Nightwing #131 - DC Comics

NIGHTWING No. 131, December 2025

Despite Nightwing teaming up with an eleven-year-old who appears to have all the powers of Superman, Dan Watters’ script for this particular twenty-two-page periodical may well surprise its readers by not just relying upon Bryce Moran rescuing Dick Grayson’s acrobatic alter-ego whenever the masked vigilante finds himself in trouble. Indeed, for much of the titular character’s battle against Killer Moth, the ‘Kryptonian’ largely stays in the shadows, simply watching how his mentor reacts to Drury Walker's somewhat over-the-top antics until the unexpected arrival of the Clean-Cut Crew; “He’s still coming to grips with his powers. But all things considered he’s doing a great job.”

Furthermore, the English author rather quickly evens up the power gap between Bludhaven’s latest metahuman and the sinister Spheric Solutions, by depicting its owner Olivia Pearce quickly taking advantage of the fact that “Kryptonite isn’t as rare a resource as it used to be”, and arming one of her Wanderer Robots with a ray-gun specifically powered by the deadly radioactive mineral. Such a plot device genuinely adds some vulnerability to an otherwise invincible protagonist, and allows the writer to subsequently tap into the kid's very evident flaw that he simply doesn’t know how to protect himself.

Lastly, Issue One Hundred And Thirty One of “Nightwing” also contains a nice little ‘personality piece’ between the vigilante and his metropolis’ increasingly amiable Police Commissioner. This relationship is still a far cry from that experienced between Jim Gordon and Batman in the dark days of Gotham City, but it shows a definite drop in hostilities. In fact, Maggie Sawyer actually calls on Grayson’s help to investigate a sudden flurry of missing children, and even acknowledges that Dick was correct in suspecting “the CEO of Spheric Solutions” formerly worked for the super criminal gang Cirque Du Sin.

Similarly as successful is Dexter Soy’s artwork, which does a very nice job of switching from this comic’s sedentary, dialogue driven scenes with those packed full of pulse-pounding pace. In addition, the illustrator somehow manages to capture poor Bryce being trapped inside a heavily-muscled man’s body by imbuing him with the subtle movements any onlooker would expect from a bored youngster who has been told to read “Forensic Pathology And Toxicology – An Introduction” rather than fly around in outer space.

The regular cover art of "NIGHTWING" #131 by Dexter Soy

Deadly Hands Of K'un-Lun #3 - Marvel Comics

DEADLY HANDS OF K'UN-LUN No. 3, June 2026

Considering just how many martial artists, Inhumans, Gods, and costumed crime-fighters are crammed into this twenty-page comic, some within this book’s audience probably couldn’t help but imagine the writer Yifan Jiang simply throwing as big a bucketload of characters at his manuscript as he could muster. True, this approach definitely provides a publication packed full of fisticuffs, karate chops and mystical machinations. However, it will also surely make the head spin of anyone actually reading it; “Juniors, well met! You… must be the new trainees! I am Pei, the sixty-eighth Iron Fist.”

In fact, it’s arguably wise for anyone perusing this periodical not to try and keep track of so many figures from the disconcertingly complicated lore of K’un-Lun, and simply allow themselves to be carried along by its incredibly violent, as well as pulse-pounding, storyline. Furthermore, despite the mini-series progressing a plethora of different sub-plots simultaneously, the central battle in Manhattan concerning Iron Fist, Elektra and White Tiger is clearly the author’s main focus, and certainly provides this adventure with a somewhat shocking conclusion.

What is also a bit of a pity though is that Karnak, “the Inhuman’s most powerful fighter”, isn’t given a little more ‘screen-time’ smacking Davos and his assassins around the Tower of Wisdom. Those bibliophiles old enough to recollect Jack Kirby’s design for the Advisor of the Inhuman Royal Family’s original costume might slightly balk at the man’s latest choice in attire. But that still doesn’t stop the thrill of watching him effortlessly kick and punch his way through a small army of highly inferior War Fists.

Easily this comic’s greatest asset is therefore the layouts of Paco Medina and Alessandro Miracolo, whose artwork immediately sucks in any onlookers even though this book’s opening scene comprises of little more than a disagreement between Danny Rand and the Egyptian deity Osiris in the Underworld. Of particular note has to be the way each and every body blow actually appears to reverberate upon their unfortunate target, as well as the exhilarating moment when White Tiger summons her Tiger God to manifest itself into a form somewhat akin to that of He-Man’s Battle Cat, and subsequently rides the giant beast into the very heart of battle.

The regular cover art of "DEADLY HANDS OF K'UN-LUN" #3 by Leinil Francis Yu

Nightwing #130 - DC Comics

NIGHTWING No. 130, November 2025

Seeing as the first part of Dan Watters’ storyline for Issue One Hundred And Thirty of “Nightwing” deals with the titular character fighting a seemingly never ending battle against the corruption of wannabe Mayor Bernard Bisogni, whilst its later pages explore a potential Superman-level threat to Bludhaven, many a bibliophile may well view this comic as containing two rather contrasting halves. And resultantly, may then feel that the book’s initial ‘deep dive’ into the shady politician’s dealings with the Blockbuster Gang fits in far better with Dick Grayson’s street-level alter-ego, than a being whose very presence alone warrants the dramatic arrival of the Justice League; “You don’t need any help tracking down your faux Kryptonian?”

Unfortunately however, it is this second plot-thread which the English writer seemingly chooses to put the more effort into by having the original Boy Wonder rather unconvincingly decide that young Bryce Moran should remain as “an aspiring hero with incredible power” - albeit with the Teen Titan as his mentor. This decision debatably comes completely out of the blue, and seems to go against everything Grayson was planning to do – even to the point of bringing Night-Hare with him to show the fake Van-Zee that in his present super-powered state he might hurt the little critter by accident.

In addition, the London-born author also tries to ‘push’ the responsibility of the ill-advised choice onto the youngster’s shoulders, by penning Dick feeling that the former juvenile criminal has somehow made a “good point” and that the city’s guardian had somehow been talked into letting the boy remaining as he is. Neither of which the lad actually does. Indeed, the 'youngster in a man’s body' appears to agree with Nightwing’s belief that he should revert back to his true self, and is a millisecond away from drinking a drop of Bat-Mite Soup when he’s stopped from doing so.

Somewhat surprisingly though, regular artist Dextor Soy’s contribution to this publication also seems to be equally ‘hit or miss’, with the Filipino doing a first-rate job on the vast majority of this comic’s pencilling, until he strangely begins giving the likes of Wonder Woman, Superman and Bryce some disconcertingly doe-shaped, almost romantic-looking eyes. Whether this technique is used to perhaps show innocence or goodness on behalf of these individuals is difficult to say. But the style does debatably jar with that used to draw the aforementioned Bisogni much earlier in the book.

The regular cover art of "NIGHTWING" #130 by Dexter Soy

Conan The Barbarian: Scourge Of The Serpent #3 - Titan Comics

CONAN THE BARBARIAN: SCOURGE OF THE SERPENT No.3, December 2025

Having debatably done little more than adapt a trio of Robert E. Howard’s previously published prose adventures in this mini-series’ first two instalments, it can be argued that Jim Zub finally starts to take the steering wheel with his narrative for Issue Three of “Conan: Scourge Of The Serpent”. In fact, the Canadian author appears to go to quite considerable lengths to drag out the Cimmerian’s encounter with the serpentine deity from “The God In The Bowl”, inflating a single line of words which tells of the hero instantly decapitating the gorgon into a lengthy, action sequence filled full of desperate lunges and slithering feints - And all so that the barbarian’s fight for life can simultaneously reach its zenith alongside that of King Kull and John Kirowan.

Surprisingly however, the same cannot be said of the Animex Honorary Award-winner’s handling of “The Haunter Of The Ring”, in which the exploits of John Conrad’s partner are arguably quite severely truncated from those deeds found in the novella’s original text. Admittedly, this abbreviation still follows the general flow of the tome by having the Professor face his greatest antagonist Yosef Vrolok. But rather then drive to the villain’s home, the writer snatches at the chance to add his own spectral spin to the confrontation by having Kirowan instead simply trade blows with a murderous manifestation of his rival at Jim Gordon's house.

Such a blatant divergence from Howard’s work might be a bit too much for those purists reading this comic. However, the move actually imbues the narrative with some much-needed pace and ghostly ambiance. Indeed, it allows the significantly more modern tale to tie-in quite nicely with both Conan and Kull’s own battles against green-hued serpent-like foes; especially when it becomes clear that the snake-eyed medusa haunting poor Evelyn’s every thought is associated with the Cimmerian’s most notorious nemesis Thoth-Amon.

Undoubtedly helping mesh all these different threads and time-streams together are “Ironclad Ivan Gil” and colour artist “Jumping Jao Canola”. Together the creative pair appear particularly inventive when it comes to extending the barbarian’s aforementioned tussle with a fair-faced serpent in the Nemedian municipality of Numalia. Yet the duo’s work is also first-rate when it comes to convincingly telling of Vrolok’s mystical materialisation from beyond the grave in Boston 1934.

The regular cover art of "CONAN THE BARBARIAN: SCOURGE OF THE SERPENT" #3 by Gerardo Zaffino

Nightwing #129 - DC Comics

NIGHTWING No. 129, October 2025

Whilst Barbara Gordon is entirely right that “things work differently in the Fifth Dimension -- in ways unimaginable and indescribable to our Fourth-Dimensional minds”, it doesn’t mean that having Dan Watters pen Nite-Mite’s corruption of Titans Tower being resolved by Alfred Pennyworth’s recipe for chicken soup will sit particularly well with many within this comic’s audience. Indeed, the entire analogy of Dick Grayson supposedly being the chicken and Nightwing’s heavily mutated pet dog Hayley being the vegetables probably struck many a bibliophile as being something of an incomprehensible, utterly bemusing mess.

Similarly as disconcerting though has to be the distinct lack of information as to what happened to Dyxl in the first place. It’s clear from Oracle’s narration that the fifth dimensional imp is in pain and “in a panic, he built Titanis” using “whatever material was at hand”. However, just what caused the injury in the first place is never explored leaving the reader to ponder whether the titular character’s “self-declared biggest fan” was attacked by the malevolent Zanni or perhaps innocently lured across to our universe by Olivia Pearce and her sinister Spheric Solutions.?

Lastly, when Nite-Mite does finally calm down enough to fully restore the likes of Hayley and Titans Tower back to their former glory, why does Bryce Moran remain in the form of Van-Zee, and fly off to stand vigil over Blüdhaven from orbit..? Obviously the eleven-year-old boy is desperately keen to keep hold of the abilities of Superman’s cousin and help save the world. But how he’s able to retain the Kryptonian’s powers after everything else inside the T-shaped facility is restored is not clarified – unless perhaps Dyxl inconveniently fell asleep before having a chance to transform him back to a child again.  

One person who does appear to be thoroughly enjoying Watters’ narrative for this twenty-six-page periodical is Dexter Soy, who is clearly having fun pencilling a giant rabid dog-monster, a huge multi-tentacled blob, a decidedly dodgy-looking Night-Hare and an imposing Van-Zee. In fact, some fans may well argue that this comic is worth its cover price alone simply for the humorous interior illustrations, even if the customer isn’t particularly won over by the book’s actual 'Wizard Of Oz' storyline.

The regular cover art of "NIGHTWING" #129 by Dexter Soy with Adriano Lucas

Star Wars: Jedi Knights #4 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 4, August 2025

Whilst Marc Guggenheim’s storyline for Issue Four of “Star Wars: Jedi Knights” undeniably contains a couple of somewhat exciting spacecraft-packed pursuits, it is highly unlikely that many of its readers will agree with the astonishing claim by “Marvel Worldwide” that the twenty-page-periodical depicts “the galactic chase to end all chases!” Indeed, the vast majority of this comic appears to instead simply focus on its significantly-sized cast just talking with one another, and tracking Phaedra down to Nar Shaddaa, rather than actually hot-footing it after the Quaraxian female criminal who has rather stupidly “stolen thousands of credits from Jabba The Hutt”.

Furthermore, considering that this book is supposed to be about the exploits of Jedi Knights, the so-called central protagonists play something of a minor role in the publication’s plot, with Qui-Gon Jinn and Shaak Ti arguably only being used as a decoy for the thief to fake her own death. This secondary role may well prove a bit disappointing for those bibliophiles expecting to learn more about the Jedi Order during the Republic, especially when the American screenwriter appears to try to play the pair as patsies at the tale's very end; “But if you’re in need of someone to kill you don’t rely on two Jedi Knights.”

Ultimately, the New York City-born writer also seemingly undermines just why “the entire galaxy is after” Phaedra by simply having her use her loot as proof of collateral for a big bet on the Malastare races. Taking such a dangerous risk for a far from certain wager may well strike some within the comic’s audience as being less than convincing behaviour for the notorious pilferer, as well as a much less interesting sub-plot than the yarn’s opening gambit of “a Senator [who] was fronting for Jabba” - an intriguing aspect of political corruption and villainy already penetrating the Galactic Republic's Senate which this comic disappointingly doesn’t follow up upon.

Quite possibly this book’s most appealing aspect therefore lies in the layouts of Madibek Musabekov, whose artwork brings all the different alien races to vibrant life. Of particular note is the way the artist manages to show how impressive the two Jedi Knights are when they finally reveal themselves to the likes of Aurra Sing, Zam Wesell and Bane Malar, as well as how he imbues the various spacecraft with a genuine sense of speed as they’re zooming over the sky of the Smuggler’s Moon.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #4 by Rahzzah

Nightwing #128 - DC Comics

NIGHTWING No. 128, September 2025

It’s probably fair to say that in penning a tale set within a fifth dimensional event, Dan Watters arguably felt that he could include practically anything inside his storyline for Issue One Hundred And Twenty Eight of “Nightwing”. However, whilst the surprise inclusion of Van-Zee – the Nightwing-Prime of Kandor may well have delighted some within this comic’s audience, the twenty-two-page periodical’s overarching plot must surely have left the vast majority of its readers both baffled and bewildered; “They’re normally docile hunter-gatherers. What’s gotten into them?”

Indeed, so much of Dick Grayson’s utterly bizarre adventures within this book must simply be accepted by its customers as simply being part of Nite-Mite’s madness without the publication’s English writer even trying to provide them with any sort of explanation. This lack of context may well work for the first few times, such as when the titular character suddenly encounters a hallway filled full of Deathwing replicas. But the notion that Batman’s original Robin has then somehow been reduced in size to that of one of the Kryptonians “that was shrunk down and collected by Brainiac” and is subsequently forced to flee deadly drawings of himself that he scribbled down as a child is debatably much too much.

Likewise the London-born author would also have his followers believe that having rescued Nightwing from the aforementioned horde of duplicate dollotrons, Van-Zee would inexplicably betray Grayson to a multi-limbed abomination of the masked vigilante's pet dog as he is apparently threatening everything. This despicable behaviour appears to make no sense whatsoever, and genuinely begs the question as to why the “cousin of Superman” wouldn’t have just left Dick to fight his own battles, or even pushed him out of his miniscule spacecraft when the ship was first attacked by the aforementioned sketches of the Boy Wonder.?

Perhaps just as unhelpful as this comic’s script are Dexter Soy’s layouts, which disappointingly provide few visual clues as to what’s happening either. For example, one moment it appears that the miniature Kryptonian dwells within the crooks and crevices of Titans Tower, maintaining law and order by racing through the smallest of the building's channels and funnels. And then suddenly the so-called “hero” is shown flying over some sort of massive, forested landscape which somehow sits between the state-of-the-art facility’s front entranceway and its holding cells.?

The regular cover art of "NIGHTWING" #128 by Dexter Soy with Adriano Lucas

Alien, Predator, And Planet Of The Apes CGD 2026 #1 - Marvel Comics

ALIEN, PREDATOR AND PLANET OF THE APES CGD 2026 No.1

There should be little doubt that this “promotional giveaway” certainly lives up to its pre-publication promise of providing its audience with a trio of intriguing “stories from across Twentieth Century Studios”, for whilst the twenty-page-periodical arguably leaves its best tale until last, all three of the yarns found inside Issue One of “Alien, Predator, And Planet Of The Apes CGD 2026” are pretty good. Indeed, the most successful of the narratives probably depends upon which of the science-fiction franchises any onlooker is most interested in; “Okay. We’ve run this drill a dozen times! Coordinated strike on my mark… Fire!”

However, it’s probably a fairly safe bet that Saladin Ahmed’s “Kingmaker” will probably land the most awkwardly with bibliophiles, seeing as its basically consists of four Power Ranger-like humanoids being created so as to help overcome an alien infestation of the Colony World Sovryn. Admittedly, Emilio Laiso’s artwork definitely helps when it comes to the quartet’s fight against a single xenomorph drone. But when the protagonists are unimaginatively named Red, White, Green and Blue, it is debatably difficult not to disconcertingly hear Ron Wasserman’s "Go Go Power Rangers" theme track playing in the background as the super-powered heroes morph into their “full enhancement mode.”

Far more impressive, as well as entirely self-contained, is Jordan Morris’ “Together Forever”, which tells of two top-class pugilists romantically coming together at the zenith of an underground fighting tournament. Proficiently pencilled by Roland Boschi, this unlikely couple appear to be on the verge of breaking out on their own until a Predator ambushes them in the surrounding jungle, and is sadly brings their dreams of a future together to a very bloody end.

Lastly is the four-page sneak into Marvel Comics’ upcoming mini-series “Predator Versus Planet Of The Apes”, which frankly should have any fan of Franklin J. Schaffner’s 1968 movie or the original film franchise immediately pre-ordering the title from their local store. Packed full of the furious action experienced during the flick’s famous hunt sequence through one of Ape City’s more remotely located cornfields, and prodigiously sketched by Alan Robinson, this all-too brief taster is wonderfully reimagined as a Yautja warrior suddenly sees the gorilla soldiers riding down the unarmed humans (as well as a female astronaut) as entirely fair game.

Writers: Saladin Ahmed, Jordan Morris & Greg Pak, and Artists: Emilio Laiso, Roland Boschi & Alan Robinson

Planet Of The Apes Verses Fantastic Four #3 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 3, June 2026

Considering that this twenty-page-periodical contains plenty of pulse-pounding action, a nicely depicted trip down memory lane for those onlookers familiar with Franklin J. Schaffner’s 1968 motion picture, and a reasonably impressive cliff-hanger, there shouldn't be any doubt that Josh Trujillo’s script for Issue Three of “Planet Of The Apes Verses Fantastic Four” ticks all the boxes. However, for some within this mini-series’ audience the American author’s handling of Doctor Zaius and General Ursus seems somewhat off-key, as if the writer has somehow erroneously swapped the two leading cast members’ personalities around with one another.

For starters it really is hard to believe that the fiery “main antagonist of the 1970 film Beneath the Planet of the Apes” would so willingly obey the orders of two humans, even if one of them was Doctor Doom. Of course, it’s difficult to know what feats of strength the ruler of Latveria may well have shown the Supreme Commander of the gorilla army off-screen so as to bend the senior soldier to his will. But even so, to hear Ursus so timidly agree to the Red Ghost’s plan and then accept Victor placing his hand on his shoulder just doesn’t ring right; “You will serve us, General, and in turn, you will reign as ruler of this accursed planet.”

Likewise, the orangutan politician’s behaviour is a far cry from the member of the Ape National Assembly seen on the silver screen, with Zaius almost suffering an embolism due to his uncontrollable anger when referred to as a “monkey” by Ben Grimm. This insult sets the Minister of Science off into a savage attack against the likes of Cornelius and Zira – who are trying to protect the powerless Fantastic Four – and yet when Taylor previously tied him up and gagged him in the Forbidden Zone, the Chief Defender of the Faith appears uncomfortable at best, and certainly doesn’t have his armed entourage shoot the human down in cold blood when he eventually has the chance.

Far more successful than the writing is therefore arguably Andrea Di Vito’s artwork, which adds plenty of dynamism to the various demonstrations of super-powers this comic’s storyline requires. In addition, the Italian illustrator does a very good job of morphing Ape City’s most recognisable characters into “The Apetastic Four”, as well as suggesting the viciousness of the one-sided struggle taking place within the simians' municipal as President Gaius’ governmental forces are overrun by Ursus’ more numerous farmers.

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #3 by Greg Land & Rachelle Rosenberg

Nightwing #127 - DC Comics

NIGHTWING No. 127, August 2025

Whilst Dan Watters’ narrative for Issue One Hundred And Twenty Seven of “Nightwing” certainly seems to bounce along at a brisk pace with its zesty mix of personal issues, headlong rushes to hospital and “something monstrous” taking over the former Titans Tower, this twenty-two-page periodical’s plot probably didn’t win over all that many of the ongoing title’s regular readers. In fact, considering that Dick Grayson’s costumed alter-ego doesn’t actually fight anything within the confines of this comic, a fair few of the mask-wearing vigilante’s long-standing followers were most likely a little bemused by the book’s lack of flamboyant fisticuffs. 

Of course, that isn’t to say that “Other” doesn’t contain plenty of sense-shattering moments to keep its audience fully immersed, such as Spheric Solutions' plan to use their latest technology to help rid Blüdhaven of its sudden, highly convenient Fifth Dimensional menace. But this book debatably just continues to build up to a confrontation between the titular character and his metropolis’ towering, multi-eyed menace without ever actually depicting the original Boy Wonder throwing one of his “sticks” in anger; “We’ve developed Kappa-irradiated equipment, in case of an incursion from just such a theoretical realm.”

Similarly as unpersuasive is debatably the English author’s claim that Nightwing hasn’t bothered speaking to his sister in some time, despite the Mayor giving “free rein” to a posse of “evil police robots” which are currently roaming the former whaling town’s streets. Such a disconcerting omission on Grayson’s part is simply written off as being on the young man’s long list of ‘things to do’. However, it’s clear that for the purpose of this storyline the two siblings must be kept apart because otherwise Dick is bound to help break down the woman’s hypnotised state after she previously saw Olivia Pearce’s true face.

This somewhat frustrating atmosphere of the publication being a bit of a ‘filler’ can also be seen in some of Dexter Soy’s panels, where the undoubted prodigious penciller repeatedly provides the yarn with splash pages to show off the formidable height of the aforementioned numerously tentacled purple horror attacking Titans Tower. In addition, it takes the illustrator a whopping five pages to depict the main protagonist both getting ready and then actually entering his old headquarters’ ground floor.

The regular cover art of "NIGHTWING" #127 by Dexter Soy with Adriano Lucas

Conan The Barbarian: Scourge Of The Serpent #2 - Titan Comics

CONAN THE BARBARIAN: SCOURGE OF THE SERPENT No.2, November 2025

It’s probably a fairly safe bet that many a buyer of this comic book will wholeheartedly agree with its London-based publisher that the publication itself contains “three stunning supernatural stories”. But that’s because the majority of their narratives were actually written by Robert E. Howard way back in the early third of last century rather than today's “Grim Jim Zub”, and – at least as far as both the Conan and King Kull fables are concerned – been adapted for this medium on several previous occasions before.

Indeed, the only thing debatably differentiating these incarnations of “The God In The Bowl” and “The Shadow Kingdom”, is that the Canadian author rather frustratingly insists on repeatedly swapping between the yarns, rather than simply allowing the audience to fully immerse themselves in the well-written worlds of “the father of the sword and sorcery subgenre.” This inter-weaving of the distinct plot-threads might seem a novel way of retelling the already popular (and arguably well known) tales. However, for some bibliophiles it will surely just diminish their fast-paced flow and ultimately greatly ruin their enjoyment of this twenty-two-page periodical.

Furthermore, the inclusion of the then modern-day tale involving Professor John Kirowan may well completely discombobulate anyone not well-versed in one of Howard’s arguably lesser known creations, due to “The Haunter Of The Ring” being neither set in the Hyborian Age or being heavily reliant upon scintillating swordplay. In fact, every time Zub brings his audience forward to 1934 it is like a jolt to the system, and will most likely snap anyone out of the sinister, spine-tingling terrors confronting both the Cimmerian and Atlantean; “Those… words! Ancient, primordial… A tongue beyond time!”

Delightfully though, what does capture the imagination are Ivan Gil’s layouts, which do a very good job of making some of the storyline’s sudden ‘switches’ a bit more palatable – especially towards the comic’s end when the words “Ka Nama Kaa Lajerama” ripple throughout the three adventures almost simultaneously. In addition, the illustrator’s double-splash of “when ancient men fought grisly beings of the Elder Universe” is easily worth this comic’s cover price alone, and should take anyone who enjoys good artwork a long time to properly absorb the breath-taking menagerie of different mythical beasts he has somehow crowbarred in the drawing.

The regular cover art of "CONAN THE BARBARIAN: SCOURGE OF THE SERPENT" #2 by E.M.Gist

Nightwing #126 - DC Comics

NIGHTWING No. 126, July 2025

Despite not containing some super-powered arch-villain desperate to conquer the planet or even a citywide threat to Blüdhaven’s well-being, Dan Watters’ narrative for Issue One Hundred And Twenty Six of “Nightwing” should still have kept its fans thoroughly entertained. Indeed, this ‘deep dive’ into Commissioner Margaret Sawyer’s private life and strained relationship with Dick Grayson’s alter-ego, is packed with plenty of drama, action and somewhat surprising sentimentality too; “Maybe if you worked with him you wouldn’t need robots.”

Furthermore, the English writer provides this twenty-two-page periodical with an intriguing investigation into the long-dead Captain Hollow’s recent resurrection, and just how his legend has been outrageously abused by four corrupt ex-cops looking to have their revenge upon any officer they feel has slighted them in the present day. Such an enthralling central plot genuinely should hold the attention of even the most cursory onlooker flipping through this comic at their local store, and certainly helps imbue the book’s more sedentary sequences with some much-needed underlying urgency once it becomes clear that Maggie is next on the merciless murderers’ kill list.

Likewise, the London-born author also manages to use this storyline to show just how scared the young children of Blüdhaven actually are of all the Commissioner’s latest state-of-the-art technology, rather than feeling reassured by Spheric Solutions’ towering two-legged robots. This viewpoint clearly alarms Sawyer and is contrary to the reason why she was so grateful to Olivia Pearce’s company for the extra firepower in the first place – a change of stance which the secondary character takes with her throughout the publication and clearly begins to cause her some serious doubts and apprehension by the story’s end.

Perhaps this comic’s greatest asset though lies with the pencilling and colours of Francesco Francavilla, who provides the script with some hauntingly dark moments whenever the ‘ghost’ of Captain Hollow makes a ghoulish appearance. In addition, his use of a series of smaller panels towards the conclusion of this book definitely provides it with some extra pace, and makes little Claire’s last minute rescue by Nightwing all the more impactive as the original Robin just manages to swing the tiny girl to safety at the very last second.

The regular cover art of "NIGHTWING" #126 by Dexter Soy with Adriano Lucas

The Infernal Hulk #6 - Marvel Comics

THE INFERNAL HULK No. 6, June 2026

Considering that this twenty-page periodical makes good on its promise to depict Iron Man leading “an overpowered strike force to level the Living City and end the Age of Monsters forever”, Phillip Kennedy Johnson’s writing for Issue Six of “Infernal Hulk” probably still fell surprisingly flat with most of its audience. In fact, despite actually showcasing the titular character in an all-swinging fistfight against one of Earth’s Mightiest Heroes, there’s just something a little ‘wrong’ with how the cataclysmic story is told; “Twenty percent of the world’s arsenal is aimed at your living city right now.”

For starters, it’s not clear just why Tony Stark is the only super-hero taking up the challenge when this assault is supposedly the Earth’s best chance to kill Eldest’s seemingly unstoppable host; especially when the likes of Mister Fantastic and Bucky Barnes are watching it live along with the American military’s top brass. Surely if things were as dire as the leader of the Fantastic Four keeps saying then his super-powered squad would be ‘on the ground’ alongside Iron Man and his freshly-fashioned Hellbuster Armour? Not repeatedly stretching his rubber-like neck in disbelief as the firstborn of Vinruviel defies every planet-shattering attempt he has planned to defeat them.

Likewise it is never explained how Gologoltha of the Volantine Choir is able to survive quite literally having the land beneath its foundations obliterated, and resultantly dropping into the molten core of the Earth.? Admittedly, as the Infernal Hulk himself swiftly points out, the unholy metropolis is an Elder God capable of a great manner things. But somehow this comic’s readers are supposed to accept that it can both happily float upon the surface of the boiling lava it falls into, and then somehow shield itself from the white-hot laser-blast of an orbiting satellite without any plausible explanation whatsoever.

Lastly, the layouts of Adam Gorham arguably don’t help sell the storyline towards the battle’s end either, with much of the action beneath the world’s surface being unclear and indistinct. In addition, the Canadian artist’s decision to greatly reduce the amount of detail used for all of the aforementioned scenes featuring Reed Richards and the Winter Soldier genuinely make them appear the work of a far less able illustrator, and frustratingly snatch any onlooker out of the moment with their jarring contrast.

Writer: Phillip Kennedy Johnson, Artist: Adam Gorham, and Color Artist: Matthew Wilson

Nightwing #125 - DC Comics

NIGHTWING No. 125, June 2025

It is probably a safe bet that quite a few readers did a double take when they first opened up Issue One Hundred And Twenty Five of “Nightwing”, fearing that they had somehow missed a previous instalment or two. For whilst Dan Watter’s script for “Good Cop/Bad Cop” does actually continue the titular character’s fight against the sinister Spheric Solutions’ increasing grip upon Blüdhaven’s Police Department, the entire feel of this particular twenty-two-page periodical is arguably very different from what has taken place before.

For starter’s the comic exclusively focuses upon the murder of Frank Dietrich just after the cop has finished drinking inside Hogan’s Alley bar. This cold-blooded killing undeniably provides the English writer with an opportunity to explore the growing tension between the titular character and Commissioner Maggie Sawyer. But rather intriguingly also allows him to side-line Dick Grayson in order to tell much of the story from the perspective of Superman's former primary police contact instead – something which rather cleverly allows the narrative to emit a palpable sense of distrust amongst the officers in her district.

In addition, on the face of it this book contains a good old-fashioned ghost story, which rests upon the basic premise of a long dead police office returning from beyond the grave to “strike down those who betray Blüdhaven’s law.” Such a plot genuinely smacks of the boogey-man, and whilst many within the publication’s audience will already be anticipating that the gunman will eventually be revealed as someone entirely mortal, the suggestion of long-dead Captain Hallow being a spectral assassin makes for some enthralling entertainment.

Lastly, it is impossible not to mention the prodigiously pencilled layouts of Francesco Francavilla, whose instantly recognisable art style undeniably adds an extra layer of the macabre to all of this comic’s events. Of particular note has to be the design of the mask-wearing murderer who envelopes his victims in a swirling smog, before shooting them at point-blank range with a revolver. However, the Italian illustrator is also extremely good at imbuing so many of this story’s characters with the odd side look and uncertain glance which should make any bibliophiles doubt the sincerity of their words and actions; "Heading out, Commish..?"

The regular cover art of "NIGHTWING" #125 by Dexter Soy with Adriano Lucas

Conan: The Barbarian Free Comic Book Day May 2026 - Titan Comics

CONAN: THE BARBARIAN FREE COMIC BOOK DAY MAY 2026

Considering that this twelve-page-periodical is supposed to foreshadow the return of Thulsa Doom, it’s probably a safe bet that many of its readers actually came away from the Free Comic Book Day edition of “Conan: Tides Of The Tyrant King” wondering what Jim Zub’s latest mini-series featuring Robert E. Howard’s Sword and Sorcery hero was all about. Indeed, seeing as a good portion of the publication actually follows the exploits of Stephen Costigan during the Texan’s dark days fighting in World War One, it’s much more likely the Canadian’s audience were anticipating some sort of time-travelling team-up between the two characters on the blood-soaked fields of Cambrai, Aisne or the Second Battle of the Somme, rather than the Cimmerian once again encountering the Necromancer of Ancient Atlantis in the Hyborian Age.

To make matters even more confusing though, it is arguably the exploits of the shell-shocked soldier which grabs the most attention, as the understandably horrified Doughboy desperately attempts to make his way through numerous Germans whilst penetrating “a murderous maze he will never forget.” This ‘kill or be killed’ environment appears to be as brutal during the fighting as it is once its survivors are recuperating in a field hospital afterwards, and genuinely helps sell the motivation behind just why the man would become a slave to hashish in the near future; “Costigan’s temper simmers. But he doesn’t feel steady enough to make the bully eat his words.”

Unfortunately the same can’t debatably be said for the short-lived yarn concerning Conan, who is once again shown fighting in some nameless skirmish along the Borderlands between Zingara and Argos, where his superhuman strength allows him to ‘shrug off’ a spear to his left shoulder and keep swinging his sword. Furthermore, despite this significant injury the Barbarian is then depicted unconvincingly beating up a much larger mercenary who had planned on bedding a local’s unwilling daughter. Such a sketch really does add nothing to the Cimmerian’s story, and certainly doesn’t act as the aforementioned “Prelude” to him once again facing Thulsa Doom.

What does catch the eye with this comic though is the artwork of “Howling Jesus Merino”. The Spanish illustrator does a fine job depicting the Cimmerian’s exploits against “the gutter-cur raiders we put in the ground this day.” But it’s his awesome pencilling of Costigan’s time in the mud and the blood which really should capture any bibliophiles imagination, and definitely cause them to desire a standalone series of comics depicting Stephen’s time during the Great War.

Writer: Jim Zub, Artist: Jesus Merino, and Color Artist: Jao Canola

Nightwing #124 - DC Comics

NIGHTWING No. 124, May 2025

Whilst “DC Comics” solicitation synopsis for Issue One Hundred and Twenty Four of “Nightwing” might bare little resemblance to the comic’s actual contents, Dan Watters’ narrative for the book probably still managed to successfully maintain the interest of its readers. In fact, “Ringmaster” contains a rather clever plot device to ensure that the titular character’s usual aura of invincibility is well and truly shattered by the time Dick Grayson makes an unwise stand against Spheric Solutions latest fully-automated police robot; “Hey, Big Boy. I know your CPU is a test animal, so I’d rather go easy on you…”

Furthermore, the English writer quite cleverly brings the Zanni and his nefarious sounding Cirque du Sin to the fore by penning that the Fifth Dimensional Imp can now be clearly seen by the original Robin due to the super-hero’s severe blood loss. Such a move really helps to raise the already high stakes for the ongoing tale’s overall storyline, as well as making it crystal clear that Batman’s former Boy Wonder is no longer facing just a mortal adversary who wants to take over Blüdhaven. But rather a far more omnipotent “ancient conceptual being born from humanity’s earliest attempts at performance.”

In addition, despite there being no sign of the “heist” upon Olivia Pearce’s sinister Corporation as promised by its Burbank-based publisher, this twenty-two-page periodical still manages to include a little bit of adrenaline-fuelled action towards its end during Nightwing’s aforementioned fight against a Wanderer-01s Robot. Admittedly some critics of this particular publication might suggest the short-lived battle is rather ‘too little, too late.’ However, due to Grayson’s weakened condition, the confrontation’s build-up is arguably just as exciting as the fracas which follows Dick’s impetuous motorbike ride, and also provides Watters with the opportunity to give his audience a bit of a shock ending – courtesy of little Bryce.

Of course so much of the anticipation behind these final panels would be far less if it wasn’t for Dexter Soy’s attention-grabbing pencilling. The artist proves particularly prodigious at providing any onlooker with a tantalising insight into the shadowy world of the Zanni, most notably when Blüdhaven’s protector is either racing to save the Teddy Gang from a well-orchestrated massacre, or later when he sees a circus elephant charging straight at him rather than Spheric Solutions’ killer automaton.

The regular cover art of "NIGHTWING" #124 by Dexter Soy with Veronica Gandini

Conan The Barbarian #30 - Titan Comics

CONAN THE BARBARIAN No. 30, April 2026

Arguably dripping in plenty of exasperating plot armour, Jim Zub’s narrative for Issue Thirty of “Conan The Barbarian” will probably quickly frustrate many of its readers by having its central antagonist repeatedly put off his assassination attempt of the titular character because the cold-blooded killer has surprisingly taken an interest in the Cimmerian’s view of life.?! Sure, the Canadian writer attempts to assure his audience at this comic’s end, that the black-maned adventurer supposedly knew all about his would-be murderer’s presence since the oily cloaked outsider first ‘stuck to the shadows’ inside the trade city of Khoraja. But such omnipotence on behalf of Robert E. Howard’s character isn’t particularly convincing – especially when he’s busy either repeatedly fighting for his life on the streets, or making love to a woman throughout the night.

Indeed, this book seems to be rather irritatingly happy just depicting The Son of the Tooth repeatedly passing up a series of ideal opportunities to slay his target and rid the Hyborian Age of “the man who slew Thulsa Doom” just because this “deadly new foe” can’t believe the drunken oaf before him so badly vexes the Cult of the Black Stone. As the author points out himself such behaviour is entirely unprofessional on the part of one who has successfully slaughtered so many in the past. Yet this amateurish conduct is precisely what all bibliophiles are supposed to believe in order for an otherwise rather mundane tale about a local petty thief’s bruised ego populating a twenty-two-page periodical; “So he will take what he has learned and wait a spell longer.”

Far more believable is this publication’s conclusion as it shows Conan confronting his hunter down a dark alleyway sword in hand. This face-to-face conflict is far more plausible than anything else in the comic, even if Zub does fruitlessly attempt to fool any onlookers that the Cimmerian waited so long to tackle his adversary because he was curious if the man meant to “simply walk away.”

What does work well for “Trail Warrior” though are the layouts of Doug Braithwaite. The British artist somehow manages to make even his well-pencilled panels showing the Son of the Tooth’s scratchy searches amongst his prey’s deserted campfires rather intriguing, as well as clearly depicting just how busy the market area in Khoraja is. Furthermore, when the future king of Aquilonia does finally make his stand, his defiance is entirely palpable, and surely caused many a fan to quickly ensure that they had this ongoing title’s next instalment pre-ordered at their neighbourhood bookstore.

The regular cover art of "CONAN THE BARBARIAN" #30 by Ivan Gil

Nightwing #123 - DC Comics

NIGHTWING No. 123, April 2025

Despite Issue One Hundred and Twenty Three of “Nightwing” not containing many of the fanciful, acrobatic assaults fans of Dick Grayson’s alter-ego are most likely used to, Dan Watters’ script for “Dropping Like Flies” should still have kept the majority of its readers absolutely hooked upon the titular character’s “plan to save Blüdhaven’s streets from a bloody war.” Indeed, the Teen Titan’s claustrophobic encroachment of the Flyboiz new underground lair provides plenty of pulse-pounding moments, even when the former Boy Wonder is simply rifling through some long-forgotten, heavily eradiated caskets; “I think the city secretly put them here. Under ten feet of concrete so they wouldn’t soak into the earth.”

Naturally, this sequence does ultimately lead to the original Robin facing off against a heavily mutated monster which is both physically unimpressed by the super-hero’s feisty kick to its neck area, as well as subsequently joined by a disconcerting horde of equally formidable-looking creatures. But the actual build-up to this terrifying confrontation is incredibly well-penned by the English author, and would arguably be no less enthralling if the central protagonist didn’t encounter anything more deadly than the surprisingly cute Bugdog – “One of Dr. Probozzcizz’z early experimentzz.”

Similarly as scintillating as these subterranean spectacles though is the palpable energy generated by Spheric Solutions overt squeezing of Mayor Grayson-Lin in view of the politician’s decreasing popularity with her municipal’s voters. Obviously the company’s insanely advanced technology appears to be the simple answer to the mayor's problems. However, considering that Dick’s sister somewhat suspects that Olivia Pearce is as untrustworthy as they come, it’s still entirely plausible that Melinda will take some disagreeable steps in order to “protect those in my care”; especially with an election just around the corner.

Lastly, artist Dexter Soy’s contribution to this twenty-two page periodical’s success cannot be overstated either. Along with Colorist Veronica Gandini, the illustrator provides a suitably dank and dire bunker for Nightwing to explore. In addition, the almost comatose, vegetating Flyboiz which litter the hideout are very well envisaged, and add a great deal to the almost profound stench of death which haunts all of the unholy facility’s nightmarish scenes.

The regular cover art of "NIGHTWING" #123 by Dexter Soy with Veronica Gandini

DC K.O. Knightfight #4 - DC Comics

DC K.O. KNIGHTFIGHT No. 4, April 2026

Whilst many a bibliophile may well get the impression from this comic’s rather lengthy foreword that writer Joshua Williamson was a bit worried the mini-series’ long-term readers might now be struggling as to what its overall narrative actually was, the American author doesn’t appear to dwell too much on the problem when it comes to Issue Four of “DC K.O. Knightfight” itself. Indeed, this particular twenty-two page periodical seems to spend no time at all in explaining just how Damian Wayne became Gotham City’s future Batman, and instead simply has its most pre-eminent members of the Bat-Family unconvincingly accept that they live in an alternate reality which will cease to exist when the all-powerful Heart of Apokolips decides to end it.

To make matters even more confusing though – especially for those fans who have somehow managed to stick with this spin-off title, the California-born writer also appears to have suddenly changed its goal posts by penning that the sentient machine disconcertingly now wants Bruce Wayne to return to its “deadly tournament” and become its victorious King Omega. Sure, the device still wants to punish the Caped Crusader for supposedly ‘cheating’ in its deadly contest. But its original plan now appears to have been side-lined in order to give the Dark Knight a greater purpose.

In addition, it may well strike some within this book’s audience that a clearly aged, costumed crime-fighter is given plenty of time with which to train both his brain and brawn before having to fight his son ‘to the death’. Everyone appears fairly causal about the World’s Greatest Detective shockingly coming back from the dead and being told that they’re not real, and this lack of haste badly affects Batman’s final bout of fisticuffs against Damian once it starts. Furthermore, the story doesn’t even end, as having shown Wayne admitting he can’t defeat a much younger, seasoned ‘keeper of the cowl’, this publication abruptly informs any onlookers to purchase another instalment of the “Crisis of Absolute Proportions” crossover event to find out what happens next.!?!

Disappointingly even artist Dan Mora appears utterly befuddled by this comic’s script, and appears desperate to finish the project as quickly as possible by utilising negative space for his backgrounds as much as he can. In fact, this sense of disinterest debatably even extends to the aforementioned highly-anticipated conclusion, where the Costa Rican illustrator desperately attempts to use lots of movement lines to cover over his rather basic-looking, poorly-detailed combatants.

The regular cover art of "DC K.O. KNIGHTFIGHT" #4 by Dan Mora