DC Vs. Vampires: World War V #9 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 9, July 2025

For those readers eagerly anticipating “John Constantine [coming] to the rescue” of Earth’s last surviving super-heroes, as promised by this comic’s solicitation synopsis, Matthew Rosenberg’s script for Issue Nine of “DC Vs Vampires: World War V” must have been a major disappointment. True, the twenty-four page periodical certainly contains its fair share of adrenalin-fuelled, large-scale battle action. But Hellblazer doesn’t even feature in this book, with its American author instead relying upon the likes of the New Gods of New Genesis to try and save Frankenstein’s forces on Dinosaur Island.

Furthermore, Darkseid’s need to take the primeval peninsula seemingly makes no sense whatsoever, with Granny Goodness claiming it’s the only place on the planet from which the tyrant can launch an attack upon Aquaman’s deep-sea domain due to the extra-terrestrials apparently having a limited ability to travel underwater. Considering that the Lord of Apokolips has already ventured from another entirely different dimension, this sudden snag is pretty unpalatable, and strongly suggests that it is simply an unconvincing excuse for the New Yorker to casually cause the parademons to fight somewhere other than the bland-looking wintry wastes of America.

Similarly as off-putting though, is probably this publication’s overinflated cast of characters - thanks to the mini-series’ regulars being joined by all manner of minor crime-fighters, anti-heroes and desperados. The introduction of the Highfather and his band of arrogant deities is debatably bad enough to get a handle on, considering just how bizarre (and dislikeable) their holier-than-thou personalities are. However, Rosenberg soon then ramps things up by a factor of ten by also hurling Detective Chimp and the impressively large Dinosaur Island army at his readers, along with Darkseid’s Deep Six, the Atlantean Vampires and a handful of other never-before-seen costumed vigilantes.

Far more satisfying an experience is the second instalment to “Wildcat: Going The Distance” by Shane McCarthy. Subtly sketched by Fabio Veras, this disturbingly dark conclusion to Ted Grant’s search for his son is incredibly engrossing, and shows a tender side to the “long-time member of the Justice Society of America” which is seldom seen. In addition, the back-up tale still somehow manages to end on something of a high note, despite the former heavyweight boxer losing much of his reason for living in a world where vampires supposedly rule both the night and day.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #9 by Otto Schmidt

Uncanny X-Men #10 - Marvel Comics

UNCANNY X-MEN No. 10, April 2025

Containing plenty of pulse-pounding punch-ups, and an enthrallingly tense political nightmare for the highly dislikeable Corina Ellis, it’s arguably easy to see just why this particular issue of “Uncanny X-Men” was the fifteenth best-selling comic of February 2025 – at least according to “ICv2.Com”. In fact, some bibliophiles may well have expected “Off The Leash” to have done even better, as Gail Simone’s script manages to deliver a nail-biting battle between the Outliers and “a new, vicious and unstoppable anti-mutant weapon initiative” without just resorting to the rookie super-heroes unthinkingly battering their robot opponents into submission.

This decision to have the mutant recruits outwit their dog-based Sentinel foes really lies at the heart of this book’s successful storytelling, with Jitter’s decision to imbue herself with all the knowledge and wisdom of a combat medic causing the ‘X-Babies’ to work together as a team, rather than just’ smack the snot’ out of Larry Trask’s latest creations. Furthermore, the American author generates a real, palpable sense of danger for the potential X-Men recruits, with all four of the adolescents coming within a whisker of being savagely slaughtered by their assailants’ “chainsaw-like teeth.”

Enjoyably though, a good portion of the pleasure readers should experience from this twenty-page periodical’s plot doesn’t come from the aforementioned sense-shattering shenanigans either. But is somewhat surprisingly generated by the Warden of Graymalkin Prison, who completely loses her mind over the unauthorised assassination attempt, and furiously berates the likes of Captain Erza, Jerry Greentree and Trask when she realises the strike has “gone and made them [the Outliers] all heroes” with both the press and general public. Indeed, Ellis’ rapid meltdown may well be the highlight of this comic for some within its audience, considering how conceitedly calm and unpleasantly confident the malicious Doctor ordinarily is; “I want him running in the Danger Room by morning. Punitive mode.”

Also well worth a mention is Andrei Bressan, who along with colour artist Matthew Wilson, does a solid job in sketching all the highs and lows of Sofia Yong’s trip to the local shopping mall. The Brazilian illustrator is clearly capable of drawing some incredibly tender moments, such as Miss Deneer graciously thanking Nightcrawler for saving her daughter’s life, as well as create this comic’s more intense action sequences, and definitely helps add to an already stressed situation by prodigiously pencilling all the combatants with some highly emotional facial expressions.

The regular cover art to "UNCANNY X-MEN" #10 by David Marquez & Matthew Wilson

Star Wars: Inquisitors #3 - Marvel Comics

STAR WARS: INQUISITORS No. 3, November 2024

This “third issue of the 2024 canon comic miniseries” probably landed rather well with Star Wars fans due to its atmospheric opening sequence aboard a casino cruiser orbiting the planet Glee Anselm, and the twenty-page periodical’s subsequent scenes shadowing Seventh and Ninth Sisters’ determined hunt for a so-called ‘Jedi legend’. Furthermore, Rodney Barnes’ insights into just how this unique, Sith-influenced partnership somehow successfully operates as a pair is fairly well-penned, with the disconcerting duo proving themselves to be as cold-heartedly canny and downright murderous, as they are a bantering, almost comedic couple; “You said that sort of information was of value. How much is your other hand worth..?”

Equally as well written though, is the pair’s dialogue with Darth Vader on his Imperial I-class Star Destroyer, in which they reveal their plan to draw Tensu Run out of hiding by poisoning his local community with “a pheromone that drives one to madness”. This entire verbal exchange absolutely drips with solemnity, and makes it crystal clear that despite the two killers being unpleasantly over-confident in their assassination abilities, they are also still in dire need of acquiring the approval of their black-armoured master.

However, all this palpable intrigue and tension is then arguably ruined by the American screenwriter’s handling of the celebrated Jedi Knight, who having decided to establish an old-fashioned training temple somewhere along the Outer Rim, suddenly chooses to visit the Deadlands’ outdoor market just as the Inquisitors attack that very street with their deadly pollen. So utterly unconvincing a contrivance seriously smacks of sluggish storytelling, and debatably ruins any momentum that should have been gained whilst depicting the two opposing sides of the Force finally squaring up against one another.

Likewise, there’s plenty to enjoy and perhaps dislike about Ramon Rosanas’ artwork too. The vast bulk of the Eisner Awards nominee’s panels are top notch, with his clean-lined style making Vader’s aforementioned meeting with his two protégés suitably stiff and formal. But the decision to dress Run and his lightsaber-carrying colleague Pan Delesec in near identical hooded cloaks may well confuse many a reader during the commotion of their close combat against Seventh and Ninth Sister, to the point where the duel requires a couple of re-reads so as to better understand who is doing what.

The regular cover art of "STAR WARS: INQUISITORS" #3 by Nick Bradshaw & Neeraj Menon

Uncanny X-Men #9 - Marvel Comics

UNCANNY X-MEN No. 9, March 2025

Arguably containing some of the most blood-crazed, stone-cold killer Sentinels seen within the Marvel Universe, Gail Simone’s opening action sequence for Issue Nine of “Uncanny X-Men” is certainly not for any faint-hearted fans. However, despite such an incredibly grisly introduction to Larry Trask’s cybernetically-enhanced stray dogs, the bulk of this twenty-page book is disappointingly just filled full of word-heavy conversations between the titular cast and the young, predominantly unlikeable mutants under their guardianship; “Each one of y’alls gonna take one Outlier to mentor. Get close. But be the adult, not their buddy.”

Indeed, in many ways it seems as if the Oregon-born writer simply needed some storyline with which to pad out the majority of this comic, so decided upon a straightforward ‘pen-by-numbers’ sub-plot which allowed her to individually pair the central cast up with a fledgling character, and then uninspiringly have the duo discuss their future plans together. Such a technique certainly helps fill the sheet space. But it also makes the entire ensemble feel more like an understandably unused storyline from Chris Claremont’s run on the “New Mutants” during the 1980s - in which the fledgling X-Babies impatiently rebel against their well-meaning, highly-experienced tutors.

Thankfully though, things definitely do hot back up once Ransom, Calico, Jitter and Deathdream take a trip to the local shopping mall, and are almost immediately attacked by an unauthorised deployment of the aforementioned Wolfpack. This savage scrap is as enthralling as it is ferociously fought. Albeit the American author’s determination to depict Valentin Correa as some sort of major big hitter by him referencing that he's previously “knocked down Wolverine” with a single punch is rather clunkily-delivered, and shows a disagreeably arrogant side to the super-strong student.

Proficiently pencilling all of this comic’s highs and lows is Andrei Bressan, who undeniably adds an element of gratuitous body horror to its pulse-pounding proceedings which has seldom been seen before. In addition, the deadliness of the Bloodhounds attack upon the unsuspecting Outliers is extremely well-sketched, with many a bibliophile doubtless able to hear the disconcerting clank of the homicidal canines’ robotic frames on the plaza’s tiled floor as they encircle their intended target.

The regular cover art to "UNCANNY X-MEN" #9 by David Marquez & Matthew Wilson

The Incredible Hulk [2023] #24 - Marvel Comics

THE INCREDIBLE HULK No. 24, June 2025

Initially appearing to tell a tense, claustrophobic tale as to how Charlie Tidwell might be able to finally control “the pelt of the mother of all skinwalkers” which she now tragically wears, Phillip Kennedy Johnson’s narrative for Issue Twenty Four of “Incredible Hulk” is certainly packed full of surprises, and should definitely catch a fair few within its audience on their back foot. Sure, the twenty-page periodical’s plot doesn’t live up to its early promise of depicting Clea Strange guiding the headstrong adolescent through some sort of magical ritual so as to rid the girl of her occasional disagreeable lust for human flesh. But its various twists and turns should still provide most bibliophiles with a thoroughly entertaining trip down into the depth of the Sanctum Sanctorum.

Furthermore, when the House of Lycana’s werewolves do eventually launch their ambush, it comes completely out of the blue, and many a reader will doubtless feel a little bit upset for Bruce Banner as the good Doctor suddenly faces a truly grisly death, rather than the peaceful hour of quiet away from his super-strong alter-ego which he had been hoping for. Indeed, the American Eisner-nominated author genuinely makes the scientist’s plight palpably pathetic, and resultantly creates a lot more dynamic energy for this comic’s storyline when the titular character finally emerges to seek his revenge much later on in the book; “Idiots! You were not to consume him!!! Even dismembered the Fractured Son cannot die!”

Quite possibly this yarn’s sole disappointment therefore lies in there being no actual coverage of Stephen Strange’s wife fighting off Lycana’s ferocious minions prior to Tidwell’s visit. Of course, such an insight would clearly ruin the sheer shock suffered later on when it becomes clear that the Clea Charlie is talking to is really a demonic cultist. However, once this startling revelation has occurred there arguably would have been little harm in showing the sorceress unsuccessfully battling her home’s invaders by way of a flashback sequence or two, rather than simply have one of the devils verbally recount the Faltine hybrid’s defeat..?

Just as slightly irritating is some of Kev Walker’s artwork too, which seems to slightly ‘go off the rails’ for the odd panel showing the Hulk’s grotesque transformation back from a pile of gory, previously consumed entrails. This entire scene is understandably not for the faint-hearted, so the British illustrator’s occasional pencilling mishap when it comes to the Founding Avenger’s cartoony facial expression somewhat jars with the overall seriousness of the situation.

The regular cover art of "THE INCREDIBLE HULK" #24 by Nic Klein

DC Vs. Vampires: World War V #8 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 8, June 2025

Having apparently decided to stop providing any explanation as to what is occurring within this mini-series’ tortuously tiring tale, and simply throw an absolute bucketload more B-string characters into the mix for good luck, Matthew Rosenberg’s narrative for this particular twenty-four page periodical must surely have completely deflated any reader hoping to understand just what was going on. Indeed, like the last human survivors battling against a blizzard-ravaged Sante Fe in New Mexico, many within this comic’s audience will almost certainly feel like they’re having to wade through waist-high snowdrifts as they painfully navigate the American author’s ‘storyscape’ of unrelated set-pieces and word-weary conversations.

Easily this publication’s largest problem however, is just how utterly disconnected everything feels. One moment the action is revolving around Miss Martian trying to hold off Darkseid’s forces in a desolate-looking church, and then suddenly the spotlight lurches to The House of Mystery where a dead John Constantine is informed that he’s been 'saved' simply so he can impotently watch the Lord of Apokolips’ unexpected invasion of a vampire-infested Earth through a mansion window.!?! Furthermore, any perusing bibliophile will doubtless find it incredibly difficult to keep up with the movements of Lashina, Mad Harriet, Caitlin Fairchild, Hank Henshaw, F.E.L.I.X., G.I. Robot, and Kilg&re, not to mention Jack Kirby’s roster of the New Gods and the Metal Men, when the writing doesn’t supply any rhyme or reason as to where they’ve suddenly come from, or what their motivations are; “I can still eat someone’s bones though, right Gilotina.?”

Admittedly, that doesn’t mean that Issue Eight of “DC Vs Vampires: World War V” isn’t completely devoid of pulse-pounding action. Far from it in fact, as Ra's al Ghul’s Batman and Alfred Pennyworth’s Green Lantern are prodigiously pencilled by Otto Schmidt getting into a right scrap against an army of Parademons. But as with so much of this comic’s content, the bickering pair’s appearance appears to follow no overall plot, and comes completely out of the blue.

Intriguingly though, what does prove a far more satisfying yarn is this book’s sadly short-lived back-up feature entitled “Wildcat: Going The Distance”. Penned by Shane McCarthy and drawn by Fabio Veras this disconcertingly dark insight into what happened to Wildcat when the vampire’s first took control of the world is wonderfully atmospheric, and remarkably manages to pull upon the emotional heartstrings of any onlooker as Ted Grant desperately searches for his missing son amidst a land ravaged by blood-sucking killers.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #8 by Otto Schmidt

Uncanny X-Men #8 - Marvel Comics

UNCANNY X-MEN No. 8, March 2025

Outrageously announcing this particular twenty-page periodical as being “an all-out action issue” of “Uncanny X-Men” in its solicitation synopsis, Gail Simone’s actual narrative for “Finale” must have resultantly fallen very flat with its readers due to the comic essentially consisting of numerous word-heavy, conversational pieces and nose-to-nose discussions. Indeed, apart from Doctor Corina Ellis shamefully slapping her minion Scurvy squarely across the chops during the book’s opening, a proper physical blow in anger isn’t thrown amongst any of this publication’s numerous combatants until Professor Xavier’s mental image finally wallops Phillip’s psychological projection straight up into the stratosphere towards the end.

Up until this point, the vast majority of the sedentary storytelling is heavily reliant upon the considerable cast of characters disagreeably bickering with one another, and then supposedly ridding themselves of some malignant influence which has caused them all to be irrationally ireful. Just how the mutants manage to do this isn’t really explained, except through Rogue’s insinuation that the founder of the X-Men is somehow keeping ‘skinny boy’ too distracted to keep up this emotional assault upon her fellow team-mates.

Perhaps even more infuriating though, has to be this four-part storyline’s ending, which rather than show the likes of Cyclops, Jubilee, Wolverine and Gambit absolutely batter the over-confident military might of Graymalkin Prison, simply has the super-heroes impotently walk out of the correctional facility and leave their fellow incarcerated mutants behind. Such a conclusion is arguably far from satisfactory, and genuinely raises some important questions as to just how formidable these two teams supposedly top-tier rosters are when both completely fail to achieve so important a goal; “To Hell with your promises! You’re leaving him to rot. And worse!”

Possibly just as confused by so much talk and so little dynamism is Javier Garron, who undoubtedly does his best to provide this comic’s layouts with some semblance of pace. However, even the most proficient of pencillers can only repeatedly sketch Magik, Juggernaut, Nightcrawler and the Outliers inexplicably floating about in thin air for so long, before eventually resorting to a carousel of largely lack-lustre side-on shots of the two squads just waxing lyrical to one another about how they’d each do things entirely differently.

The regular cover art to "UNCANNY X-MEN" #8 by David Marquez & Matthew Wilson

Solomon Kane: The Serpent Ring #2 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 2, May 2025

Despite its twenty-three page plot heavily relying upon a dubious alliance between Robert E. Howard’s “sombre-looking” creation and the murderous villain Rolando Zarza, Patrick Zircher’s storyline for Issue Two of “Solomon Kane: The Serpent Ring” surely must have delighted its audience when it hit the spinner racks in April 2025. Sure, many readers may well struggle to believe the Seventeenth-century Puritan would stomach the dishonourable knight’s company for a single night, let alone the fifty-three days it takes them to travel together to the Kingdom of Kongo. But having placed the unlikely pair alongside a Venetian scholar and his daughter, as well as the highly disagreeable Nico Cassani, the ultimate fate of this band of incongruous adventurers certainly proves an attention-grabbing prospect. 

In fact, the American author wastes absolutely no time in showing this comic’s audience just how ‘unstable’ the five travellers can be whilst drinking together, by penning them all brawling in a disreputable tavern on the Gold Coast. This brutal bout of pugilism goes a long way to illustrate that none of the sword-fencing fighters will tolerate even the slightest disrespect to their so-called honour, whilst also rather cleverly portraying young Diamanta with a surprisingly wild side of her own when the brown-haired researcher merrily batters a local harlot over the head with a drinking jug; “I trounced that trollop!”

Similarly as beguiling though is arguably the artist-turned-writer’s secondary thread concerning the ill-fated Father Goncallo and a truly-terrifying Priestess Of Set. The fanatical Sha-Kabet’s obsession with keeping her killer cult’s presence a secret quickly shows that even a man of god is not safe from a harrowing demise, and also promises plenty of treacherous intrigues in the near future when the dead Christian is cunningly replaced by a shape-shifting serpent man.

Zircher’s layouts are also extremely pleasing to the eye, with the aforementioned holy man’s shock at seeing his exact doppelgänger clearly testing his sanity, if not his devout faith. Furthermore, the illustrator does a great job in physically imbuing the likes of Zarza and Cassani with just the sort of dangerous, dynamic energy an onlooker might well expect of two unprincipled brigades who have few moral scruples with which to live by.

The regular cover art of "SOLOMON KANE: THE SERPENT RING" #2 by Ivan Gil

Uncanny X-Men #7 - Marvel Comics

UNCANNY X-MEN No. 7, February 2025

Despite the first instalment to this comic’s “Raid On Graymalkin” storyline actually featuring in another “Marvel Worldwide” title entirely, Issue Seven of “Uncanny X-Men” still packs a surprising amount of punch. Admittedly, much of the twenty-page periodical’s opening third is understandably focused upon bringing anyone omitting to purchase Jed Mackay’s book bang up to speed with the mini-event’s overall plot. But the tense atmosphere between Rogue and Cyclops is so palpably penned by Gail Simone, that there is still plenty of entertainment to be found from the two former team-mates arguing over the phone.

Of course, the biggest hook to this publication occurs once Anna Marie LeBeau and Scott Summers have decided to attack Professor Xavier’s former home independently of one another, and some of the two squads' biggest hitters plough into the prison with an unbridled passion. These subsequent action sequences are absolutely chock full of pulse-pounding pugilism, such as when Rogue takes out the Blob within an instant of the Brotherhood of Evil Mutant-turned-Trustee making a startling appearance, or a brutally battered Beast finding the physical strength to renew the fight with his overconfident jailers, and should resultantly take any long-term fans back to the glory days of Chris Claremont, when his co-creations took few prisoners and arguably asked even fewer questions.

Another intriguing aspect to the American author’s script though is undoubtedly the short-lived tussle between Rogue and Cyclop’s ‘opposing’ squads. Misunderstandings between some of the New York City-based publisher’s top tier super-teams and the X-Men were always occurring during the Bronze Age of Comics. Yet it’s rare (and thoroughly enthralling) to see the veteran comrades-in-arms slugging it out amongst themselves, even if the kerfuffle is sadly rather short-lived; “This ain’t done, Scott. We both know it. You laid hands on mine.”

Disappointingly, what does probably let this comic down is the decision to intermittently utilise the artistic skills of both David Marquez and Edgar Salazar in the same book, as the two proficient pencillers arguably have disconcertingly different drawing styles. These differences debatably jar the reader from out of the adventure whenever a swap occurs, with Fred Dukes’ tubby alter-ego most notably suffering one of the more overt changes in appearance.

The regular cover art to "UNCANNY X-MEN" #7 by David Marquez & Matthew Wilson

Red Hulk #4 - Marvel Comics

RED HULK No. 4, July 2025

It’s arguably rather rare for a writer to ensure that their readers can physically feel the unbridled anger of a comic book character. But that is precisely what Benjamin Percy somehow achieves with his narrative for Issue Four of “Red Hulk” once General Thunderbolt Ross discovers “that Doom has taken over the world”, and furiously declares the he now won’t rest until “there’s an American flag planted on Latverian soil.

Indeed, this promise to a somewhat startled Deathlok also does a great job in setting up the twenty-page periodical’s cataclysmic conclusion, as the former commanding officer of Desert Base risks all just so his emaciated physical form can finally be exposed to some more Gamma radiation and take a big step towards achieving his vow; “Direct the nearest kiloton tactical missile to these coordinates.”

Similarly as impressive is the American author's ability to repeatedly demonstrate just how military-minded the aging soldier still is by showing Ross utilising both extremely basic survival skills – in the guise of killing, eating and skinning deer so as to survive sub-zero temperatures – as well as raiding an armaments locker for much more modern-day technology, such as some Kalashnikov automatic rifles. Admittedly, the army officer does get lucky in stumbling upon a deserted dwelling on the outskirts of Doctor Doom’s nearest power plant. However, the computers and manufactured firearms provide a nice contrast to the almost caveman look Thaddeus has assumed in order to outwit the army of Doombots hunting for him and his two comrades-in-arms.

Equally as well penned though, has to be the personality of Luther Manning, which provides an otherwise rather seriously-toned publication with an occasional injection of much needed humour. The ever-complaining cyborg assassin’s internal monologue with his computer brain is particularly impressive, and should certainly cause many within this comic’s audience to have a smile across their face whenever the pair are at odds with one another as to the severity of the situation.

Lastly, Geoff Shaw’s layouts should also be given a ‘big thumbs up’ for repeatedly reminding any onlookers as to just how desperate Ross, Deathlok and Machine Man’s plight actually is. The draining, exhausted look upon Thunderbolt’s face proves especially good at showing the immense toll the trio’s physical exertions are taking. Whilst the illustrator’s ability to have the threat of discovery constantly hovering over the heroes’ heads is well maintained, courtesy of the odd panel reminding everyone that one of Victor’s deadly cloaked robots is always only a heartbeat behind them.

The regular cover art of "RED HULK" #4 by Geoff Shaw & Marte Gracia

Uncanny X-Men #6 - Marvel Comics

UNCANNY X-MEN No. 6, January 2025

For those readers able to wade through this twenty-page periodical’s predominantly plodding plot, Issue Six of “Uncanny X-Men” will most likely prove something of a disappointment overall. Indeed, many a bibliophile will probably feel that Gail Simone was somewhat struggling to decide whether the publication’s storyline was going to predominantly follow the exploits of its titular characters, or instead feel like an early instalment of Chris Claremont’s hugely popular comic book series “The New Mutants”.

Unfortunately, the Eisner Award Winner’s inability to wholly commit to either of these narratives means that “The Change In Ourselves” arguably won’t completely satisfy either potential audience, and the end result creates some infuriating cutaways back to the students’ school life just when things are seriously hotting up for the main characters; “I can’t find Jubilee. I was - - I was distracted. There’s red on the floor. Everywhere. I think some of it’s blood.”

Furthermore, the American author appears intent on making Calico rather disagreeable, especially when the spoilt brat can’t have her own way. This unpleasant attitude towards the people who saved the young girl’s life actually results in the adolescent giving a blind Wolverine a concussion, and yet later, simply because the Outlier finally accepts that she is a mutant, the writer suddenly expects the audience to be sympathetic when Becca Simon-Pinette is ambushed by Doctor Ellis' men in the gym.

Perhaps this comic’s greatest crime though is in its failure to show Jubilation Lee battling it out against the likes of the Blob, Siryn and Wild Child inside a local supermarket. The X-Man’s mouth-watering “fateful solo mission” is even promised by the book’s solicitation synopsis. However, having shown the combatants squaring off against one another, absolutely nothing of Jubilee’s actual tussle against the so-called Trustees is seen, thanks to Simone preferring instead to simply pen a scene showing Logan struggling with Post-traumatic stress disorder (P.T.S.D.).

Sadly also grating upon the nerves is Javier Garron’s pencilling, which whilst proficient enough, is debatably a little ‘short of the mark’ from time to time, such as when Calico has her first big temper tantrum and commands her horse Ember to kick Wolverine into next weekend. In addition, the style of the apparently “renowned comic book artist and illustrator” appears to inconsistently leap all over the place, from a rather cartoon-like looking supermarket scene, to a much more seriously sketched tone whenever Rogue is involved.

The regular cover art to "UNCANNY X-MEN" #6 by David Marquez & Matthew Wilson

Star Wars: Inquisitors #2 - Marvel Comics

STAR WARS: INQUISITORS No. 2, October 2024

Focusing far more upon Fifth Brother’s “mission to kill a Jedi legend” than the Master of the Inquisitorius himself, Rodney Barnes’ storyline for Issue Two of “Star Wars: Inquisitors” certainly seems to be well-paced – combining the titular characters’ hunt for any Jedi surviving Order 66, with a thrilling dog-fight in outer space and nail-biting lightsaber duel. In fact, for a while the American screenwriter’s insights into just how Darth Vader directs his force-sensitive operatives is truly intriguing, with the Dark Lord of the Sith employing both the carrot and the stick to ensure their ‘loyalty’ to him; “Gratitude is premature. If my commands are not fulfilled, the Inquisitors’ suffering will be legendary.”

Disappointingly though, much of this impact is arguably then lost once the “knight named Tensu Run” makes an appearance, and the audience is suddenly expected to believe that a small group of bandits have suddenly decided to tackle Vader’s most-wanted whilst he’s travelling back to his “safe haven”. Admittedly, it is briefly mentioned beforehand that the outlaws know of the Jedi’s presence in the area, and that there is a price upon his head. But just how Pii-Lor manages to pinpoint the man’s precise location when the Empire apparently can’t is not touched upon. Instead, having found their prey, the pirates are simply shown to be completely incompetent pilots, and are all mercilessly blasted to pieces by their opponent’s star-fighter within moments of first firing upon him.

Similarly as unconvincing is debatably this twenty-page publication’s conclusion, which strangely sees Run decide to take his revenge upon the Empire for murdering (his) Master Elan, and battle Fifth Brother one-on-one on the long-abandoned planet of Gerrigon. Such a confrontation is definitely not unwanted, due to the sheer arrogance of the grey-skinned Jedi-killer as he stalks around the old Republic commerce hub hacking down security droids. However, their highly-anticipated exchange is rather short-lived, and it’s not really clear just how Tensu chops his foe’s arm off when he was quite literally on the back foot straight from the contest’s start.

Perhaps a bit more pleasing than some of this comic’s penmanship are Ramon Rosanas’ layouts. Imbued with a palpable claustrophobic atmosphere, courtesy of GURU-eFX’s colours, the opening third of this periodical is positively packed full of prodigiously pencilled panels depicting the Inquisitor’s aforementioned exploration of the world upon which he’s landed. Yet by the time Fifth Brother suffers his debilitating injury, there’s a profound stiffness seen in the artist’s figures, which makes the mutilating lightsaber strike appear to be physically impossible.

The regular cover art of "STAR WARS: INQUISITORS" #2 by Nick Bradshaw & Neeraj Menon

Uncanny X-Men #5 - Marvel Comics

UNCANNY X-MEN No. 5, January 2025

Most certainly delivering a "brutal conclusion to the Red Wave storyline”, Gail Simone’s script for Issue Five of “Uncanny X-Men” probably had the vast majority of its readers holding their breath in anticipation of how a well-beaten Rogue was physically going to look once the Hag had finished scalping the unconscious mutant. However, such engrossment must surely have waivered once the American author suddenly reintroduces an already dead telepath known as Harvey X into the mix, and far too conveniently has the youth miraculously re-energise the fallen super-hero to the point where she instantly bests a monster who previously was comprehensively cleaning Anna Marie LeBeau’s clock.

In fact, this rather bizarre reversal in fortunes comes so completely out of the blue that some bibliophiles will doubtless feel that the Oregon-born writer so badly penned herself into a corner by having Chris Claremont’s co-creation fall unconscious, that all she could come up with was this unconvincing 'miracle' to get the former member of the Brotherhood of Evil Mutants back upon her feet; “I’ve got a bit of healing power, too. It kept me alive, you know.? Down to my last li’l bit. Been saving it for you.”

Similarly as dissatisfying is debatably the swift effect Rogue defeating Sarah Gaunt has upon the rest of the titular characters – who up until this point were quite literally on their last legs fighting off the Hag’s killer army. Just like LeBeau’s aforementioned confrontation, this last stand appeared to be going very badly for Gambit, Wolverine, Nightcrawler and Jubilee. But just as the protagonists are about to bravely fall before far superior numbers, the action cuts away from the battle and disappointingly doesn’t return until after Remy has supposedly just told their murderous assailants “to go home." - Something they apparently very obligingly do..!?!

Much more persuasive than this twenty-page periodical’s plot is David Marquez’s artwork, which does a tremendous job of showing just how seriously wounded Anna Marie actually is. Such trauma is really important to this comic’s storytelling as it greatly contrasts with the much more positive look upon the mutant’s face when Charlie X has restored her vitality, and the Hag is kicked into next week with a single, well-placed boot. Furthermore, there’s a palpable sense of desperation to be found in the pulse-pounding panels depicting the rest of the X-Men’s last stand, and this is predominantly down to the illustrator giving the leading cast some wonderfully dynamic poses.

The regular cover art to "UNCANNY X-MEN" #5 by David Marquez & Matthew Wilson

Conan The Barbarian #19 - Titan Comics

CONAN THE BARBARIAN No. 19, April 2025

Described by its British-based publisher as “Jim Zub’s fresh take” on Roy Thomas’ co-creation Zula, it is probably fair to say that much of this twenty-two page periodical’s storytelling actually relies upon the layouts of Doug Braithwaite rather than the pen of its Canadian author. Indeed, it isn’t until Conan stumbles upon an isolated village “far to the South” that the Cimmerian actually holds a conversation with anyone, and even this stilted dialogue is cut dramatically short by a faceful of spear-points; “No pay. No gift. You have death in you. Leave now.”

Rather enjoyably however, the London-born illustrator is more than up to the task of carrying the weight of this particular comic upon his shoulders, and pencils its central character with all the deep-set weariness a fan of Robert E. Howard’s adventurer would expect in a story set straight after the death of Bêlit, the Queen of the Black Coast. Furthermore, the artist’s handling of the barbarian’s battle with a hungry crocodile, should genuinely make many a reader hear the frantic water splashes during the fight, as well as cause a fair few to actually hold their breath as the fast-drowning hero desperately stretches for his sword hilt at the bottom of a river bed.

Similarly as well-sketched is this book’s conclusion, in which its revealed that Conan is being tracked by a large black panther. The duo’s subsequent scrap atop a rocky outcrop does a cracking job of showing just how close to instant death the Cimmerian comes, whenever the claws of the creature he’s wrestling with are aimed at his head. As with the aforementioned semi-aquatic reptile, Braithwaite’s panels really do capture all the savage fury occurring between the two combatants, and towards the sense-shattering sequence’s end, it is quite possible for the odd bibliophile to feel the heaving animal’s hot breath upon their face as it triumphantly sits atop their momentarily bested foe.

Perhaps therefore, the only slight disappointment to be found within this publication comes at its very conclusion, which sees a badly beaten barbarian batter the great cat standing over him with a conveniently-placed hand-sized rock. This victory from the quite literal jaws of defeat is rather unconvincing, and far from resulting in the large feline’s demise, shockingly shows the bloody, badly wounded Panther magically transform into a seemingly uninjured ‘Guardian of the Grasslands’.

The regular cover art of "CONAN THE BARBARIAN" #19 by Roberto De La Torre

Conan The Barbarian #18 - Titan Comics

CONAN THE BARBARIAN No. 18, March 2025

For those fans of Jim Zub who have enjoyed his previous penmanship on various “Dungeons & Dragons” titles over the years, his quest-like storyline for Issue Eighteen of “Conan The Barbarian” will doubtless prove a rather fun reading experience as it contains a strong mix of thievery, magic hand-weapons, treachery and a fanatical priest who suddenly turns into a super-strong serpent man. However, for those followers of Robert E. Howard’s titular character, this comic’s twenty-two page plot is arguably packed full of inconsistent characteristics, utter stupidity and good fortune bordering on the incredulous; “After a few close calls, they return to the Tigress. In their absence the crew has restocked the shop and made minor repairs.”

To begin with the Canadian author appears to have turned both Belit and her heavily-muscled lover into a pair of far too trusting buffoons, who readily ally themselves to a young robber who was literally just moments earlier attempting to murder them in cold blood. This unbelievable bond is then made all the more unconvincing when Tarnasha starts telling the Pirate Queen of the Black Coast what ‘minor’ role the Shemite is to play in the attempted theft, and begins openly flirting with Conan right before the marauder’s eyes. Such insolent behaviour would surely never have been tolerated by “the only woman in a ship with an all-male pirate crew”, and disconcertingly suggests that the art professor at Toronto's Seneca College was simply scrambling around for a reason to justify Belit’s subsequent lateness to the botched burglary.

Possibly even worse though, is Zub’s writing concerning the central Cimmerian, who unwisely decides to tackle a huge, scale-encrusted Stygian with just his bare hands, rather than slay the snake-like man-monster with a straightforward sword thrust from behind. This physical encounter unsurprisingly goes very badly for the Conan, and results in artist Danica Brine having to pencil the heavily outmatched barbarian being viciously stabbed in the belly by the very double-bladed dagger he was attempting to steal. So savage a deep wound would surely kill, or at very least render immobile, any other human being. Yet this book's highly unlikely narrative desperately attempts to suggest that the adventurer is able to shrug off the life-threatening injury, as well as the resultant massive loss of blood which betrays his every footstep, to the point where he valiantly yomps back across the length of Kyros to his partner’s ship for this tale's all-too sudden ending.

The regular cover art of "CONAN THE BARBARIAN" #18 by Darick Robertson

Red Hulk #3 - Marvel Comics

RED HULK No. 3, June 2025

Considering that the basic premise behind this twenty-page periodical’s plot is simply to show Thunderbolt Ross running down a snow-covered mountain whilst being “relentlessly chased by an army of Doombots”, it is pretty incredible just how ‘unputdownable’ Benjamin Percy’s script for Issue Three of “Red Hulk” arguably is. In fact, many within this comic’s audience may well point to the American author’s enthralling insights into Thaddeus’ mental exercises during his long-term imprisonment in Latveria as this book’s biggest draw, as opposed to the decorated Air Force officer’s flight through a hostile, mountainous landscape.

Furthermore, the action sequences showing the three-star General coldly calculating how to battle his country’s numerous opponents across various inhospitable environments, whilst simultaneously keeping his somewhat emaciated physical form fit in a closely-confined dungeon cell, provides a splendid reason for the narrative to feature the crimson-coloured titular character throughout a storyline where “Rulk” himself doesn’t actually appear; “Most people have a map inside of them. That map starts with home. I’m not most people. The map inside me is bigger. Much bigger.”

Neatly complimenting so deep a dive into Ross’ militaristic mind is the main bulk of “Uncharted Territory”, which is cleverly penned to depict an unarmed Thunderbolt stoically using every scrap of information he has to hand, to stop a veritable army of Victor Von Doom’s heavily-armoured minions blasting him into oblivion. This lengthy chase scene is pulse-poundingly paced, and despite it becoming abundantly clear that the likes of Deathlok and a badly depleted Machine Man won’t escape the automatons’ sensors for long, still provides a modicum of hope that perhaps the old War Horse will pull something out of the bag at the very last minute.

Similarly as engrossing as this comic’s writing is Geoff Shaw’s highly energetic layouts, with the illustrator’s pencilling of the aforementioned Red Hulk montage providing this publication with a sense-shattering start. In addition, the artist somehow manages to maintain the illusion that the three, increasingly fatigued escapees are constantly under threat of discovery and death by their emotionless, artificially-powered pursuers, even when the mechanical monstrosities haven’t even appeared in a panel for a considerable time.

The regular cover art of "RED HULK" #3 by Geoff Shaw & Marte Gracia

Uncanny X-Men #4 - Marvel Comics

UNCANNY X-MEN No. 4, December 2024

Featuring a genuinely tense tussle between Rogue and the truly terrifying Sarah Gaunt, it is easy to see just why Gail Simone’s script for Issue Four of “Uncanny X-Men” landed so well with its audience in October 2024, and became the fourth best-selling comic book of the month. Indeed, the Oregon-born writer pens this pulse-pounding punch-up so expertly, that many a reader will doubtless tremble whenever they need to turn a page towards its end, for fear that the fight will depict poor Anna Marie LeBeau’s demise; “An’ here she went and found a way to make the concussion seem like a tropical vacation.”

Furthermore, this simply isn’t a narrative which solely relies upon bone-breaking violence to entertain its audience. But instead has a good deal of character development intertwined with all the close combat – most notably that of the Hag’s emotionally touching backstory which concerns the harrowing loss of both her helpless nine-year-old son, as well as herself, to a rain-lashing hurricane. This particular flashback sequence is very convincing, especially when it suggests the young woman may well be a mutant herself, and quite surprisingly imbues the “self-proclaimed witch” with plenty of pathos.

Similarly as well-crafted is all the chaos occurring back at Gambit’s hideaway in Louisiana over Wolverine’s life-threatening injuries. Understandably, Logan’s sudden arrival, courtesy of Nightcrawler’s teleportation powers, causes quite the dilemma for the remaining X-Men, as they must decide between rescuing their team leader or protecting “the young mutants being targeted by Sarah.” The arguments for and against one course of action rock back and forth throughout this publication, to the point where it only becomes clear at its very end as to just what Professor Charles Xavier’s super-group are going to do.

Doubtless making many a bibliophile squirm in sympathy as Rogue is mercilessly brutalised, and her love-torn Remy is pulled between 'pillar and post', are David Marquez’s marvellous layouts. The sheer physical gravitas behind the punches being thrown during Gaunt’s slugfest with Anna Marie are oft-times eye-wincingly good. However, it is surely the illustrator’s pencilling of the Hag’s origin story, along with colour artist Matthew Wilson’s haunting palette, which really leaves a lasting impact upon any onlookers.

The regular cover art to "UNCANNY X-MEN" #4 by David Marquez & Matthew Wilson

Solomon Kane: The Serpent Ring #1 - Titan Comics

SOLOMON KANE: THE SERPENT RING No. 1, April 2025

Proudly announced by its British publisher in December 2024 as “the first Solomon Kane solo series in fifteen years”, this supposed “much-anticipated return” of Robert E. Howard’s creation quite possibly proved somewhat disconcerting to those readers familiar with the early Seventeenth century Puritan. For whilst the twenty-three page periodical certainly opens in a blaze of glory, as long-fanged savages attack a village of much-more agreeable African natives, and the titular character does bloody murder aboard a Portuguese caravel, Patrick Zircher’s narrative subsequently seems to get a little too bogged down in dialogue-driven conversations, word-heavy discourses and a bewildering carousel of new cast members.

Indeed, by the time a somewhat sore and badly limping ‘Sword of Vengeance’ has somehow managed to make his way to the gloomy Ghetto Vecchio, some bibliophiles’ heads may well be swimming from all the different people and their stacked speech bubbles which this comic’s American author relentlessly throws at them; “I am bringing old Tujaru. His eyes are not what they were, but he is like you -- a good teacher.”

Happily however, Issue One of “Solomon Kane: The Serpent Ring” still provides plenty of hooks and thrills with which to ensnare its audience. Kane’s lone charge on horseback against three mounted brigands in a darkly lit mountain tunnel is especially well-paced and lively, as is the suddenly rather tense discovery of a Serpent-man’s flesh-stripped skeleton on the vast tundra of Ndongo. These sadly short-lived scenes manage to inject this book with some much-needed energy, just as it’s in danger of drowning in the aforementioned sedentary sequences set in the Republic of Venice, and ultimately should keep the attention of any peruser of “Dead Man’s Promise” throughout.

Easily this comic’s biggest draw though, is surely the Dayton-born illustrator’s pencilling, which along with his very own colour work, does a fabulous job in bringing his interpretation of the Age of Elizabeth to vibrant life. Of particular note has to be the stark contrast between the brutally harsh Africa and La Serenìssima’s supposedly stylishly civilised world that is just as diabolically dangerous. Likewise, the artist-turned-author is extremely good at imbuing Solomon with the quiet mannerisms of a man confident in his god’s good graces, despite him aggressively blazing away with a pistol and slashing pirates to death with a sword.

The regular cover art of "SOLOMON KANE: THE SERPENT RING" #1 by J.H. WILLIAMS III

DC Vs. Vampires: World War V #7 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 7, May 2025

Having shockingly thrown Darkseid and his numerous parademons into this mini-series’ already convoluted mix of characters towards the end of its previous instalment, Matthew Rosenberg’s gambit for Issue Seven of “DC Vs Vampires: World War V” arguably appears to consist of him trying to keep his audience busy with pulse-pounding slugfests and adrenalin-fuelled chase-sequences, so that there wouldn’t be any time for the readers to consider just how highly improbable the New God’s sudden appearance within this storyline actually is; “Your planet’s fate was sealed when he learned of its existence. But the timeline was sped up…”

And frankly, this ploy appears to work very well right up until the twenty-four page periodical’s plot comes to a crashing halt with the introduction of the traveller from the Fourth World known as Metron. Indeed, prior to the surviving super-heroes taking stock of their high casualty rate inside the Secret Sanctuary on Rhode Island, any bibliophile flicking through this comic book should have been immediately hooked by its splendidly-penned cocktail involving Robin, Gorilla Grodd, Jade, Green Arrow and Harley Quinn battling all sorts of demonic-looking, extra-terrestrials. 

By far the American author’s biggest hook though must surely be the one-on-one battle between Wonder Woman and the aforementioned ruler of Apokolips. This punch-up sadly soon becomes rather one-sided, after a ferociously-fanged Princess Diana loses her element of surprise. But even then the writing repeatedly holds the attention by suggesting that Darkseid is highly likely to tear the undead Amazon apart at any moment - just as he did with an overly-confident Aquaman earlier.

Helping to keep this book’s whirlwind of death-dealing and narrow escapes thoroughly engrossing is Otto Schmidt, whose panels race along at a neck-breaking speed. Of particular note has to be the illustrator’s ability to suggest the utterly insurmountable size of the parademon army. However, he is also a master of pencilling some wonderful little moments within all the mayhem, like Harley Quinn’s escape from the Vampire Queen - Barbara Gordon, and Mister Miracle’s sorrowful look from his underwater prison cell when he sees a distraught Queen of Atlantis stalking straight towards him and his baby daughter.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #7 by Otto Schmidt

Red Hulk #2 - Marvel Comics

RED HULK No. 2, May 2025

Rather cleverly steering this particular twenty-page periodical away from the cliché of simply having its titular character bash his way out of Doctor Victor Von Doom’s underground prison, Benjamin Percy’s narrative for Issue Two of “Red Hulk” should have completely held its readers’ attention when it first hit the spinner-rack in March 2025. Indeed, this comic’s main plot is truly focused upon Thunderbolt Ross utilising everything to hand so as to defeat his murderous foe - no matter how small or underpowered, rather than just depicting the former commanding officer of Desert Base boringly batter an entire legion of lethal Doombots to freedom.

Of particular note has to be the American author’s well-penned relationship between the veteran soldier and Machine Man. This partnership goes a long way to show how savvy Bruce Banner's long-term nemesis can be when needing help, and also assists in 'showboating' the abilities of the half-fried android whilst the pair face overwhelming odds, deadly gas and a seemingly unassailable dead end. In addition, the Oregon-born writer makes matters even more engrossing by subsequently introducing a rather disgruntled Deathlok into this mix, and by doing so imbues the prisoners' flight with plenty of extra entertaining dialogue and dramatic moments; “Heart’s got nothing to do with it. You computer’s right. It’s too later for her.”

Likewise, the armoured ruler of Latveria’s handling of this attempted break-out isn’t just restricted to him rather lazily sending out more and more robot guards. But actually shows how utterly merciless Doom can be when people oppose his plans for worldwide domination. The terrifying execution of a captive Cartel leader, along with the toxic poisoning of another inmate demonstrates the all-too high risks being taken by Ross and his “misfit crew” in defying the tyrant, and brings a whole new level of danger to the fast-paced storytelling once the group decide to save as many of the hostages as they can.

Ably adding even more nerve-wracking ‘zip’ to these pulse-pounding proceedings are the layouts of Geoff Shaw. The artist does a first-rate job in depicting Thunderbolt as if he truly has the weight of the world upon his shoulders, whilst his pencilling of Deathlok's mannerisms provides the human cyborg with loads of endearing personality as he battles to support his comrades-in-arms in their bid for freedom.

The regular cover art of "RED HULK" #2 by Geoff Shaw & Marte Gracia

The Incredible Hulk [2023] #23 - Marvel Comics

THE INCREDIBLE HULK No. 23, May 2025

Penning a physically unrecognisable Charlie Tidwell ‘innocently’ playing basketball with a group of friendly local people, Phillip Kennedy Johnson certainly seems intent on making this comic’s audience increasingly nervous as to whether any of the hapless homesteaders surrounding the shapeshifter will actually survive the ball game or not. In fact, once their happy little run-around is interrupted by the horrifying appearance of a winged servant of Eldest, the sense of danger to these pleasantly portrayed citizens is truly palpable, and may well cause the odd bibliophile to momentarily pause before turning the page to see which residents escape with their lives.

Furthermore, there is something truly troubling about watching the Hulk’s sidekick enjoying herself whilst wearing the face and body of a beautiful blonde who the young girl has previously eaten alive, and subsequently hidden the bloody, disgorged human remains. Of course, the adolescent’s need for camaraderie, amusement and social interaction is very understandable considering how lonely “Becky” must be whilst continuously walking alongside the giant green goliath for days on end. But these sequences still prove mighty unsettling as she continues to lie to the honest inhabitants, and then savagely lashes out at the wide-eyed goblin who brings her pleasant sports session to an abrupt end.

Slightly less successful however, is arguably the American author’s handling of Norgul, who steals Charlie’s skin and then attempts to fool Bruce Banner’s alter-ego by unnervingly wearing the ill-fitting disguise. Such a ploy was never going to work. Yet “the demonic thief” appears to be completely bemused that his ill-conceived plan fails miserably, and even gets more cross with Stan Lee’s co-creation when the Hulk reacts violently to the fiend scratching a huge chunk of flesh from his cheek; “Why do you attack? Am I not like you now?”

Interestingly, despite all this book’s brutal body blows, gory mutilation and disturbing physical transformations, it is artist Nic Klein’s pencilling of Charlie’s basketball game which probably remains most in the mind’s eye. The panels contain a real sense of guiltless joy, exuberance and fellowship, which is then so starkly destroyed by the presence of a misshapen, flying creature crouched upon a car and claiming to be “only a pretty human child, like you.”

The regular cover art of "THE INCREDIBLE HULK" #23 by Nic Klein