DC K.O. Knightfight #1 - DC Comics

DC K.O. KNIGHTFIGHT No. 1, April 2026

Considering that this was the fourth best-selling comic book of November 2025, it’s still somewhat difficult to imagine that all that many readers were completely won over by Joshua Williamson’s script for Issue One of “DC K.O. Knightfight”. Indeed, this tie-in title to the Burbank-based publisher’s 2025-2026 crossover event probably had many a Bat-fan scratching their heads in utter bemusement as a beaten Caped Crusader inexplicably finds himself “trapped within an alternative timeline/possible future – in which Dick Grayson replaced him as Batman.”

Admittedly, this disconcerting plot taps so wonderfully well into the ever-popular “Elseworlds” vibe that Bruce Wayne’s desire to discover more about the decidedly different Gotham City initially quite cleverly mirrors the wishes of this mini-series’ audience too. However, by the time the billionaire industrialist finally encounters the protégé who replaced him as his birth-place’s protector, so many ‘wibbly-wobbly timey-wimey’ events have been thrown at the reader that it’s debatably difficult to fully comprehend just how incredibly diverse this Robin Incorporated dominated world actually is; “I used the training you gave me and shared it with the world.” 

Furthermore, the Dark Knight which Nightwing previously usurped in this bizarre dimension is completely unrecognisable from the mainstream cowled vigilante - having apparently slaughtered the likes of Jason Todd, Tim Drake and Damian Wayne for daring to challenge him. However, for some reason that doesn’t apparently stop Grayson from repeatedly offering his former mentor an opportunity to simply stand down, and even leads to Dick going so far as to untie the supposedly homicidal Batman when they first meet so he can provide anyone listening with plenty of brain-bamboozling exposition.

Much more convincing than this comic’s penmanship is debatably its layouts with Dan Mora doing a top-job in imbuing all of the numerous Robins with the gracefulness one would expect from such acrobatic sidekicks. Of particular note has to be the artist’s ability to depict such a striking contrast between Grayson’s fighting style as opposed to that of Wayne, with Nightwing clearly appearing a much more fluid combatant over the older, and slightly slowing down crime-fighting veteran. In addition, Colorist Triona Farrell deserves a little kudos for making this publication’s futuristic metropolis such a vivid-looking concrete jungle, with the brightly-lit, neon-populated skyline appearing rather reminiscent of that seen in Joel Schumacher’s 1995 film “Batman Forever”.

Writer: Joshua Williamson, Artist: Dan Mora, and Colors: Triona Farrell

West Coast Avengers [2024] #10 - Marvel Comics

WEST COAST AVENGERS No. 10, October 2025

Described by its New York City-born writer as “a glorious west coast sun set”, this ongoing series’ final instalment definitely manages to bring the comic’s opening story-arc to an impressive, satisfying conclusion. Indeed, despite the sudden decision to cancel the title supposedly being caused by poor sales, the grim fate befalling the supposedly “redeemed” Ultron may well make the odd bibliophile even believe that the book was always only ever going to last just ten issues; “Hey! I was just coming out to pitch this. Mine was gonna be made of… metal. Not stone, but… this is great.”

Furthermore, the twenty-page periodical does a nice job of completing Blue Bolt’s character arc by showing the reformed criminal deservedly getting “paroled into service with the Avengers" by a judge. This moment genuinely proves a little emotional, and demonstrates just how well Gerry Duggan can progressively pen an initially disagreeable rogue like Tommy Watt when given some sheet space in which to do so.

Equally as impressive as the book's conclusion though, has to be the way the American author also manages to give most of the super-group’s considerably-sized roster a fair few seconds in the spotlight. Foremost of these moments probably involves Hank Pym’s robotic creation, who ultimately sacrifices himself so as to hold the truly evil Scorched Ultron in check for the foreseeable future. This situation is surprisingly tragic given the character's past history with the team, and sits well alongside other similar heart-breaking, sentimental scenes, such as when a clearly upset Jessica Drew stays on a beach beside her terminally-ill friend Meredith until the cybernetically-enhanced follower of the One dies.

Sadly, what does debatably let this book down is its layouts by Danny Kim. The artist definitely goes a proficient job of pencilling the Whackos’ fight against a seemingly unstoppable arch-nemesis. But once the “malleable armours of Ultron were brought to their melting point” a fair few figures appear to lose their discipline and degenerate into cartoon-like caricatures – most notably when Wonder Man has to choose between capturing the Scourge or saving a train from a sabotaged railway bridge. Furthermore, by the time the narrative has reached Watt’s aforementioned clemency, the illustrator appears to have abandoned any notion of providing his panels with any detailed backgrounds whatsoever, and even resorts to ‘a white nothingness’ for Watts’ final scene with Angelica Jones.

The regular cover art of "WEST COAST AVENGERS" #9 by Josemaria Casanovas

Space Ghost Annual 2025 - Dynamite Entertainment

SPACE GHOST ANNUAL 2025, June 2025

Weighing in with a fairly hefty twenty-eight pages, David Pepose’s narrative for this “very first Space Ghost Annual” may well have proved rather bamboozling for any readers hoping to just jump on on board the title for their first ride. For whilst the comic’s plot is absolutely packed full of dynamic action sequences and the odd emotional moment, it's far from being an accessible standalone story, and instead just carries straight on “after the thrilling events of Issue Twelve’s second-story-arc finale” with absolutely no exposition whatsoever; “Ever since the dawn of time, chaos and corruption have infected this universe…”

Indeed, even for those long-time fans of this ongoing series the revelation that Robo Corp’s nefarious leader Doctor Xander Ibal has somehow been completely “consumed by the infinite singularity of Ultima” may well come as something of a shock considering that the unscrupulous scientist has only just activated the artificial intelligence. Furthermore, the sheer speed in which the evil computer takes over the minds of almost all of the galaxy’s inhabitants repeatedly begs the question as to how it’s doing such a thing, as well as why it needs a little monkey known as the Binary Language Integrated Prototype to do so..?

Disappointingly, this book also seemingly suffers from some unconvincing developments such as Jace deciding he needs to undertake a lengthy spacecraft chase outside Robo Corp Tower so as to distract Ultima. Bearing in mind the Collective is already capable of simultaneously seeing through billions of different eyes and controls multiple satellites, why would it decide to focus so much of its attention upon a smart-mouthed boy who is clearly distracting it as part of a much wider ruse..?

By far this annual’s biggest asset therefore lies with the pencilling of Jonathan Lau and Andrew Dalhouse’s colours. The artistic duo do a great job in depicting a decidedly disconcerting view of a galaxy where every inhabitant serves a single unified purpose, and this then really helps emphasise the terror experienced by the few citizens who have a natural resistance to Ultima’s mind-controlling power. In addition, this publication’s visuals definitely don’t lack for plenty of zip, whether it be Jan running to reprogramme the Collective at its central core, or Space Ghost blasting into orbit in a desperate attempt to free his brain of the Collective's zombifying signal.

The regular cover art of "SPACE GHOST" ANNUAL 2025 by Francesco Mattina

West Coast Avengers [2024] #9 - Marvel Comics

WEST COAST AVENGERS No. 9, September 2025

Containing an enthralling and rather convincing fight back from the very brink of disaster by its titular characters, few fans would debatably believe that Issue Nine of “West Coast Avengers” would surprisingly prove to be the comic’s penultimate instalment. True, Gerry Duggan’s twenty-page plot does admittedly contain a few moments which probably didn’t land all that well with his audience – such as Simon Williams donning the ill-fitting attire of a local car valet after his own costume was literally fried to pieces. But overall this book contains a number of well-written moments which show just how much the roster has grown into a super-team.

Foremost of these ‘arcs’ is most certainly that of the Blue Bolt, who despite being repeatedly shot and risking the cold-blooded murder of his father, still desperately attempts to live up to the words (and expectations) of War Machine. The reformed villain is shown to repeatedly demonstrate the Whackos’ core values, and even finds the time to remind the reader of his criminal past by making the odd joke about now needing to “get to a non-extradition country” following his recent prison break.

Similarly as persuasive though has to be how Spider-Woman quite wonderfully manages to hold things together just long enough to give (good) Ultron a chance to challenge his utterly mad, mechanical brother. So many lesser writers would probably have had Jessica Drew somehow shift the large concrete slab away from her injured comrades-in-arms. However, in this publication it’s clear the “former unofficial member of Heroes for Hire” is already at the very limit of her super-strength, and needs additional help if she is to successfully extract herself from a mountain of rubble; “Spider-Woman to the Avengers broadcasting blind -- I need help! Can anyone hear me?”

Sadly, Danny Kim’s layouts don’t do all that good a job in selling parts of this comic’s adrenaline-fuelled action sequences. Jessica’s aforementioned plight is very well pencilled, with the illustrator really capturing both the physical and emotional strain on the face of poor Drew. Yet by the time this book ends, the artist appears to be rushing through each panel at tremendous speed, disappointingly providing the likes of Jim Rhodes and Tony Stark with some disconcertingly amateurish facial features.

The regular cover art of "WEST COAST AVENGERS" #9 by Josemaria Casanovas

Planet Of The Apes Verses Fantastic Four #2 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 2, May 2026

Whilst there’s arguably little doubt that Issue Two of “Planet Of The Apes Verses Fantastic Four” should provide the vast majority of its readers with an enthralling experience, the sheer number of subplots Josh Trujillo throws into the twenty-page periodical’s narrative suggests that the Los Angeles-born writer was perhaps a little concerned as to whether his story would have the legs to run for an entire “four-issue Marvel comic miniseries.” In fact, towards the middle of the book the whole premise of the title appears to suddenly swing around to following in the footsteps of Michael Wilson and Rod Serling’s screenplay for the 1968 motion picture, rather than anything particularly original; “Based on what Taylor said, I have an idea of where the ship crashed. But not what condition it’s in.”

To make matters even more confusing though, the American author also creates a large, gun-toting population of straw-hat wearing gorilla farmers who rather unconvincingly rise up to assault the soldiers of Ape City simply because a red-hooded stranger informs them over a night-time campfire that their civilisation’s leaders are feeding four humans with their harvest. So bizarre a predicament genuinely smacks of this tale rather desperately needing some sort of threat to draw the likes of General Ursus back to the capital, and debatably appears disappointingly contrived at best.

What does land well however, has to be Johnny Storm’s discovery of a submerged ANSA space vessel at the bottom of the Forbidden Zone’s lake. This sequence should bring back a wave of nostalgia to any bibliophile who has watched Franklin J. Schaffner’s original science fiction flick, and also muse the ramifications of poor Stewart’s demise when the meta human spots the dead astronaut’s rapidly aged corpse still inside her compromised hibernation pod.

Perhaps therefor the most consistent thing about this publication are the pencils of Andrea Di Vito and Erick Archiniega’s colours. Together the artists do an absolutely first-rate job of depicting this crossover comic’s considerably-sized cast, with the rather imaginatively rock-covered Doctor Zaius proving especially memorable. Furthermore, Urus’ brush with one of the Red Ghost’s super-apes really brings home just how physically strong gorillas are – whether it be the General or Miklho.

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #2 by Greg Land & Rachelle Rosenberg

West Coast Avengers [2024] #8 - Marvel Comics

WEST COAST AVENGERS No. 8, August 2025

Faced with a seriously deranged incarnation of Ultron who seems more than capable of finally destroying the Earth’s Mightiest Heroes, Gerry Duggan’s narrative for Issue Eight of “West Coast Avengers” should have kept the vast majority of its readers delightfully entertained. In fact, this particular twenty-page periodical is arguably a perfect mix of super-powered fisticuffs and pulse-pounding sub-plots – such as Blue Bolt’s rather impulsive prison break so he can rescue his father from the deadly sharpshooting sights of the Scourge.

Furthermore, the American author does a good job of imbuing this comic with a genuine sense of vulnerability to its titular characters, whether it be James Rhodes' heavily armoured War Machine getting his clock cleaned by Hank Pym's merciless creation, or the 'virtually invulnerable' Simon Williams being turned into a devastating ionic energy bomb. Such palpable jeopardy is especially difficult to achieve when it comes to the ordinarily near-omnipotent Iron Man – a protagonist often “cited as [being] a top five superhero alongside giants like Batman and Spider-Man." Yet in facing a robot who has already survived flying into the Sun, Shellhead certainly seems to have bitten off far more than he can chew; "The final tally wouldn't be calculated for days. But the deaths were in the hundreds."

Similarly as engaging though is the aforementioned plight of Thomas Watt, who despite all his best intentions to go straight, ends up assaulting a detention centre official and subsequently getting shot whilst en-route to save his elderly dad/team-mates. The former villain’s desperate dilemma really does pull at the heart-strings, and seems so utterly unfair considering just how far Flag-Smasher’s stooge has come since first joining the Avengers work-release programme.

Likewise, artist Danny Kim also appears to be at the top of his game for this publication, providing the battle sequences with all the fast-paced, adrenalin-fuelled dynamism a reader might expect from so cataclysmic a confrontation. The illustrator is especially good at giving Wonder Man a terrific moment in the spotlight as the human mutate brutally batters Scorched Ultron through several floors of its predecessor’s Church, only to then be completely overpowered by his opponent’s malicious code infecting chain weapon.

The regular cover art of "WEST COAST AVENGERS" #8 by Ben Harvey

Conan The Barbarian #28 - Titan Comics

CONAN THE BARBARIAN No. 28, February 2026

For those long-term readers of the father of the sword and sorcery subgenre, Jeffrey Shanks’ claim at the rear of this comic book that Jim Zub is merely “finishing one of Howard’s unfinished yarns” may well ring rather hollow. Indeed, the notion that the Animex Honorary Award-winner's bizarre plot concerning Aquilonia’s King committing bloody acts of ritual human sacrifice in order to elevate himself as a master of the Dark Arts was actually developed from “Howard’s own words” is ambiguous at best – especially when the regular contributor to this publication’s back pages also admits that “Robert E. Howard never wrote about the event directly.”

Instead Issue Twenty Eight of “Conan The Barbarian” should probably be more accurately seen as just being an attempt by its Canadian author to weave his own long-running narrative concerning “Black Stone Magic” into one of the most beloved episodes of the Cimmerian’s career, irrespective of any conflicts it may cause with accepted canon. Unfortunately though, even this notion of simply being ‘fan fiction’ debatably doesn’t help make this storyline particularly convincing or even entertaining, as much of it consists of the narrator making broad, sweeping statements as to how the kingdom-sized war progressed, rather than telling a specific detail about its numerous military actions.

By far this comic’s biggest disappointment though has to be the way in which the Flower of the West’s mad monarch is portrayed as a guileless sorcerer who having mass-murdered many of his courtiers to attain the blessing of some unspeakable deity, simply allows Conan to approach his dais and strangle him. So undemanding a death for so powerful a ruler is truly underwhelming, and may well cause many a reader to wonder just why Numedides didn’t stab at his barbaric killer with his raised dagger, or at least put up some sort of physical struggle considering that the mercenary’s arm with which he is being throttled has just had an arrow go right into it. 

Far more convincing than this book’s script is Fernando Dagnino’s pencilling, which does a great job in depicting some of the various foot-fights and cavalry charges Zub fleetingly mentions. However, even the most ardent fan of the Spanish illustrator must surely have been a bit bemused by his handling of Count Trocero – who rather than being established as the titular character’s future “trusted counsellor” is instead sketched as a rather moody, disagreeable malcontent who fully intends to usurp the crown for himself; “Damn these hidebound fools! When I am crowned King of Aquilonia, I will remember who stepped up to meet destiny and who only fell in line when it was most convenient to do so!”

The regular cover art of "CONAN THE BARBARIAN" #28 by Gerardo Zaffino

West Coast Avengers [2024] #7 - Marvel Comics

WEST COAST AVENGERS No. 7, July 2025

Predominantly focusing upon Killerwatt’s origin story and subsequent poor relationship with his physically abusive father, Gerry Duggan’s script for Issue Seven of “West Coast Avengers” definitely does not contain the much-hyped punch-up between Tommy and Wonder Man which this comic’s Ben Harvey-sketched cover misleadingly implies. Indeed, after a very brief exchange of cross words the pair actually appear to form a seemingly perfect friendship, with Simon Williams even deciding upon the spur of the moment to visit the reformed villain’s ‘Old Man’ when the super-hero learns that the somewhat repentant parent is a long-time fan of his.

But that doesn’t mean for a moment that this twenty-page periodical’s plot isn’t a riveting read, as its mixture of genuinely heart-warming goodness and distinctly dark physical violence – courtesy of a deranged Ultron slaughtering as many of The One’s cybernetically enhanced disciples as he can get his cruel claws on – is incredibly well-penned; “My friend missed a check-in, and there was just a very loud boom -- even for Downtown L.A.”

Furthermore, the American author’s handling of the former Masters Of Evil member turned actor is rather cleverly done, marking Williams out as a sincere, caring protagonist, who actually has a heart of gold beneath his ‘Big Screen’ bluster. This calm approach to life also provides the comic with a neat, noticeable contrast when compared to the sheer terror experienced by the likes of Spider-Woman when she unknowingly stumbles upon Ultron’s latest killing spree, and actually heightens the sense of fear emanating from the scenes set inside The One’s Church as everyone inside is quite literally torn asunder.

Danny Kim also appears to be in good form pencilling this publication’s layouts, and somehow manages to show just why an adolescent Tommy grew up to become the despicable Killerwatt within the space of just a half-dozen ‘flashback’ panels. In addition, the terrified look upon the faces of all the cyborgs fleeing for their lives as Hank Pym’s homicidal creation mutilates their android frames is first-rate, and really helps sell the notion that despite being formidable physical specimens in their own right due to their mechanical bodies, these hapless followers of a false god are still mere fodder before the murderous might of an utterly mad Ultron.

The regular cover art of "WEST COAST AVENGERS" #7 by Ben Harvey

Conan The Barbarian #27 - Titan Comics

CONAN THE BARBARIAN No. 27, January 2026

Considering just how sedentary so much of Jim Zub’s narrative for “The Ill-Suited Guest” is, it’s probably clear to many of this comic’s readers just why Robert E. Howard never penned “a specific story detailing Conan’s battle to win the crown of Aquilonia” himself. Sure, the Canadian writer does manage to inject a morsel of manic activity towards the book’s end – as the Cimmerian and Prospero make a rather unlikely prison break. But just why the civilisation’s population should suddenly riotously rise up against their monarch in the barbarian’s name is arguably far from convincing.

To begin with King Numedides isn’t depicted as being all that insane a ruler, at least until he suddenly declares that Poitain’s latest General will shockingly lead an ill-advised invasion of Zingara. Instead, the Web Cartoonists’ Choice Awards-winner merely hints at the monarch’s predisposition for the Dark Arts, as well as having plenty of political savvy when it comes to ensuring his kingdom’s most powerful Barons are constantly fighting one another rather than threatening him. As a result the everyday people’s decision to attack the ruler’s guards whilst they are publicly whipping the Wolves of Westermarck comes somewhat ‘out of the blue’, as does the masses’ call for the Mad King to be dethroned.

Similarly as unpersuasive though has surely got to be the author’s sub-plot featuring Conan somehow surviving the blades of three deadly assassins whilst chained to a cell’s ceiling. Now some long-term fans of the adventurer possibly won't be all that surprised by the Cimmerian managing to pull one of his shackles loose from its stone block before he is slain. However, the fact that the barbarian’s skin directly above his heart is so leather-like that it can apparently deflect a full-blooded dagger thrust must have caused them to raise an eyebrow or two in alarm; “Whatever light work these murderers thought they had this night… Now they must contend with a barbaric beast braced for vengeance!”

Far more successful than this twenty-two page periodical’s writing is therefore undoubtedly its art, thanks to some excellent illustrations by “Ferocious Fernando Dagnino”. The Spaniard seems especially adept at making many of this publication’s dialogue-driven sequences perfectly palatable by pencilling lots of interesting details on every one of Numedides’ banquet guests – not least of which is Dion of Attalus, whose cynical attempt to have Conan marry his beautiful daughter should genuinely raise a smile or two.

The regular cover art of "CONAN THE BARBARIAN" #27 by Nick Marinkovich

West Coast Avengers [2024] #6 - Marvel Comics

WEST COAST AVENGERS No. 6, June 2025

Considering that Gerry Duggan’s script actually lives up to its pre-publication promise of pitting the titular characters against "Earth's Mightiest Heroes" in a hard-hitting punch-up, Issue Six of “West Coast Avengers” somewhat surprisingly probably still left many within its audience rather cold. True, the twenty-page periodical depicts a fascinating bout of fisticuffs between Storm and Blue Bolt – which stems from the pair deciding that their contest won’t be readily resolved if they simply rely upon their manipulation of lighting. But arguably something feels disconcertingly off with the way in which the American author handles all the different personalities involved.

Foremost of these criticisms is the Vision, whose arrogance actually rivals that of Tony Stark for the duration of this comic book. Indeed, the entire tense confrontation between the two sides is debatably due to the android distrusting his former team-mate’s decision to add Ultron to the Whackos’ roster, and belief that the former mass-murdering super-villain has somehow brainwashed the billionaire industrialist. This worry is certainly well-founded considering just how many times “the mechanical monstrosity” has attempted to kill the Avengers in the past. However, having been given total access to all the robot’s code, the synthezoid then tries to prove his fears are correct by actually taking over Hank Pym’s creation and making it strangle him almost to destruction..!?!

So extreme a move simply makes no sense, and is later made all the more preposterous when the Vision subsequently blames Tony Stark for being entirely responsible for it happening in the first place – even though Stark ultimately saves him from Ultron’s death grip by using one of his covert back-up plans for just such an emergency. Furthermore, doubtless the odd bibliophile’s head will be left spinning by Ororo Munroe’s bizarre decision to allow Tommy Watt to smack her straight in the mouth without making any attempt to stop him; “So -- No lightning. So how do you wanna go, then? Muskets? Chess? Wanna throw hands?”

Significantly more convincing than this comic’s penmanship are Ton Lima’s layouts, which whilst containing the odd, stiffly-posed protagonist from time to time, predominantly does a cracking job of showing the considerably-sized cast squaring off in pairs. Of particular note is surely the Wasp’s surprising appearance towards the story’s end when she is almost instantaneously transported from a Fashion Week Gala show to the Avengers’ Los Angeles Stronghold. This sequence is really well drawn and genuinely helps sell Janet Van Dyne’s ability to turn into a gun-toting, almost microscopic assassin in the blink of an eye.

The regular cover art of "WEST COAST AVENGERS" #6 by Ben Harvey

Absolute Batman #14 - DC Comics

ABSOLUTE BATMAN No. 14, January 2026

As issue-long punch-ups go it’s easy to see why this particular edition of “Absolute Batman” was the third best-selling comic book in November 2025. Sure, Scott Snyder crams so much action and adrenaline-fuelled physical mutilation into his twenty-four-page plot that many of its readers will feel as tired as the heavily-fatigued titular character does by the publication’s end. But there is arguably just so much to take in with a first perusal that the vast majority of its audience will doubtless feel obliged to pour through the Darknight’s “final battle” against Bane once or thrice more at least; “I wanted to put your mind at ease. This whole incident, I see it as a minor setback.”

Furthermore, the American author manages to somehow squeeze in a whole plethora of tantalising titbits for this ongoing series’ future, such as a faceless Emergency Medical Technician named Dick Grayson cursing the Caped Crusader’s notoriety on the Gotham news channel, and Catwoman making off into the night with a container filled full of the “extremely potent steroidal compound” Venom. These ‘hooks’ genuinely hold plenty of promise as to potential storylines, as well as ensuring that the more dedicated bibliophile will scour each and every panel again to see whether even more ‘easter eggs’ are hidden within. 

Of course the biggest pull has to be Bruce Wayne’s cataclysmic conflict with Bane, and there can debatably be little doubt that this conclusion to Snyder’s “Abomination” narrative delivers it in spades. Whether an onlooker is a fan of a seriously outmatched Alfred Pennyworth, the diminutive Harley Quinn or even the crocodilian-shaped monster Waylon Jones, the (new) Bat-family’s brutal onslaught against Arkham’s super-strong test subject at the Veteran’s Arena contains plenty of hold the attention. 

In addition, Nick Dragotta pulls out all the stops as this comic’s regular artist, pencilling an incredible number of pictures – whether they be a scatter gun of small, rectangular-sized frames or a double-splash of Batman so jacked up on Venom that his suit quickly begins to split at the seams. Of particular note has to be the illustrator’s handling of Bane’s incredible regenerative growth, which towards the end of the book has the villain’s bulk absolutely dwarfing that of the Dark Knight, and setting up the conclusion for some truly grisly injuries as the Caped Crusader sets about hacking through the murderous maniac’s flesh with his large hand-blade.

The regular cover art of "ABSOLUTE BATMAN" #14 by Nick Dragotta & Frank Martin

West Coast Avengers [2024] #5 - Marvel Comics

WEST COAST AVENGERS No. 5, May 2025

Whilst Issue Five of “West Coast Avengers” is very much a comic of two decidedly different halves, it still must have landed reasonably well with its readers. In fact, the twenty-page periodical’s opening is packed with plenty of promise as Ultron’s recruitment into Tony Stark’s super-team continues to make some of the Marvel Universe’s other mightiest heroes a tad concerned, and the "Whackos" finally show what they’re capable of when they join forces against “Steve Rogers’ dark double” so as to stop him attacking a Department of Defence nuclear convoy.

Admittedly, much of this adrenalin-fuelled momentum is then lost once the action stops and Firestar rather suddenly admits that she’s an alcoholic to her comrades-in-arms. But up until this point, Gerry Duggan pens an enthralling scrap in which Flag-Smasher shows just how formidable an opponent he can be – even if he does eventually take something of a beating whilst the rest of his Sovereign Sons are battered into submission by a barrage of War Machine’s rubber bullets; "Hey Rhodes -- That armour can double as a casket, soldier.”

Far more sedentary is this battle’s aftermath in which Angelica Jones is once again shown repeatedly smooching with Tommy Watt, before deciding she needs to enter rehabilitation for her unhealthy drinking habits. Such character development would debatably be rather impactive if Firestar’s arch had actually been allowed to gradually grow into such an admission of vulnerability (and possibly love). However, as all these revelations have only occurred within the past few editions, many a bibliophile may well feel its all rather forced and unconvincing; especially as the American author attempts to pepper such shocks with some in-jokes and childish witticisms.

Danny Kim’s art-style is also debatably best suited to illustrate this book’s more dynamic moments, rather than the aforementioned slap-stick comedy hour which ends the publication. The artist is very good at depicting Grant Rogers’ exceptional ability to hurl his baton, and the almost jaw-breaking strength behind his punches. Yet much of this attention to detail appears to be missing from his panels whenever he is called upon to pencil the more dialogue-driven sequences, and on the odd occasion his work even appears reminiscent of the tongue-in-cheek visuals employed by the animators of the original 1997 “Pokémon” cartoon series.

The regular cover art of "WEST COAST AVENGERS" #5 by Ben Harvey

Nightwing #113 - DC Comics

NIGHTWING No. 113, June 2024

As landmark three hundredth issues go, Tom Taylor’s script for this particular twenty-two page comic probably struck many of its readers as being a bit too dialogue driven for such an impressive milestone. True, the book does start off with the exhilarating spectacle of the three Robins teaming up together so as to thwart an illegal armaments delivery at Gotham City docks. But the trio of Batman’s proteges understandably soon make short work of their opponents, and what then follows is an awful lot of talking; “Can you wrap up with the Police here? Oracle has been up all night directing some of the Titans in Bialya.”

Indeed, considering that “DC Comics” proudly proclaimed how the titular character had worked “alongside the universe’s most powerful heroes, against existence’s most sinister villains” in its solicitation synopsis, the Australian author’s decision to pen a simple story about Dick Grayson being publicly honoured for his good Samaritan work at a charity event instead of battling one of the foremost members of his Rogue’s Gallery, such as Blockbuster or Tarantula, is debatably a bit head-scratching.

Similarly as disappointing though has to be the decision to have Daniele Di Nicuolo pencil this publication’s layouts. The co-creator of Jeff the Land Shark’s somewhat cartoony art style works incredibly well for this comic’s aforementioned action-packed opening, with the heroes’ deadly, night-time arrests coming across as rapier-fast as a bibliophile would expect from such highly-skilled acrobatic crime-fighters. However, when it comes to Taylor’s much slower, word-heavy sequences, the Italian illustrator debatably seems to struggle to maintain any sense of pace with the scenes.

Impressively however, the same cannot be said for the speed at which “00:01” carries its audience along as this comic’s secondary tale. Penned by Michael W. Conrad and superbly sketched by Howard Porter, this tale of Nightwing desperately attempting to penetrate a gang of clown-faced goons intent on blowing up a tube train rolls along at a genuine breath-taking speed. In fact, some may well wish that this thrill-a-panel joyride had been expanded upon so as to become this book’s main yarn, whilst Grayson’s nostalgic trip to Marv and George’s Pizza place after his award ceremony was significantly truncated.

Writers: Tom Taylor & Marv Wolfman, and Artists: Daniele Di Nicuolo & Bruno Redondo

West Coast Avengers [2024] #4 - Marvel Comics

WEST COAST AVENGERS No. 4, April 2025

As personality-driven pieces go Gerry Duggan’s writing for Issue Four of “West Coast Avengers” certainly must have caught a fair few of its readers off-guard by momentarily depicting a “romance” between the deeply disturbed Firestar and “the newest and least-tested member” of Iron Man’s team. Indeed, despite the New York City-based publisher’s overt declaration that this particular twenty-page periodical would depict Angelica Jones smooching with the disagreeable Blue Bolt, the actual moment the two characters kiss is still arguably rather surprising.

For starters, the former New Warrior appears to make it crystal clear beforehand that she doesn’t want anything to do with Tommy Watt, and even reprimands the rehabilitating super-villain for addressing her as “Red”. She then spends the vast majority of this comic pushing the people around her further away with her excessive drinking, paranoid delusion that Tony Stark is not to be trusted, and misguided, alcohol-fuelled belief that the "Whackos" leader would rather have Ultron on his squad’s roster than her.

All of these misconceptions cause Firestar to seemingly depart the West Coast Avengers for a solitary existence with just her drunken demons. However, within moments of Blue Bolt chasing after her, the clearly vulnerable heroine is shockingly embracing a man who previously joined Hydra under Flag-Smasher’s rule. Of course, Watt does apparently manage to penetrate poor Angelica’s brain fog with his PTSD diagnosis, and offers her a shoulder to cry upon. But even so, the unlikely pair’s night-time smooch debatably just seems to have been penned by Duggan for its shock value, rather than anything else; “Please don’t call me Red. Please don’t call me anything Killerwat.”

Disappointingly, Danny Kim’s pencilling also appears to be just as unconvincing as this book’s narrative, despite the artist at least providing it with some much-needed dynamism when Iron Man and War Machine tackle the “nasty member of the Technarch race named” Shradram the Breaker. Much of this ‘unease’ stems from some almost amateurish-looking panels featuring Jim Rhodes and Stark, where the two armour-reliant protagonists genuinely appear to have been sketched by someone different to whoever is drawing Jones' facial features. In fact, even Firestar’s appearance occasionally suffers from a disconcerting lack of detail, such as when she starts drinking from a hip flask right in front of the billionaire industrialist.

The regular cover art of "WEST COAST AVENGERS" #4 by Ben Harvey

Alien Verses Captain America #3 - Marvel Comics

ALIEN VERSES CAPTAIN AMERICA No. 3, March 2026

Packed full of planetwide invasions, grisly infestations and some seriously scintillating close combat, those readers who enjoy witnessing Xenomorphs massacre both heavily-armed soldiers and hapless civilians with the same deadly precision will doubtless have enjoyed Issue Three of “Alien Verses Captain America”. Indeed, Frank Tieri’s plot for this twenty-page periodical races along at a truly breath-taking pace, and only occasionally pauses to allow the likes of Sergeant Nick Fury to momentarily mourn the deaths of his Howling Commandos before throwing its audience back into a writhing mass of all-devouring aliens.

However, such unrelenting storytelling does arguably result in the American author taking a few somewhat jarring short-cuts when it comes to explaining some pretty important events, like the Kree’s Supreme Intelligence being ruthlessly slaughtered by a heavily-mutated chestburster. Sure, this comic’s opening does a grand job in depicting the Empire’s initial fall before the razor sharp teeth and spiked tails of the extra-terrestrials on the planet Hala. But there’s no explanation as to how the ‘militaristic, blue-skinned humanoids’ subsequently manage to vanquish their merciless foes under the leadership of Supremor Mar-Vell.

In fact, apart from the Kree clearly assuming the mantle of galactic defenders against the Xenomorph hordes, this book doesn’t debatably provide all that much information about them at all – and seemingly supposes that any onlookers already know about their large, interstellar civilisation. Such an assumption can prove a little problematic at times, such as when Tieri suddenly introduces Yon-Rogg into the narrative from completely out of the blue, and due to the commander’s physical similarity to Mar-Vell, could easily be mistaken for the “decorated captain” himself – an oversight which isn’t clarified until Steve Rogers calls him by name several panels later.

Easily doing most of the publication’s heavy-lifting though has to be Stefano Raffaele and colour artist Neeraj Menon. Together the creative pair provide some gobsmackingly good layouts, and provide so many intriguing insights into the fall of Hala, that some perusing bibliophiles may well wish that this particular instalment of the mini-series went into much further detail as to the aforementioned fall of the Kree’s artificial intelligence; “The Gods of Pama were unkind to us that day. Many lives were lost.”

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

West Coast Avengers [2024] #3 - Marvel Comics

WEST COAST AVENGERS No. 3, March 2025

Advertised as being the comic in which Iron Man and War Machine finally reveal just “how their Ultron became a hero”, Gerry Duggan’s storyline for Issue Three of “West Coast Avengers” probably didn’t live up to its audience’s expectations. Sure, the twenty-page periodical does provide its readers with some sort of insight into why one of Hank Pym’s mechanical monstrosities suddenly decided to join Tony Stark’s super-team whilst the convalescing artificial intelligence was orbiting the Earth. But precisely what the motivation for so shocking a change in behaviour could be is never debatably disclosed; “I will find out enemies, the Avengers, and make them allies. I will live to serve.”

Instead, the majority of this magazine has the “veteran of Deadpool, X-Men, Star Wars, and Gotham City” depicting just how dangerously dysfunctional this particular incarnation of the “Wackos” is, with the likes of both Blue Bolt and Firestar appearing to be utterly incapable of following their team leader’s instructions. Indeed, arguably the highlight of this book is Tommy Watt’s repeated attempts to best the One and his cyborg-cultists against Iron Man's wishes, only to keep being continually flattened by them.

Furthermore, Angelica Jones’ complete inability to pull her fire-laced punches, even though her opponents are still partially human, shows just how far down the slippery slope of alcoholism the former New Warrior has sadly fallen. However, rather than make the reader sympathetic to the young woman’s plight, Duggan pens her with such arrogance and hubris that the character becomes increasingly disagreeable – most notably when Firestar shows no remorse for burning a chap who is subsequently almost killed by the One as a punishment for hitting Blue Bolt into a lamp post.  

With such ‘choppy’ writing, it is therefore perhaps not too unexpected to find Danny Kim’s layouts rather disappointing too. This comic’s aforementioned opening featuring a number of Ultron’s holding court on the Moon’s surface debatably lacks any sense of true drama, whilst many of the artist’s panels appear to alternate between some rather impressively detailed close-ups – such as when Spider-Woman realises one of the One’s followers is terminally ill Meredith, to some rather bland, almost amateurish figures – as seen when a rather disconcertingly rotund War Machine decides to deploy his riot package in mid-air.

The regular cover art of "WEST COAST AVENGERS" #3 by Ben Harvey

The Golem #1 - Mutant Farm Comics

THE GOLEM No. 1, September 2025

Offered as an add-on during the June 2025 kickstarter for Issue Two of “Unholy Nightmare” by “Mutant Farm Comics”, Dolan Waddick’s storyline for “The Golem” must surely have delighted any of the campaign’s backers who added it to their pledge. Indeed, the comic book creator’s take on so iconic a mythical monster from Jewish folklore is incredibly emotional, and should readily tug upon the heartstrings of even the most cold-blooded of readers; “I love you, Bissel. Happy Birthday. Someday soon, we’ll celebrate on a beach.”

This genuine sense of attachment to both the pitiable Jerome Abrahams and his deeply endearing eight-year-old son, Adam, is undoubtedly the highlight of this short-story, and proves particularly impressive given that the writer achieves it within the space of just a handful of panels. In addition, it makes the second part of this horror tale all the more impactive, and easily explains just why the boy’s father readily loses all interest in life once the ‘apple of his eye’ has been so cruelly taken from him.

Of course, those bibliophiles more interested in action than careful character building will doubtless have soon found plenty of adrenaline-fuelled terror and physical mutilation to keep them happy in this comic too – courtesy of the titular character rising from its remains and taking a truly terrible revenge upon the Nazi soldiers responsible for running the Concentration Camp. These scenes don’t suffer from any unnecessary dialogue or exposition, and are simply allowed to run their course as the almost silent behemoth tears all of his former captors asunder, whilst simultaneously tenderly mourning the demise of his recently executed father.

Adding an incredible amount of depth, tenderness and all-too understandable savagery to these enthrallingly-penned proceedings are the incredibly well-detailed layouts of Vu Danh. The decision to simply utilise the Vietnamese concept artist’s black and white pencils really adds to the sombre, almost hopeless existence experienced by Abrahams and his fellow prisoners. It also allows the audience to witness the tragic, physical frailty of the death camp’s inmates, as well as later emphasise the sheer hopelessness of their Nazi captors when the tables are well and truly turned against the vile regime.

Writer: Dolan Waddick, and Illustrator: Vu Danh

Planet Of The Apes Verses Fantastic Four #1 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 1, April 2026

Described by its New York City based publisher as “an exciting new chapter in Marvel Comics’ storied history with Planet of the Apes” when it was first announced in November 2025, Josh Trujillo’s plot for this four-part mini-series’ opening instalment probably caught quite a few of its readers off-guard by stripping Reed Richards’ famous super-team of their special powers. Indeed, for those bibliophiles expecting to witness the Fantastic Four dynamically going toe-to-toe against the gorilla soldiers of human-hating General Ursus, this particular twenty-five page publication will undoubtedly strike them as being rather sedentary in its storytelling; “Your quality remains undetermined, but you leave this tribunal with many questions.”

True, the American author’s narrative isn’t entirely confined to being a dialogue-driven courtroom drama, and does – courtesy of an adrenalin-fuelled flashback sequence – provide a genuinely scintillating bout of fisticuffs between Stan Lee’s co-creations and the Red Ghost. However, just how Ivan Kragoff managed to penetrate the well-documented security systems of the Baxter Building with his Super-Apes, let alone activated Mister Fantastic’s Di-Quantum Stabilizer is never explained, and may well resultantly strike some in the audience as simply providing this comic with some much-needed “Thok!” before the book gets too bogged down with a seemingly never ending carousel of conversations.

Perhaps this publication’s best moment therefore occurs just after a de-powered Fantastic Four miraculously arrive in one of the large crop fields belonging to Ape City, and are quickly captured by a handful of soldiers. This sequence does a good job of acknowledging one of the defining scenes in Franklin J. Schaffner’s 1968 movie “Planet of the Apes”, and certainly brings back memories of actor Charlton Heston deftly dodging one of the gorillas’ nets as they unsuccessfully tried to ensnare his silver screen alter-ego.

Likewise, Andrea Di Vito does a first-rate job in capturing all of Twentieth Century Studio’s science fiction characters – such as “Cornelius, Zira, Ursus, and of course Dr. Zaius!” Furthermore, the illustrator's backgrounds make it is very easy to imagine the increasing roar of a hostile crowd as the leading member of the Ape National Assembly, Minister of Science and also Chief Defender of the Faith desperately attempts to “follow the rules set forth by the Lawgiver” so as to ascertain just who these (new) talking humans actually are.

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #1 by Greg Land & Rachelle Rosenberg

Space Ghost #12 - Dynamite Entertainment

SPACE GHOST No. 12, April 2025

Considering that at the start of this twenty-two page periodical both “Ghost Planet lies in ruins” and “Space Ghost clings to life”, many a bibliophile were probably excitedly wondering just how David Pepose’s subsequent plot would show the titular character still saving the day. Indeed, with Moltar’s seismic resonator threatening to blow the entire place apart in less than an hour, and Dax literally bleeding out from a grisly wound to his side, it’s debatable whether things have ever looked quite so bleak for Hanna-Barbera Productions’ costumed cartoon super-hero; “This is bad, Jan… What’re we gonna do?! Space Ghost is down, the bad guys already stole Blip…”

Unfortunately, having created such a dramatically tense dilemma for the central protagonist to overcome, the American author arguably then simply decides to rely upon a series of unconvincing contrivances to ensure that the day is well and truly saved. Foremost of these has to be the notion that Alex Toth’s co-creation can just shrug off all of his numerous injuries at the hands of the savage Council of Doom by having one of his sidekicks partially-roast him alive using the flame-thrower on his Power Band. This solution is understandably incredibly painful. But afterwards seems to result in the brutalized cosmic vigilante being perfectly able to withstand “nearly the level of a nuclear bomb” single-handedly.

In addition, the Ringo Award-nominee would have his audience believe that Doctor Kander Ibal’s band of murderous renegades would throw away their victory just because Metallus destroyed some “magnificently coloured flames” conjured up by Jace, much to the great anger of Moltar. This internal squabble-turned-dissolution of Brak's fellow team-mates appears extremely petty, and whilst it does perhaps show just how obsessed with fire “one of the main antagonists of the Space Ghost franchise” has become. It doesn’t debatably ring all that true for a reason as to why the murderous band of villains would unceremoniously splinter apart just as they are on the cusp of a resounding, planet-wide victory.

Far more compelling than this publication’s penmanship is its layouts, with Jonathan Lau arguably providing all of this comic’s considerably-sized cast with plenty of spotlight. In fact, even poor little Blip, bound and gagged with Widow Web’s vines, is given a moment or two at Robo Corp Tower, even if any explanation as to just how the little monkey's cybernetically-enhanced brain powers the decidedly deadly Project Ultima isn’t terribly forthcoming.

The regular cover art of "SPACE GHOST" #12 by Francesco Mattina

Absolute Batman #13 - DC Comics

ABSOLUTE BATMAN No. 13, December 2025

Described by its Burbank-based publisher as “Batman’s final showdown with the monstrous Bane”, Scott Snyder’s narrative for “Abomination” probably left many of its readers scratching their heads in mild bewilderment due to Bruce Wayne’s arch-nemesis barely making an actual appearance in the book. In fact, the Venom-enriched psychopath only features in a handful of panels, and during these the masked behemoth is simply depicted sedentarily sat whilst a small team of surgeons rather disconcertingly work on his cybernetically-enhanced spinal cord; “Soon you’ll have my replacement, and he’ll have his new Bane. Then, I’ll finally go home.”

Instead this eighteen-page periodical largely focuses upon Catwoman, and her apparent ‘on-and-off relationship’ with the titular character. Admittedly, this largely dialogue-driven encounter proves pretty interesting at first, especially when it appears that the young woman’s helmet “looks a lot like the gear Black Mask uses”. But this insight also reveals a decidedly disconcerting difference between the American author’s incarnation of Batman to that co-created by Bob Kane, in that the titular character will “cut a deal” will the villainous Falcone to rig a boxing match, just because he doesn’t have any faith that his friend Waylon can win it fair and square.

Quite possibly this comic therefore only comes into its own once the Dark Knight and Kyle team-up together to penetrate the Red Hood Gang’s headquarters at a seaside funfair. This confrontation shows just how formidable a partnership the fighting duo make and contains a pretty surprising revelation in that the criminal gang are led by a shaven-headed Harley Quinn. In addition, Snyder finally hints at just what physical metamorphosis his version of Batman has undertaken having almost been broken “in a place called Ark M, where they do make monsters.”

Setting aside any criticisms of the storyline though, it’s doubtful many bibliophiles will find Nick Dragotta’s pencils for this publication underwhelming. The illustrator definitely channels his inner Frank Miller for some of his panels – most notably a splash page showing this book’s lead pair leaping through a sunset-lit sky, as well as providing a genuine laugh-out-loud moment when Catwoman captures Alfred Pennyworth and almost strangles him with her tail.

The regular cover art of "ABSOLUTE BATMAN" #13 by Nick Dragotta & Frank Martin

Conan The Barbarian: Scourge Of The Serpent #1 - Titan Comics

CONAN THE BARBARIAN: SCOURGE OF THE SERPENT No.1, October 2025

Despite being proudly proclaimed by “Titan Comics” as the start of a “new Conan epic”, those readers well acquainted with the prose works of Robert E. Howard will doubtless find everything which occurs within this twenty-two page periodical disconcertingly familiar – especially those scenes depicting a young Cimmerian getting caught stealing from the museum of hapless Kallian Publico. Frustratingly, this is primarily due to almost all of “Stealing Faces And Finery” simply being an adaption of three of the father of the sword and sorcery subgenre’s short stories, rather than anything new which the Jim Zub has penned himself.

Indeed, apart from the odd piece of tinkering, such as the Nemedian curator actually being seen desperately trying to open up the gift which will soon bring about his grisly death, there’s arguably little to be found within this publication that isn’t inside the opening stages of “The Shadow Kingdom”, “The God In The Bowl” and “The Haunter Of The Ring”. Of course such reworkings are perfectly legitimate for the officially licenced British Publisher to undertake. Yet such re-treads, especially of a tale as well-known as Conan’s brush with the magistrate Demetrio in Numalia, arguably smacks of this mini-series relying far too much on Howard’s old yarns, as opposed to the Canadian author enthralling his audience with something altogether new.

Furthermore, Conan isn’t debatably even the lead protagonist of this book, with that role surely falling to Kull the Conqueror seeing as it’s the Atlantean’s adventure whose footsteps are the first to be followed. In fact, Issue One of “Scourge Of The Serpent” is quite neatly book-ended by the King of Valusia, as the monarch is joined by the Pict Brule the Spear-Slayer as they uncover a plot to assassinate the incredulous sovereign by shape-shifting serpent people.; “You have shown great skill and bravery. But it is only the beginning.”

Sadly even the pencilling of “Ironclad” Ivan Gil may well leave some bibliophiles wanting a bit more help to make sense of some of the storytelling, as the Canadian author leaps between the three different plot threads with little apparent reverence as to whether his audience has had time to take in what has just transpired. Of particular note are the opening panels depicting James Gordon’s extreme physical reaction to Michael O’Donnel showing him an ancient blade - a scene which will doubtless require a couple of rereads to make any sense, and even then it's only later on in the comic that his extraordinary outburst appears semi-convincing.

The regular cover art of "CONAN THE BARBARIAN: SCOURGE OF THE SERPENT" #1 by Roberto De La Torre