The Infernal Hulk #5 - Marvel Comics

THE INFERNAL HULK No. 5, May 2026

Initially appearing to be setting up a titanic tussle between the Avengers and this ongoing series’ titular character, Phillip Kennedy Johnson’s decision to suddenly turn to one of Mark Waid’s co-creations from 2004 as the central protagonist probably had a fair few readers outwardly groan in frustration. Indeed, whilst the Almighty’s pulse-pounding punch-up definitely proves an unputdownable experience, its aftermath will still leave plenty of bibliophiles wondering what would have happened if Iron Man hadn’t stood his team down just as their quinjet was hovering over the John A. Roebling Suspension Bridge in Cincinnati, Ohio.

However, to make matters even more perplexing the Infernal Hulk’s opponent is soon revealed to simply be one of the Creator of the Marvel Universe’s servants, rather than the real deal themself. Obviously such a ‘bait-and-switch’ plot-twist provides the American author with a way out for the vessel of Eldest to defeat their fiery adversary without them appearing overly formidable in besting “a being of unimaginable power”. Yet it also begs the question as to why the writer announced they were using the One Above All in the first place – except to help (mis)sell the comic book. 

Debatably far more engrossing than this “never-before-seen battle for the ages” is therefore Bruce Banner’s encounter with the grotesque living corpse of Tommy Watson, who despite dying horribly at the hands of the Infernal Hulk, somehow manages to walk back to his distraught mother’s address. This scene is superbly penned by Johnson, and mixes the terrifying notion of the Undead coming back to haunt the living, with the grief of a parent who having just buried her child, now sees his mutilated body stood before her; “Nattie! We’ve got to go right now!”

Similarly as successful as this twenty-page periodical’s second half are its layouts by Kev Walker. The British illustrator does a solid job of imbuing this publication’s heavily publicised centre-piece with plenty of earth-shattering shenanigans. But it’s the former “2000 A.D.” artist’s pencilling for Banner’s aforementioned scrap with Private Watson which really captures the imagination, and shows just how physically enfeebled the gamma radiologist has become now he can no longer transform into the Jade Giant.

Writer: Phillip Kennedy Johnson, Artist: Kev Walker, and Inker: Cam Smith

Bring On The Bad Guys: Red Skull #1 - Marvel Comics

BRING ON THE BAD GUYS: RED SKULL No. 1, October 2025

It's a safe bet to say that the opening of this comic book should have caused its readers to anticipate an enthralling game of cat and mouse between the titular character and his highly intelligent target Reinhard Kramer. However, this tense battle of minds set during the finals dark days of the Second World War doesn’t actually last anywhere near as long as expected, thanks to Stephanie Phillips disconcertingly deciding to abandon her intriguing plot, and simply pen Johann Schmidt’s prey meekly submitting himself to his adversary’s demonic blade for the greater glory of the Third Reich; “My research -- The Atlantean technology passed down in my family for generations to make it possible… It -- It can’t be replicated. It must be protected.”

Indeed, Kramer’s change of heart to willingly sacrifice himself to the Red Skull is so shockingly abrupt that a fair few within this mini-series’ audience will doubtless feel its American author suddenly realised she was rapidly running out of sheet space, and needed to end her yarn far sooner than Phillips’ initial narrative allowed. This complete change of direction definitely leaves a lot of potential for a variety of Reinhard’s clones being systematically chased down by an increasingly agitated Schmidt on the 'cutting room floor', and will surely enrage the odd bibliophile that the twenty-five page periodical’s secondary tale by Marc Guggenhiem wasn’t abandoned to provide Stephanie’s plot with more room.

Furthermore, the “acclaimed writer and military-history buff” then suggests that the super-criminal’s hunt was utterly pointless anyway, because he’ll only receive his highly sought after prize of Captain America's soul if the First Avenger willingly signs his spirit away to Mephisto. This conclusion is genuinely perturbing, and apart from providing Blackheart’s father with another useable dagger which once belonged to the Lords of Darkness, doesn’t arguably add anything to the legendary lore of the facially-disfigured “protégé of Adolf Hitler”.

One thing which doesn't appear to be detrimentally impacted upon by this comic’s hurried ending though are Tommaso Bianchi’s quite lavish layouts, which do a terrific job of depicting Mephisto as the ‘face in the mirror’. In addition, the sheer savagery of Johann is clearly on display whenever the maniac is either cold-bloodedly gunning down malformed copies of Kramer, or perturbing piercing his fellow German’s heart with a knife. Perhaps therefore the only quibble some onlookers might have is that the artist appears to pencil the Atlantean-inspired scientist as being a bit too young for someone with such extensive medical knowledge.

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

The Infernal Hulk #4 - Marvel Comics

THE INFERNAL HULK No. 4, April 2026

Whilst many a bibliophile may well enjoy Phillip Kennedy Johnson’s trip down memory lane as Bruce Banner’s alter-ego takes something of a tumble down into the depths of the Hulkscape and encounters a number of his past, green-hued personas, a number of readers will probably feel that this twenty-page periodical is perfectly missable. Sure, the American author pads out this comic’s rather bemusing plot with a number of action-packed sequences, such as Joe Fixit blazing away at all-comers with a submachine gun. But nothing actually seems to occur in the book which would have any impact upon this ongoing series’ overarching narrative; “What have you learned, fractured son?”

Indeed, the sole purpose of this particular publication appears to be to simply show that the consciousness of the Incredible Hulk is still somehow alive, and dwelling within the belly of the beast who has eaten him. Disappointingly though Just how this remarkable situation is possible isn’t in any way explained, nor even explored, and resultantly the entire cataclysmic battle against the Mother of Horrors smacks of the Army veteran-turned-writer simply setting up some adrenalin-fuelled events simply to fill up an entire instalment of this title’s supposedly “planned ten-issue run”.

Similarly as unpersuasive as this storytelling is arguably also the opening to “Alone”, which depicts the President (of the United States) simply abandoning a United Nation’s Ambassador to their grim and ghastly fate at the hands of giant, flying Pteranodon-like demons. This cowardly (in)action supposedly stems from the belief that absolutely no-one else can save Humanity from the all-powerful Eldest except perhaps Banner, so the best that the ‘Leader of the Free World’ can do is “close down all air travel over the North Atlantic”. However, any member of the Merry Marvel Marching Society would easily be able to name a good number of super-heroes who could debatably stand toe-to-toe against the mass-murdering purple behemoth, let alone the variety of impressively-rostered teams, groups and all-powerful cosmic entities.

Much of this comic’s impact therefore rests entirely upon the shoulders of Nic Klein, and in this respect the book definitely does not disappoint. Featuring some truly sumptuous splash pages highlighting the disconcertingly beautiful landscape of the Hulk’s bowel-deep home, many of the panels pencilled genuinely contain an incredible amount of detail to bewitch the perusing eye. In fact, the fantastic interior layouts are probably worth the cover price alone, regardless of whether an onlooker is swayed by the publication’s script or not.

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

Conan The Barbarian #29 - Titan Comics

CONAN THE BARBARIAN No. 29, March 2026

Peddled by its London-based publisher as a title containing “new pulp-tastic tales in the tradition of Robert E. Howard”, Issue Twenty-Nine of “Conan The Barbarian” probably didn’t win over many readers on account of the comic not actually featuring the Cimmerian until its very last panel. Indeed, the complete lack of the heavily-muscled, fantasy hero inside this twenty-two page periodical is rather disappointing, especially as this book’s solicitation synopsis promises that he’s supposed to be being hunted in it by “a deadly new foe” disconcertingly known as the Son of the Tooth.

Of course some of the more widely-read fans of “the father of the sword and sorcery subgenre” may well point to Amalric’s predominantly solo adventure during the prose tale “Drums of Tombalku” – in which, believing his black-maned companion to be dead, the Aquilonian soldier essentially ‘goes it alone’ against a party of demonic black riders terrorising the oasis town of Gazal. However, this novelette was actually penned by L. Sprague de Camp rather than Conan's creator. and is merely based upon an “untitled fragment and synopsis” by Howard, rather than being an officially penned entry in the adventurer's literary canon.

Furthermore, the notion of an enfeebled Hyrkanian chieftain’s son successfully murdering his ten other older siblings without being discovered by so paranoid a people is debatably a bit far-fetched, even for a yarn establishing the background to a proficient “killer with [a] keen blade in hand and [the] teeth from old prey strung ‘round his neck.” True, the boy’s quite elderly father does eventually receive a confession whilst the two are out hunting together. But to see the older, much more experienced leader then get fatally out-fought by the far smaller adolescent in a knife-fight after “years of pent-up anger and fear” appears a highly unconvincing; “You are a monster and I am a fool. That is why I poisoned our meal with White Snakeroot -- So we may both die here for our sins!” 

Much more enjoyable than this publication’s narrative is therefore its artwork, courtesy of Doug Braithwaite’s pencilling. The British illustrator appears particularly good at highlighting the mass-murderer’s physical frailty during the character’s younger years, and subsequently ensures that the audience takes note of the cutthroat’s later professional prowess when he’s become a dangerous, highly experienced slayer of men for the cult of the Black Stone.

The regular cover art of "CONAN THE BARBARIAN" #29 by Roberto De La Torre

The Infernal Hulk #3 - Marvel Comics

THE INFERNAL HULK No. 3, March 2026

Touted as being a “pivotal issue” in which the comic’s readers will finally discover just “what happened to Bruce Banner in that cave”, this twenty-page periodical probably came as something of a disappointment to its customers. In fact, despite somehow being the forty-seventh best-selling book of January 2026 – at least according to “Icv2.com” – many a Hulk-head could debatably have given it a miss and been no less the poorer as far as the ongoing series’ over-arching narrative was concerned; “One of the bravest, most selfless, most brilliant scientists who ever lived transformed into a snivelling coward.”

For openers, absolutely nothing of any consequence whatsoever actually takes place within the publication, as Phillip Kennedy Johnson’s disappointingly sedentary script focuses upon the domestic life of Betty Ross and her ‘husband’ in sleepy Muncie, Indiana. Sure, General Thunderbolt Ross’ daughter has a disconcerting episode in the kitchen one night when she starts to self-harm after being unable to open a tub of ice cream. But many a bibliophile would debatably have preferred her ordinarily strong-willed character to have demonstrated her frustration at no longer being able to become the super-powered Harpy in a far less extreme manner than mutilating her own body with a kitchen knife.

Furthermore, as Iron Man rather bluntly points out to the nuclear physicist, the customarily brave Banner is depicted within this publication as a selfish, spineless individual, who rather than help Humanity fend off Eldest’s seemingly unstoppable incarnation of the Hulk, would much prefer to simply skulk in the shadows with little regard for anyone’s safety. Perhaps unsurprisingly, such a huge departure from the ‘norm’ actually makes “David Hamilton” a rather disagreeable character, and resultantly causes his endless, dialogue-driven scenes to be quite a chore to progress through.

Lastly, the decision to chaotically mesh the distinctly different drawing styles of Kev Walker and Nic Klein together in a single comic must surely have thrown any and all onlookers completely out of the storytelling whenever the swap occurs. This amalgamation of artwork proves particularly annoying towards the end of the book, when a couple of panels featuring Klein’s readily recognisable Hulk is suddenly crowbarred in between Walker’s much less detailed Iron Man whilst Shellhead is talking with Banner in his backyard.

The regular cover art of "INFERNAL HULK" #3 by Nic Klein

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