Star Wars: Jedi Knights #6 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 6, October 2025

Whilst there’s undoubtedly something akin to an acceptable adventure lurking within this publication’s twenty-page plot, the way Marc Guggenheim delivers his narrative for Issue Six of “Star Wars: Jedi Knights” will probably disappoint a fair few fans of the science fiction franchise. Furthermore, the notion of starting this tale after Jedi Master Fondar Etzis has already been assassinated on Mina-Rau will surely give many a bibliophile the unshakeable feeling that they’ve disappointingly missed the yarn’s true beginning; “He was instrumental in dealing with a group of bandits who had been stealing our crop yield.”

To make matters even worse though, the American screenwriter appears to utterly waste the characters of Mace Windu and Aayla Secura, relegating the top tier Jedi Masters to insensitive bumpkins who can neither feel the “darkness surrounding Master Etzis’ remains”, or anticipate the imminent attack upon them by Corlis Rath. Admittedly, this lack of basic Force powers does allow Qui-Gon Jinn with the opportunity to face his mysterious attacker single-handed. But it doesn’t arguably say much for the likes of Windu – the so-called “ greatest champion of The Jedi Order.”

Lastly, this comic shows Count Dooku’s protégé getting rather easily out-witted by his Sinsaran opponent when he has the dual-blade wielding hit man on the ropes. Such a shocking and seemingly fatal blow to the innards, certainly seems to set the scene for this ongoing series’ next instalment – something which hasn’t really happened before. Yet, it also debatably begs the question just why Rath risked tackling three of the Jedi Council’s top tier operatives alone and head-on, when he could surely have just poisoned Jinn when he was on Coruscant in a similar almost untraceable fashion to that used to murder Fondar..?

Far more successful than this book’s penmanship is Madibek Musabekov’s pencilling, which really comes into its fore during the ‘sword-fight’ between Qui-Gon and Corlis across a humongous, fully-functioning agricultural machine as it busily reaps the annual harvest. This adrenalin-fuelled action sequence is extremely well drawn with both participants exchanging blows as they leap amongst all the deadly working parts, and it’s genuinely a shame that this frantically-paced fray is ultimately so short-lived as the pair attain some level of safety on the combine’s topmost section.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #6 by Madibek Musabekov & Jesus Aburtov

Nightwing #136 - DC Comics

NIGHTWING No. 136, May 2026

Described by its Burbank-based publisher as “one of the hottest books in the DC Universe”, Dan Watters’ script for Issue One Hundred And Thirty Six of “Nightwing” probably kept the majority of its audience entertained thanks to its intriguing mix of supernatural noir and modern-day motorway mayhem. In fact, considering that so much of this twenty-two page periodical is based upon the premise of its titular character simply driving along Blüdhaven’s new super-highway and talking to his mysterious passenger, it’s arguably impressive that the comic is as good as it is.

For one thing, Dick Grayson’s alter-ego doesn’t actually do anything in this book apart from attempt to rationalise (and debatably patronise) the erratic behaviour of the Woman in White he picked up from the centre of the road. This attitude towards his distinctly witchlike companion may well irk some readers, but it rather surprisingly puts them in a better position to understand the lady’s plight than the supposed ‘hero of the hour’ – especially once the publication begins depicting her backstory via flashbacks, which clearly shows her death occurring during a much earlier time, maybe even in the dark, puritan days of the country's colonisation by Europe.

This additional knowledge will doubtless have the odd bibliophile shouting at Nightwing to stop underestimating his eerie passenger right up until the moment the Teen Titan is called upon to help evacuate several injured motorists. Admittedly, some onlookers may well argue that the original Boy Wonder wasn’t responsible for the mass pile-up which occurs following him planning to drive his bloody companion to a hospital. But if the super-hero hadn’t badly miscalculated the paranormal powers clearly at work, he might not have deviated from the route to the “crossroads” which the woman was clearly determined for him to take.

Disappointingly, the layouts of “legendary artist Denys Cowan” don’t debatably do the story justice, despite the American illustrator apparently doing his best to make a tale set inside the front of a car as dynamic as possible. What does impress though is the subsequent mass crash which sees various vehicles slam into one another from all sorts of horrible angles. Indeed, one can genuinely hear the screech of tyres, the crunch of metal and the smashing of so many glass windscreens from his well-pencilled panels covering this horrendous event.

The regular cover art of "NIGHTWING" #136 by Jorge Fornes

Planet Of The Apes Verses Fantastic Four #4 - Marvel Comics

PLANET OF THE APES VS. FANTASTIC FOUR No. 4, July 2026

Whilst this twenty-page-periodical probably does provide “Marvel’s first crossover with the Planet of the Apes” with “a stunning and startling conclusion”, perhaps the comic’s biggest shock will actually come in it making its regular readers think they might have somehow missed an instalment of the mini-series somewhere down the line. Indeed, Reed Richards’ miraculous invention of a gauntlet which “should transfer the cosmic energy from the target to the wearer via touch” comes completely out of the blue, and may well cause many a bibliophile to pick up this title’s previous edition to double-check just where the conveniently useful device has mysteriously come from.

Furthermore, some within this publication’s audience may also become a little confused when it’s revealed that the Red Ghost has actually wiped Gaius’ memory of his attack upon the Orangutan's political stronghold, so that the President will rather handily believe his previous confrontation with the super-villain was just a “dream”. This unconvincing plot point was admittedly hinted at towards the end of this limited run’s last issue. But many onlookers will doubtless still point out that Josh Trujillo desperately needs to clarify the ape’s wavering position via both the book’s opening synopsis, as well as Ivan Kragoff’s detailed exposition at the magazine's start.

Lastly, the notion of Doctor Doom providing the Fantastic Four with the very means of their successful return to our modern-day world somewhat grates upon the nerves too. The Monarch of Latveria is well known for using his mechanical Doombots to save him from having to place his own person in physical danger. Yet in this adventure the American author would have his fans believe that the fully-armoured megalomaniac would fit one of his automatons with just the sort of in-built Di-Quantum Stabilizer and co-ordinates needed to get his greatest enemies home.

Far more agreeable than this comic’s writing is therefore the incredibly well pencilled layouts of Andrea Di Vito, which must genuinely have caught some by surprise when the Red Ghost’s Super-Apes suddenly turn upon their human master. Of particular note has to be Mikhlo absolutely socking Kragoff into the next century with a jaw-breaking wallop, as well the nostalgic use of the exercise pen as a background for Johnny Storm’s fight against General Ursus; “Climb up and get me if you want me so badly!”

The regular cover art of "PLANET OF THE APES VS. FANTASTIC FOUR" #4 by Greg Land & Rachelle Rosenberg

Nightwing #135 - DC Comics

NIGHTWING No. 135, April 2026

To be fair, Issue One Hundred And Thirty-Five of “Nightwing” does debatably bring Dan Watters’ “Cirque Du Sin” multi-part storyline to a pretty satisfactory conclusion. Indeed, with the exception of Blüdhaven City’s mayor now being the villainous Bernard Bisogni, and large chunks of the metropolis being in ruins due to “the biggest quake to hit the East Coast since the Cataclysm”, Dick Grayson’s life as a costumed crime-fighter is pretty much back to where it was before he re-encountered the Zanni.

Admittedly, having Barabara Gordon simply state that Spheric Solutions and Olivia Pearce are “gone” isn’t the most convincing explanation as to how a multi-billion dollar advanced weapons company and its headless, zombie owner have disappeared. But at least it helps provide the Justice League, the Flyboiz and the Teddy Gang with an opportunity to work together so as to assist “people in the wake” of the conurbation’s massive misfortune; “My friends prove once more that they have my Town’s back when I need them.”

Furthermore, poor Nightwing-Prime’s sacrifice to stay locked within the Fifth Dimension so he can eternally battle the Zanni seems to be a fairly well thought out solution to bring Grayson’s worries about having to mentor a Superman-like protégé to a rather quick end. Poor Bryce Moran’s presence on Earth was always going to cause a multitude of problems for anyone penning adventures set within the former Whaling Town, as anything other than a Kryptonite-laced disaster could easily be fixed by the meta-human swooping down to save everyone – including Dick. Now though, the youngster can safely develop his special abilities in isolation, whilst simultaneously keeping his fellow children’s dreams free of the sinister clown’s influence.

Lastly, regular artist Dexter Soy returns to provide plenty of tension with his pencils as Nightwing attempts to valiantly escape the Fifth Dimension with all of Blüdhaven’s stolen youngsters via a terrifyingly tall ladder. This ultimate confrontation between the two supposedly long-time adversaries is laced with drama and danger. It’s just a pity that so much of this atmosphere is then debatably lost once Bryce flies in and blasts the disconcerting, spider-like Zanni away from the original Boy Wonder just as things are looking bleak for Grayson.

The regular cover art of "NIGHTWING" #135 by Dexter Soy

The Infernal Hulk #7 - Marvel Comics

THE INFERNAL HULK No. 7, July 2026

Whilst it’s never ever really explained just how the Infernal Hulk suddenly “exerts [a] mysterious control over all mutantkind” and begins “drawing them to his growing army in the horrific Living City”, it’s probably a safe bet that many a fan of this ongoing series will give Phillip Kennedy Johnson a pass due to the unconvincing notion setting up a scintillating scrap between the titular character and the X-Men. True, the confrontation only features those super-heroes located at the Factory Merle in Alaska – so doesn’t include such notable team members such as Wolverine, Rogue, Emma Frost and Ice Man. But this comic does still show Cyclops, Magneto and Magik doing their best against Eldest’s host body.

Furthermore, having horribly killed Marrow when the firstborn of Vinruviel kidnapped the Morlock Leech, the tense atmosphere inside the Sentinel manufacturing plant is arguably pretty palpable during the fight, with a few of the lesser known mutants certainly seeming to be close to a grim, grisly death whenever the Hulk turns his attention upon them. Indeed, at one point even Illyana Rasputina genuinely appears to be upon the cusp of being cut in two by the ‘daughter of horrors’ when the sorceress' Soulsword is taken from her; “This blade is bound… to your life force. Yes? What would happen, then… If I took your head with it?”

Perhaps far less impressive though is how the American author depicts the rest of the leading members of the Marvel Universe, who seem to be huddled up within the safety of the Baxter Building. Only Iron Man has actively challenged the might of the Hulk face-to-face so far, yet the way Reed Richards talks to such untried power-houses like Carol Danvers, Spider-Man, the Scarlet Witch and the Vision, any resistance against Eldest is disappointingly already doomed before it’s even begun.

Likewise, Adam Gorham’s artwork debatably doesn’t do the pulse-pounding punch-up much good either, with poor Sarah’s aforementioned death appearing to be overly gratuitous for no obvious reason. In fact, if it wasn’t for a hastily-sketch Pyro calling her by name some readers might even struggle to recognise that the figure sketched in the comic is actually Marrow, and not some other poor unknown Morlock. Furthermore the illustrator tries to cram in so much action into such thin panels, that there’s little room to really see who is doing what to each other when the action heats up – e.g. Magik actually stabling Hulk through the heart area with her hand-weapon.

The regular cover art of "INFERNAL HULK" #7 by Nic Klein

Nightwing #134 - DC Comics

NIGHTWING No. 134, March 2026

There’s arguably a lot to enjoy with Dan Watters’ storyline for Issue One Hundred And Thirty-Four of “Nightwing”. The comic has the titular character thinking somewhat out of the box in order to defeat his arrogant adversary, there’s a peculiar high-stakes game to be “played for the souls of Bludhaven’s children” which would make both the Joker and Riddler proud, and the book also contains the surprising team-up of the Martian Manhunter and Bat-Girl. But sadly, the notion that the Zanni is disconcertingly able to destroy large parts of Dick Grayson’s metropolis by simply throwing a ball at some tin cans debatably proves a little too super-powered to fit in with the rest of the narrative.

Indeed, if the Fifth Dimensional imp really has such a destructive ability and can level vast swathes of the New Jersey city with a single action, many a bibliophile will surely be asking themselves why he went to such bizarre lengths as to covertly infiltrate the place via Olivia Pearce’s sinister Spheric Solutions in the first place, when he could surely have just smashed a few blocks of real estate into rubble and then informed the original Boy Wonder that he wanted him for his Cirque du Sin’s Ringmaster once the acrobat-turned-crimefighter showed up.?

Furthermore, the Zanni only appears to be defeated by Grayson towards the end of this book because he’s partially disintegrated by Nite-Mite’s gloopy soup first. This solution seems reasonably clever to begin with. However, it will debatably soon dawn upon the audience that it was the “godlike force” who brought “Nightwing's self-declared biggest fan" into the fray in the first place - and seemingly for no obvious reason other than to subsequently provide Batman's former sidekick with the means with which to defeat him.!?!

Fortunately, what does keep the eye riveted are V Ken Marion’s layouts, which genuinely add an aura of tension to the tent scene involving the Zanni and Nightwing throwing balls at a mock replica of Bludhaven. In addition, the aforementioned fully costumed appearance of J'onn J'onzz and Barbara Gordon amidst all the damage and destruction is extremely impactive, and probably caused more than a few of this ongoing series’ readers to suddenly wish for a mini-series featuring the two protagonists; “I think some help has just arrived.”

Writer: Dan Watters, Artist: V Ken Marion, and Colors: Veronica Gandini

Conan The Barbarian: Scourge Of The Serpent #4 - Titan Comics

CONAN THE BARBARIAN: SCOURGE OF THE SERPENT No.4, February 2026

It probably didn’t come as much of a surprise to anyone purchasing this twenty-two-page periodical that contributor Jeffrey Shanks saw the need to actually explain this mini-series’ climax as part of his final back-page article “In The Coils Of Set – The Origin And Legacy Of The Great Serpent”. For whilst Jim Zub’s narrative certainly depicts the Hyborian Age deity telling the likes of Conan, King Kull and John Kirowan what it wants from them, it’s rather trivial needs could easily get lost amongst all the inter-dimensional, planetwide fighting which revolves around it.

Indeed, Set’s apparent desire to mate with this title’s three leading antagonists so as to create “a perfect hybrid race” is debatably far from convincingly delivered, especially when “the arch-enemy of the gods of light” appears before the trio as multiple snake-headed assassins, a huge gorgon and the murderous wife of the Professor’s latest client. These forms, and resultant attempts upon the heroes’ lives don’t seem to be the best way of wooing a lover into the Great Serpent’s arms – no matter how alluring its final, semi-naked astral form may appear.

Furthermore, “Titan Comics” attempt to try to hoodwink this comic’s audience into accepting that such an overriding purpose is “very much drawn from themes in Robert E. Howard’s original tales” will surely put the backs up of any of the 1930’s pulp writer’s purists - no matter how hard Shanks’ aforementioned lengthy essay tries to convince them otherwise. Perhaps therefore this book’s most intriguing element only comes at its very end when it becomes clear that, in the Canadian author’s canon at least, Set sees itself as the planet’s saviour from various “terrors undreamed of”, and apparently wants to rescue Mankind, rather than simply dominant it like so many other one-dimensional, evil tyrants.

Unfortunately, Ivan Gil’s layouts don’t seem to help show what is truly happening throughout this publication either. It doesn’t matter how proficient a penciller the illustrator is at depicting Conan, Kull and Kirowan as somewhat decrepit, older versions of themselves, nor how much ghostly green ink colour artist Jao Canola throws at the multiple supernatural sequences. It is never made clear whether the leading characters can ever actually see (and therefore work) together, nor why they become so drastically aged in the first place..?

The regular cover art of "CONAN THE BARBARIAN: SCOURGE OF THE SERPENT" #4 by Roberto De La Torre

Nightwing #133 - DC Comics

NIGHTWING No. 133, February 2026

If Dan Watters’ motivation behind penning the narrative for Issue One Hundred and Thirty Three of “Nightwing” was to give the more brassic bibliophiles buying his book a bit of a financial break for a month by not needing purchase this particular publication, then the English writer’s plan certainly seems to work. True, any fans of the ongoing series will miss a rather unexpected cameo by the Martian Manhunter. But other than the Justice Leaguer helping Dick Grayson’s alter-ego step foot into the Fifth Dimension, arguably nothing else happens of any interest within this entire twenty-two page periodical.

Instead, readers are simply asked to witness a variety of this title’s supporting cast sat around poor Bryce Moran’s rehabilitation bed repeatedly telling the original Boy Wonder that the media’s belief he beheaded Olivia Pearce on local television wasn’t really his fault, and that his reputation would eventually recover. Indeed, perhaps the only one of these sedentary scenes which contains any real plot progression is the apparent imminent departure of Bludhaven’s former mayor who plans to leave the city in order to get “a fresh start.”

By far this comic’s most soporific moment however, debatably comes with the sudden appearance of J'onn J'onzz, who takes a whopping twenty-seven panels to provide Grayson with a gateway leading to the mysterious Cirque du Sin. The pair obviously discuss other matters during this scene, such as what the Zanni did to Nightwing-Prime. Yet so much of their dialogue may still strike this book’s audience as simply 'treading water' so that the lead protagonist can encounter a ghoulish incarnation of Pearce in Nite-Mite’s inter-dimensional reality at this instalment’s end; “And here he is. The Ringmaster. At long last.”

Significantly more scintillating than the script for “A Thing That Should Not Be” has to be V Ken Marion’s layouts, with the concept artist desperately attempting to imbue as much of the magazine as he can with some semblance of life. This approach appears to mainly stem from the illustrator pencilling all the talk around Bryce’s body from as many different angles as possible. Albeit every now and then the man manages to take any onlookers onto the very streets of Bludhaven where Spheric Solutions’ technologically advanced law enforcement officers are dynamically battling the conurbation’s criminal gangs, or its young children are being abducted by the Zanni’s circus.

Writer: Dan Watters, Artist: V Ken Marion, and Colors: Veronica Gandini

G.I. Joe: A Real American Hero #310 - Image Comics

G.I. JOE: A REAL AMERICAN HERO No. 310, September 2024

Definitely living up to its pre-publication hype of depicting “the Battle for Springfield”, Larry Hama’s narrative for Issue Three Hundred and Ten of “G.I. Joe: A Real American Hero” attempts to cover every competing force present during the mass fight, whether the characters belong to the titular Joes, Cobra, Destro, the Dreadnoks or Revanche. In fact, this twenty-page-publication’s pulse-pounding plot arguably only misses out on a handful of the American media franchise’s most prominent personalities.

In addition, this comic’s scintillating speed is almost breathtakingly fast with the Harvey Awards Hall of Famer penning very few pauses in the firefights occurring across “the seemingly innocuous town". This pace genuinely should pick up anyone deciding to peruse this periodical in their local book store, and debatably won’t then put them back down until the silver-masked founder of M.A.R.S. Industries decides that he must travel to Cobra’s covert “foothold in the United States” in person; “Call up the Iron Grenadiers. Roll out the heavy air transports. We’re going to Springfield.”

Surprisingly though, the American author also somehow manages to cram in a couple of emotional sub-stories into his script, with the Baroness almost being felled by a double-tap to her chest by the Crimson Guardsman. This almost fatal injury actually causes the likes of Zartan to form a desperate truce with Storm Shadow in order to get Anastasia Cisarovna some much needed medical aid at the local hospital. However, even this genuinely enthralling event is probably superseded by Dawn Moreno’s morally right, yet almost unwise, decision to rescue one of the law enforcement officers who brought about her parents’ doom – a move which almost costs Snake Eyes III her life until the ever treacherous cop is blown apart by a pack of heavily-armed mutants.

Lastly, a big shout out must go to Paul Pelletier whose layouts do a superb job of capturing all the mayhem and last minute shoot-outs needed for this comic. Of particular note is probably the various feelings running across the face of the aforementioned policeman who at one point wrongly believes Moreno is going to just watch him burn alive in his patrol vehicle. Furthermore the illustrator is also very good at pencilling a seemingly endless mixture of bullets, bazookas and explosions, and impressively making them all continue to captivate the readers' attention despite the sheer amount of ordnance needed to be drawn.

The regular cover art of "G.I. JOE: A REAL AMERICAN HERO" #310 by Andy Kubert & Nathan Fairbairn

Nightwing #132 - DC Comics

NIGHTWING No. 132, January 2026

If there’s one distinct difference between Dick Grayson’s attitude towards fighting crime as opposed to Bruce Wayne’s, it’s that the Dark Knight’s ‘heir apparent’ appears far more emotional when it comes to tackling his opponents, and Nightwing’s behaviour in “Slap Stick” appears to prove this point rather nicely. In fact, Olivia Pearce’s diabolical plan appears to solely rely upon that very fact as a clearly enraged guardian of Blüdhaven allows his temper to get the better of him and unwisely races into a deadly confrontation with Spheric Solutions’ boss in full view of the city’s media; “Cut it! Cut it! We apologise for these violent images -- We didn’t expect on a live feed --”

Sadly however, the grisly conclusion to this sinister spectacle appears a little rushed, and may well leave a few readers wondering whether Dan Watters’ willingness to cut short a couple of this comic’s sub-plots was a little impatient of him – such as the rather intriguing notion of the woman wearing a suit whose smart fibres had read Grayson’s “every motion” whilst he battled Nite-Mite’s bemusing takeover of Titans Tower. Considering that Pearce herself was a former Circus performer, this notion alone could easily have populated an entire twenty-two-page publication, as the two went toe-to-toe across the roof-tops of the former whaling town.

In addition the rather ghoulish revelation that Olivia is actually a headless zombie also appears to have been swiftly brushed under the carpet, to allow Nightwing to angrily face the Zanni at the book’s conclusion. So terrifying an eye-opener doesn’t disappointingly lead to Dick realising he’s possibly unable to defeat someone who is Undead, or lead to the original Boy Wonder facing down a gaggle of walking, flesh-eating cadavers. But instead is simply used by the British author to fool the press into thinking that Nightwing has somehow killed his foe before the metropolis’ television cameras.

Perhaps far more palatable than the penmanship is therefore Dexter Soy’s pencilling, which does a first-rate job of depicting the pulse-pounding fury flowing through the titular character's veins from start to finish. This is clearly a Teen Titan focused upon simply tracing down the Zanni, and resultantly a protagonist who is extremely vulnerable to being manipulated into certain situations. Furthermore, the sheer weight of the super-hero’s frustration when he does finally find his real opponent is superbly sketched, especially once Grayson realises it has come at the cost of a person’s life.

The regular cover art of "NIGHTWING" #132 by Dexter Soy

Star Wars: Jedi Knights #5 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 5, September 2025

Permeated with a persistent aura of untrustworthiness and treachery, Marc Guggenheim’s narrative for Issue Five of “Star Wars: Jedi Knights” arguably provides a rather intriguing insight into Count Dooku’s exploits before the Force Sensitive fully fell to the dark side of the Force. In fact, it seems clear that the future Darth Tyranus is already willing to cold-bloodedly kill his opponents “years before the Battle of Naboo”, and is already cultivating the wariness of Jedi Council Members such as Yaddle with his evident inclination to give in to his fury; “If that were so, you wouldn’t strike someone down in anger.”

Furthermore, the American author is very good at making his readers doubt as to whether the Count of House Serenno would actually have survived his encounter with Lonkus’ Wookie raiding party if he’d been alone, and question that his capture was just a ruse so the former Jedi Master could be taken to meet his attackers' leader face-to-face so as to kill them all. Certainly, Yaddle seems to doubt the man would have succeeded without her and Seera Longa’s help. But considering how easily Dooku appears to escape the criminals’ clutches, even when he’s chained-up, his predicament begs some tantalising ‘what if’ questions.

Likewise this twenty-page-periodical gives its audience an early look at Viceroy Nute Gunray’s descent into darkness, and the beginning of his relationship with Sheev Palpatine. Though not mentioned by name it’s clear that the Trade Federation representative is already up to his neck in dishonest dealings for the Galactic Senator, and now needs Darth Sidious to dispatch Dooku to “safeguard” the Neimoidian’s property from the supposedly legitimate Gillanter corporation as a favour. This plot-thread genuinely helps sell just how patiently planned the future Emperor’s plans are, and shows just how much his hand was guiding Gunray’s actions even before the illegal blockade of Naboo.

Perhaps therefore this comic’s one minor quibble lies with Madibek Musabekov’s design choice for one of the Wookie crooks who debatably is so thin and short-furred that it looks more like a red version of Dr. Seuss’ Grinch than a killer from the planet Kashyyyk. Other than this rather curious faux pas the illustrator’s pencilling is spot on – especially when it comes to selling the anger in Dooku and the Count’s sinister future predication as to the Jedi Council’s fate.

The regular cover art of "STAR WARS: JEDI KNIGHTS" #5 by Rahzzah

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