy beaches battling the enemy. Indeed, many a bibliophile was probably absolutely elated whenever Clay Mann pencilled a splash page or two, as it momentarily provides an all-too brief respite from the American author’s avalanche of syllables, sentences, and paragraphs.

Such a situation is genuinely disheartening, as this instalment contains several memorable moments – not least of which is Bane brutally breaking the back of his aged father as part of his deal with the Joker. Furthermore, the New York City born writer must have caught the vast majority of onlookers completely off-guard when the cold-hearted Caribbean killer quite literally chops off both of the Dark Knight’s arms with the vigilante’s own axe-blade, and then proceeds to brutally brain the pleading torso which remains.

Possibly just as disappointing as this comic’s penmanship is Mann’s aforementioned scribblings, which for much of the book simply aren’t given any chance to breathe. In fact, it’s not until the artist is able to muscle his sketches into some sensibly-sized frames that he is able to show how truly talented he is - even if  the illustrator’s design for a bare-chested, Venom-enhanced Caped Crusader may well look a little too over-the-top for some Bat-fans.

The regular cover art of "ABSOLUTE BATMAN" #11 by Nick Dragotta & Frank Martin

Teenage Mutant Ninja Turtles [2024] #12 - IDW Publishing

TEENAGE MUTANT NINJA TURTLES No. 12, October 2025

For those readers who have successfully navigated the debatable ups and downs of Jason Aaron’s year-long narrative for “Teenage Mutant Ninja Turtles”, this ongoing series’ twelfth instalment probably proved a bit of an anti-climax to the Alabama-born author’s lengthy storyline. Indeed, considering that a heavily mutilated District Attorney Hale is well and truly defeated just half-way through the twenty-two page periodical, this comic’s ambience genuinely smacks of its creative team simply just wanting the book to be over; “They said they had something important they needed to handle. Just the four of them.”

So disappointing an atmosphere is arguably best seen by the still bickering titular quartet supposedly finally setting aside their differences so as to conjure up a monstrous four-armed turtle spirit, whose ghostly presence in the night sky indicates that the ‘heroes in a half shell’ are once again fully committed brothers-in-arms. Unfortunately, none of this co-operative temperament is actually on show as Raphael continues to angrily ignore Donatello’s plea for a short-loved meeting of minds, Michelangelo repeatedly bad-mouths his fellow fighters, and Leonardo is once again hurled into the action, so his fellow siblings don’t have to listen to him anymore.

Admittedly, this sequence does show the main cast somewhat working together – especially when they employ the aforementioned Leo fastball special. But they simply don’t appear to be any more at peace in one another’s company as they were when they first begrudgingly came back together to fight the injustices overshadowing the Big Apple several issues past, and yet the audience are suddenly told to trust Donny when he conveniently claims “We did it. We fought our way home.”

Perhaps this book’s biggest head-scratcher though is at its very end, when artist Juan Ferreyra has to pencil the dead Master Splinter momentarily appearing before his 'children' during a sewer-based séance. Initially, it appears that the humanoid rodent is about to make some story-stopping proclamation, or perhaps even step back into the physical world from beyond the grave. However, instead Aaron decides to have the Sensei shockingly reform in the secret headquarters of “Jonin of the Foot Clan” after the sorceress has unsuccessfully tried “to pillage the secrets of the Afterlife, the Yomi-No-Kuni!” without any sort of rhyme or reason whatsoever.

The regular cover art to "TEENAGE MUTANT NINJA TURTLES" #12 by Jorge Fornes

Unholy Nightmare #2 - Mutant Farm Comics

UNHOLY NIGHTMARE No. 2, September 2025

It should probably come as to no surprise to any onlookers that an impressive one hundred and sixty-three backers dared “to continue the descent into darkness” with Issue Two of “Unholy Nightmare” on the online crowdfunding platform Kickstarter in June 2025. Sure, Dolan Waddick’s script for the thirty-two page plot arguably contains a fair few quieter moments than this title’s previous outing, courtesy of a somewhat romantic interlude between his two central characters back at the Recluse’s secret hideaway. But for the vast majority of this comic there’s still plenty of pulse-pounding action to keep the audience absolutely riveted; “Couldn’t I have gone to jail? Did I deserve to be shot repeatedly?”

Perhaps somewhat surprisingly however, many a bibliophile will also most likely find Lieutenant Magnum’s fiery introduction as the highlight of this book, rather than Jenny and her spiderlike partner-in-crime, with the absolutely no-nonsense Chicago Police Officer dominating every panel in which he appears. Of particular interest is the sheer sense of energy and humour the man adds to an already fast-paced car pursuit down the back roads of Gary, Indiana, with his heated rebuke of a rookie cop who gets their vehicle stuck in a traffic jam genuinely delivering a laugh-out-loud moment.

Furthermore, the author manages to provide every one of this publication’s considerably-sized cast with plenty of unique personality, including a wonderfully penned bald-headed priest who is as quick to throw a painful punch straight to the jaw as he is to amusingly curse using almost every expletive under the sun. Such individuality really helps draw the reader’s attention to each of Vlad’s mysterious minions, and should easily make them eager to peruse a much-desired third instalment of this title once its release is announced.

Similarly as successful as this comic’s writing though is its layouts, with Aurelio Mazzara, inker Gaetano Petrigno and colorist Gene Jimenez doing a fantastic job of bringing all the grim-faced ghouls contained within the narrative to vibrant life. Indeed, this book is absolutely packed full of some truly memorable visuals, such as Magnum’s aforementioned descent into a red-faced rage, or the Recluse’s awesome-looking arachnid-mobile sending the local police cars flying into the hard shoulder as it plunges bonnet-first into the murky depths of Lake Michigan.

Writer: Dolan Waddick, Illustrator: Aurelio Mazzara, and Colorist: Gene Jimenez

Star Trek: The Last Starship #1- IDW Publishing

STAR TREK: THE LAST STARSHIP No. 1, September 2025

Whilst co-author Jackson Lanzig was certainly right when he stated that this publication was going to be “something totally different" from the Star Trek stories he’s previously penned, it’s probably highly unlikely many of the thirty-two page periodical’s readers would agree with Collin Kelly’s claim that “If you love space, if you love adventure, if you love noir, this book is going to be for you." Indeed, for those older fans of Gene Roddenberry’s science fiction franchise, not even the last minute cameo of a resurrected James Tiberius Kirk will arguably be enough to have them placing this title on their monthly Pull List.

To begin with the entire series’ premise may well strike many within its audience as being unacceptably contrived with ninety-six percent of Starfleet being mysteriously eradicated via all the dilithium crystals across the galaxy suddenly exploding for no perceivable reason. This catastrophic disaster understandably leaves the Federation completely helpless, and apparently immediately causes the sole remaining Vulcan Admiral in charge to unconvincingly accept the help of the belligerent Borg – even though the always assimilating aliens have supposedly been dead and buried for centuries.

Debatably making matters even more unpalatable though is the Eisner Award-nominated duo’s decision to have their narrative’s central protagonist, Captain Delacourt Sato of the Starship Sagan, be rather disagreeably pompous and overbearing – even threatening to strip any other skipper in his fleet of their command should they go to red alert when an antagonistic Gorn fleet abruptly powers up “every weapon they have” during a tense stand-off. Furthermore, the senior officer’s plan to reconstitute an eight hundred year-old modular prototype into a transwarp space vessel which won’t then investigate the aforementioned “Burn” doesn’t sit well at all, and makes as much sense as the Borg appearing out of no-where simply to become the U.S.S. Omega’s engineer so they can subsequently ‘borrow’ the central plot from William Shatner’s 1996 novel “The Return”.

Disappointingly, Adrian Bonilla and Heather Moore’s layouts don’t seem to help with this comic’s storytelling either. Admittedly, the creative pair’s pencilling and colours are proficient enough to make it reasonably clear to any onlooker as to what events are taking place – with perhaps the Gorn’s holographic visualisation and a double-splash of the Federation’s new flagship being particularly worthy of praise. Yet most of the panels are filled with some incredibly dark, scratchily-sketched figures, which sadly simply don’t help spark the imagination for either the characters or the action.

The regular cover art to "STAR TREK: THE LAST STARSHIP" #1 by Francesco Francavilla 

Never By Night: Disturbing Passages Into The Unknown #2 - SnowyWorks [Part Four]

NEVER BY NIGHT: DISTURBING PASSAGES INTO THE UNKNOWN No. 2, October 2025

Quite possibly saving this horror anthology’s best story for last, Jonathan Chance’s “Collect Them All” is also this comic book collection’s most straightforward zombie-fest thriller – at least at the beginning when it seems that the author is simply corralling as many hapless innocents as he can muster into Pirate Pete’s Pizza House before unleashing a flesh-hungry cadaver amongst them. Enjoyably however, things don’t actually pan out that way at all, with the writer cleverly shifting the focus away from the adorable little Missy and her doting grandfather on to the staff working behind the counter at the fast-food diner.

This switch is remarkably well done, and definitely helps stop the narrative from flagging during its middle as the likes of David and Josh desperately attempt to leave the restaurant despite police marksmen cold-bloodedly gunning down any one reckless enough to escape their containment zone. In addition, the tale provides an intriguing cause behind the sudden and undoubtedly deadly outbreak, which will no doubt appeal to any within the audience who enjoy countrywide administration conspiracy theories; “But if you wanted to be the first to break the story… on the bio-hazard disaster at the Techizo Corporation and what the U.S. Government did to cover up a major outbreak occurring here.”

By far this yarn’s biggest hook though has to be the author’s ability to mix heart-warming emotion with sense-shattering action. The kind, loving relationship between the aforementioned little girl and her granddad is genuinely moving, especially once the child falls to the merciless infection and her elderly carer refuses to give her up to her ungodly craving for human brains. Nonetheless, such sentimentality is also quickly pushed from out of the readers’ minds, as the few remaining survivors terrifyingly find themselves fighting for their lives against both their former friends, as well as the people they originally thought must be coming to their rescue.

Ably adding plenty of gore and buckets of physical mutilation is penciller Rodel Noora, who alongside colourist Alzir Alves, does a fantastic job of ramping up the publication’s pace once the deaths start occurring. Indeed, the slow speed of this tale’s opening appears to neatly match that of the somewhat doddering old man spending time with his wholly innocent granddaughter, and then dramatically increases once the much younger and energetic protagonists take centre stage.

Written by: Jonathan Chance, Illustrated by: Rodel Noora, and Colored by: Alzir Alves

Absolute Batman #10 - DC Comics

ABSOLUTE BATMAN No. 10, September 2025

Chock-full of body mutilation and some truly terrific examples of just how ingenious Bruce Wayne can be when the circumstances warrant it, Scott Snyder’s narrative for Issue Ten of “Absolute Batman” probably kept its audience repeatedly guessing as to whether the Dark Knight was ever going to escape “the horrors of Ark M.” In fact, one of the few concerns some bibliophiles might have with this particular twenty-page periodical’s plot is just how the upcoming crimefighter is ever going to recover from removing many of his own teeth, and undergoing a number of near fatal surgeries – including a painful sounding “craniotomy and subsequent brain-stem insertion.”

Also somewhat disconcerting is the fact that no-one seems to actually care just who Subject Twenty Seven is, with the institution’s hierarchy seemingly doing no research whatsoever into the six foot nine inch tall vigilante’s secret identity. True, this inactivity could simply demonstrate a complete disinterest in just where the experimental facility gets its hapless stooges from. But considering just how much attention is subsequently paid to the titular character as he repeatedly attempts to break out from his cell, this lack of interest into someone who has previously defeated the Black Mask could strike some readers as being a little too convenient – especially when his mother Martha is so desperately trying to track him down on the outside.

Quite possibly this comic’s only other quibble is that Bane apparently always knows that Wayne is going to escape, as well as where to locate him within the massive maze-like complex. The American author does a good job of using Bruce’s various exploratory exploits to drop-in all manner of Batman’s (alternative) Rogues Gallery, such as Clayface and Poison Ivy. However, due to it soon becoming clear that the super-strong villain is apparently always one step ahead of his increasingly brutalised prisoner, any sense of suspense as to the possibility of the young man's escape is quickly diminished.

Definitely assisting in making this book as successful as it is has to be Nick Dragotta, whose ability to pencil the increasing physical toll being placed upon the (now) Capeless Crusader’s frame should genuinely disturb many within this publication’s audience. In addition, the sheer creativity employed to depict the other Ark M inmates is incredibly well done, with Waylon Jone’s Killer Croc persona probably being the best of the bunch.

The regular cover art of "ABSOLUTE BATMAN" #10 by Nick Dragotta & Frank Martin

Red Hulk #9 - Marvel Comics

RED HULK No. 9, December 2025

It is probably quite hard to find a comic book containing two quite so distinct halves as Issue Nine of “Red Hulk”. For whilst this twenty-page periodical’s opening part firmly focuses upon Thunderbolt Ross’ tenuous political sway inside his country’s government, and any favours he can pull when he needs help “to launch a mission to Latveria”. The publication’s later stages depict a no holds barred punch-up between the titular character and his cybernetically enhanced allies against a trainload of Doctor Doom’s nefarious automatons; “You have committed treason against Latveria. You are enemies of Doom. You will be executed.”

Happily however, both of these plot threads are enthrallingly well-penned by Benjamin Percy, and rather neatly flow into one another courtesy of an extremely bemusing “tickets please” scene. Indeed, in some ways it’s a pity that the General’s covert meeting with a sympathetic Senator doesn’t continue for a bit longer as the American author makes it clear that not all the politicians within the United States Capitol building are willing to bend the knee to the Fantastic Four’s foremost adversary.

Having said that though, there is an awful lot for readers to enjoy once the likes of Deathlok, Machine Man and First Sergeant Bowden begin mercilessly battering any Doombot foolish enough to identify itself aboard a cross-country express in modern-day Hungary. This lengthy action sequence, made all the more dynamic once the Red Hulk himself makes a welcome appearance, rattles along at a ferocious pace, and demonstrates just why the despicable despot of Latveria was so eager to ensure Ross went without any source of radiation when the aging war veteran was his prisoner in the past.

Quite possibly this comic’s sole quibble therefore might arise from those bibliophiles who struggle with Gabriel Guzman’s pencilling, and some of Bryan Valenza’s colour choices. There should be absolutely no doubt that the creative pair bring an absolute ton of raw energy to the proceedings, most notably in the form of a double-splash showing the claustrophobic close combat taking place within the passenger carriages. But some within this book’s audience may well find the odd panel too busy to perceive precisely what is going on with its heavily detailed lines and disconcertingly dark shadows.

The regular cover art of "RED HULK" #9 by Geoff Shaw & Marte Gracia

Never By Night: Disturbing Passages Into The Unknown #2 - SnowyWorks [Part Three]

NEVER BY NIGHT: DISTURBING PASSAGES INTO THE UNKNOWN No. 2, October 2025

It’s probably a safe bet that few, if any readers of “Now All Is Silver Blue” expected Jonathan Chance to pen so heart wrenching a story as he has, with desperate Eddie so tragically torn between the survival of his family and his sense of responsibility for the rest of a frost-bitten bunker’s inhabitants. True, much of this fourteen-page tale’s horror comes from the cold-hearted cannibalistic nature of the bandits who snatch the man’s adolescent son, rather than any supernatural ghoul or grisly walking cadaver. But that doesn’t detract from the sheer horror most bibliophiles will probably feel when they realise the child’s chances of enduring being eaten alive are increasingly slim.

Similarly as likely to make an emotional impact upon the audience though, has to be the treacherous nature of the other people who this plot’s central protagonist appears sworn to protect. Ultimately, the seemingly stubborn, almost forlorn sentry is proved right in his concerns that his party could still be attacked by the sharp-toothed killers who scour the frozen tundra looking for human meat. And so when the rest of the shelter’s inhabitants cowardly depart behind his back with all the remaining supplies, it really does appear that fate has tragically truly deserted one of the few virtuous people left alive on the desolate planet.

Perhaps this narrative’s most haunting moment however comes at its conclusion, when the father is forced to lie to his potentially dying offspring that everything will be okay once the boy wakes up. This scene is incredibly well-written, and packed with a tremendous amount of emotion. Indeed, it is possibly even more impactive because it leaves so many questions unanswered as to the supply-strapped couple’s ultimate fate, and resultantly relies upon the onlooker’s imagination to fill in the gaps – something which is almost naturally going to lean towards a disconcertingly dark and undoubtedly grim demise for the pair; “Okay Daddy. Love you.”

Undeniably adding plenty of pathos to Chance’s harsh world of biting winds and knee-deep snow are Emilio Utrera’s pencils. The illustrator is super successful in establishing just how violent Eddie’s life has become, and just how ‘hands-on’ the man is willing to be so as to save his loved ones from the cruelty surrounding them. Yet, it is also the artist’s ability to depict the character’s touching tenderness for little Louie which makes this agonizing adventure so genuinely enthralling.

Written by: Jonathan Chance, and Illustrated/Lettered by Emilio Utrera

The Thing [2025] #5 - Marvel Comics

THE THING No. 5, November 2025

For those fans looking forward to the much-anticipated “Ben Grimm verses Wilson Fisk” fist-fight promised by this comic’s New York City-based publisher’s solicitation, Issue Five of “The Thing” was probably a major disappointment. In fact, the notorious Kingpin doesn’t even make an appearance in this twenty page periodical until its very end, when an enraged founding member of the Fantastic Four unceremoniously deposits a trussed up Marty Flynn inside the super-villain’s personal office; “Heard you wuz lookin’ fer me. Do I get the $10 million bounty fer bringin’ myself in?”

Instead, Tony Fleecs attempts to pen a pulse-pounding finale between this mini-series’ titular character and a somewhat suped-up Hammerhead – which largely falls flat on its face when its revealed that throughout the adventure Aunt Petunia's favourite nephew has been holding back his super-strength, but won’t be during this particular confrontation. To make matters even worse though, the so-called punch-up doesn’t even last half a dozen panels, and unsurprisingly concludes with the Maggia crime boss flat out on the street.

Debatably this book’s best moment therefore comes when it is revealed that the man who “used to beat up a little kid twenty years ago” was actually behind poor Sara’s abduction in the first place, and only contacted Grimm for help when it became clear he realised he wasn’t going to be an important player in Fisk’s scheme to “scrape people’s powers and use it to make other guys stronger.” This revelation makes Flynn all the more loathsome, and assists the Thing later on in showing his fiery ward just how utterly pathetic bullies are compared to those who genuinely know when it’s “Clobberin’ Time!!!”

Lastly, Justin Mason’s layouts do a fairly sound job of supporting Fleecs with his storytelling – albeit the artist’s somewhat cartoony, ofttimes irregularly angled figures can be a little too jarring for so serious a theme as child kidnapping. In addition, whether intentional or not, the illustrator appears to pencil Ben as being as wide-eyed and circular as possible. Such a style may well suit someone smooth-skinned like the Blob or Volstagg the Voluminous. However, this technique debatably doesn’t work when applied to a meta-human who is supposed to be covered in rock-like armour plates as the lead protagonist is.

The regular cover art of "THE THING" #5 by Nick Bradshaw & Rachelel Rosenberg