Nightwing #122 - DC Comics

NIGHTWING No. 122, March 2025

There’s certainly a lot to enjoy when it comes to Dan Watters’ writing on Issue One Hundred And Twenty Two of “Nightwing”, including his well-penned flashback to a time when the titular character was just a youngster and learning the ropes alongside the World’s Greatest Detective. However, perhaps the biggest ‘hook’ to “Little Circus Boy” doesn’t lie with its nostalgic trip back into the past with the original Caped Crusaders, but in the present as Dick Grayson’s Bludhaven collapses about his ears into a full-on crime war despite the young man’s desperate protestations that Spheric Solutions are actually the ones behind all the bombs and damage.

Indeed, the surprise on the Teen Titan’s face when he discovers that a direct attack upon Bludhaven Police Headquarters was unexpectedly perpetrated by a green-skinned flyboi, and not some nefarious agent of Olivia Pearce’s company is perfectly palpable. This shock is genuinely upsetting for both super-hero and reader alike, and makes the subsequent weight shown sitting upon the former acrobat’s shoulders as he gloomily surveys his conurbation from the abandoned Titan Tower all the more impactive and foreboding; “I thought I could do things different, Babs. The violence stalled for a bit. But… The bloodshed continues. Maybe everything’s just going to keep getting worse.”

Of course, the highlight of this twenty-two-page comic is its aforementioned return to the days when Grayson was the Boy Wonder, and together with Batman he tackled Colombina and the Cirque Du Sin. This skirmish is perhaps understandably brief and inconclusive, yet still manages to take the audience back to an arguably simpler (and perhaps better) time when the Dark Knight did far more punching than thinking, and Robin was perhaps something of an adolescent liability.

Also at the very top of his game is Dexter Soy, who along with colorist Veronica Gandini absolutely nails the grimy, old school feel of Dick’s world working alongside the Gotham City's protector. Possibly therefore this book’s sole disappointment comes in just how physically alike Commissioner Sawyer and Pearce appear, as for a long while it may seem to some bibliophiles that Nightwing is accusing Olivia straight to her face atop a high-rise building, as opposed to him merely discussing his theories with the head of Bludhaven’s police force.

The regular cover art of "NIGHTWING" #122 by Dexter Soy with Veronica Gandini

Deadly Hands Of K'un-Lun #1 - Marvel Comics

DEADLY HANDS OF K'UN-LUN No. 1, April 2026

Announced in November 2025 by “Marvel Worldwide” as a five-issue comic book limited series from “one of the creative minds behind the hit video game, Marvel Rivals”, this twenty-five page periodical probably appeared to be a bit of a mess when it finally landed in the hands of its customers some months later. Indeed, the publication’s opening, which contains numerous narrative word boxes in addition to all manner of fantastical fighters talking is genuinely hard to persevere through, as it is often hard to establish just which piece of dialogue (or narration) needs to be viewed next; “Their champion has fallen. The Chamber of Knowledge is ready for you.”

Furthermore, writer Yifan Jiang appears to almost ‘double-down’ on this multiple-voice technique by having the title’s hero, Lin Lie, not only talk to his fellow costumed crime-fighter White Fox whilst they’re battling some giant octopus at a local Seaside Aquarium. But also Pei, the former Iron Fist, via some covert communications network and directly to the readers too. Such a technique debatably makes it really difficult for any perusing bibliophile to focus upon any action taking place, and may well cause a fair few re-reads as well – especially when Ami Han is inexplicably replaced by a giant three-tailed animal which simply barrels the aforementioned eight-tentacled sea monster back into the ocean.

Unfortunately this ‘battle’ to understand just what is actually taking place even continues into this comic’s final act, when the author suddenly seems to throw the likes of Elektra (Daredevil) and White Tiger into the mix upon a Hell’s Kitchen rooftop. Supposedly also drawn to Neon Dragon’s “dark energy”, these street-level super-heroes add even more word-heavy speech balloons to the proceedings, and seem to have little purpose except to distract any onlooker from the momentous confrontation between the current Iron Fist and one of his evil brother’s top minions.

What does work absolute wonders though are Paco Medina’s layouts, which are crammed full of adrenalin-fuelled action and martial art manoeuvres. In fact, the illustrator is clearly at the very top of their game with this book’s pencilling, as they manage to repeatedly provide all the cast members with plenty of animated life – as well as the odd death, such as in the case of the brave yet doomed Fat Cobra.

The regular cover art of "DEADLY HANDS OF K'UN-LUN" #1 by Leinil Francis Yu & Federico Blee

Star Wars: Jedi Knights #3 - Marvel Comics

STAR WARS: JEDI KNIGHTS No. 3, July 2025

It’s probably fair to say that penning a twenty-page periodical which simply consists of endless splash pages featuring Qui-Gon Jinn and Obi Wan Kenobi battling “giant monsters” may well have looked good on paper. But in reality the idea arguably falls flat fairly quickly as there’s little room for the narrator to provide much detail as to why Senator Bail Organa has crash-landed “on a planet full of skyscraper-sized monsters”, or just how Count Dooku’s former apprentice is able to locate the politician’s CR70 Corvette on foot whilst in the middle of a truly ginormous jungle.

Instead, Marc Guggenheim rather disappointingly expects his audience to simply take him at his word that these events have somehow occurred, and move on with the American author’s next preposterous proposition that a massive 120 meter-long significantly damaged spaceship can still be flown off of a planet’s surface just because it has a powerful Jedi Master on board. Now admittedly, Ginn is clearly “a student of the living Force”. But if he could single-handedly raise an enormous spaceship up into the air using his abilities, many a bibliophile will surely be wondering why he doesn’t at least attempt to do something similar to the significantly smaller royal starship of Queen Padmé Amidala when it is stranded on Tatooine..?

Perhaps this comic’s biggest weakness though is that it has very little plot with which to keep its audience hooked. Poor Kenobi is flattened at its very start so spends the majority of the storyline unconscious, and all his teacher needs to do is lift Organa’s vessel back into the sky for the tale to end. That is it. Such a lack-lustre narrative arguably smacks of a writer trying to do something new with an edition of a long-running title, whose loyal fans will most likely return to buy the next instalment regardless of whether the experiment succeeded or not. However, this is only Issue Three of “Star Wars: Jedi Knights” and therefore needs to do a lot more to keep people picking it up off of the spinner racks.

Sadly even Madibek Musabekov’s artwork doesn’t manage to maintain the eye throughout this book, with the Central Asian illustrator’s repeated sketches of Planet WG4587’s lush plant-life and monstrous Kaijura frustratingly all rolling into one. Indeed, one of the earliest problems with this comic is its opening where its debatably not clear exactly which Jedi is using their light-sabre to slow down their descent by burying it deep within the flesh of a towering alien lifeform; “I was rendered unconscious upon making a somewhat violent landing on the planet’s surface…”

The regular cover art of "STAR WARS: JEDI KNIGHTS" #3 by Rahzzah

Nightwing #121 - DC Comics

NIGHTWING No. 121, February 2025

On the face of it Dan Watters’ storyline for Issue One Hundred And Twenty One of “Nightwing” might well be viewed as a fairly run of the mill affair, where the gifted acrobat manages to easily outfight both the remnants of the Teddy Gang and some “powered-up Spheric police officers”. Indeed, the more critical of this comic’s followers could argue that the titular character could easily be swapped out for any number of “DC Comics” street-level metahumans and the adventure wouldn't suffer an iota as a result; “Would you hate me if I said I was a little surprised you took me up on my offer of a private tour?”

However, that would be doing “Beast Wagon” a massive injustice as the English author pours a tremendous amount of emotional energy into Dick Grayson, and resultantly should have caused many a reader to have been hanging on to very back of Batman’s first Robin as he desperately attempts to keep Mama Bear’s adolescent survivors safe whilst motorcycling away from the murderous clutches of Bludhaven Police Department’s jet-pack wearing goon squad. Such intensity really is extraordinarily well-penned and almost demands that any onlooker becomes immediately invested in the main lead’s stance to do the right thing for the citizens, whether criminals or not, under his protection.

Similarly as enthralling, though obviously far less adrenalin-fuelled, is this book’s sub-plot depicting an ‘undercover’ Grayson successfully wooing Olivia Pearce to the point where he can clone her personal hard drive. Things certainly look like they’re all going in the right direction as Oracle attempts to penetrate its “Pentagon encryption”. But the sinister shadow of the Zanni is still made ever present and intimidating, thanks largely to artist Dexter Soy cleverly concealing the Fifth Dimensional Imp's ever-watching face into the odd panel.

In fact, the Filipino illustrator is at the top of their game for this twenty-two page periodical, prodigiously pencilling both its fast-paced punch-ups and road chases, as well as its more sedentary scenes such as Dick’s aforementioned flirting with Pearce. All of these sequences cleverly help deliver the emotional turmoil the super-hero is going through, and helps emphasise his earnest desire to ensure another kid isn’t unnecessarily killed on his turf.

The regular cover art of "NIGHTWING" #121 by Dexter Soy with Veronica Gandini

Dungeons Of Doom #1 - Marvel Comics

DUNGEONS OF DOOM No. 1, March 2026

Announced at New York Comic Con 2025, this supposed grappling with “the aftermath of One World Under Doom” probably surprised a fair few of the bibliophiles who nonchalantly picked it up off of the spinner rack. For whilst the thirty-page-periodical is arguably a little clunky in its unconvincing premise of several opposing military-based factions somehow surviving a seriously long fall down into the deepest depths of Victor Von Doom’s underground chambers, as well as being a highly touted limited series which shockingly only consists of just three instalments, Issue One of “Dungeons Of Doom” makes for a compulsive read.

Indeed, whether by design or simply happy happenstance, writers Phillip Kennedy Johnson and Benjamin Percy manage to imbue the repeated assaults upon “The Monster’s Den” with plenty of pulse-pounding action and genuine gusto. Of particular note has to be the sudden appearance of Hydra, who having watched the Western Army visibly weaken itself against Latveria’s Freedom Fighters, decide to join the fracas with a massive aerial assault; “All that was Doom’s is now Hydra’s! Take down that gate! Kill anyone we find inside!”

However, it is the subsequent segments focusing upon the different factions’ survivors deep below the surface which really should capture the audience’s imagination; especially when they encounter “a mutant who should never have been born” and a multi-limbed monster straight out of a Dungeons & Dragon’s manual. These isolated episodes are really well-penned and somehow manage to both hold the attention, as well as inform any onlookers as to the personalities behind the considerably-sized cast. Furthermore it also seems intriguingly unlikely that many, if any, of the combatants are going to survive the experience, particularly within the Hydra faction where their leader quickly demonstrates his willingness to cold-bloodedly murder any member of his squad who threatens his chances of survival.

Quite superbly bringing all this mayhem to life are the artists Justin Mason, Robert Gill, Carlos Magno, Georges Jeanty and Karl Story. Sadly, it isn’t made abundantly clear just which illustrator has pencilled which sheet. But that doesn’t debatably matter thanks to color artist Guru-eFx who does a first-class job of bringing everyone’s drawing styles together into an enjoyable gestalt thanks to his own palette choices.

The regular cover art of "DUNGEONS OF DOOM" #1 by Leinil Francis Yu & Romulo Farardo Jr.

Nightwing #120 - DC Comics

NIGHTWING No. 120, January 2025

Keeping Dick Grayson’s alter-ego largely in this comic’s spotlight, Dan Watters’ script for Issue One Hundred And Twenty of “Nightwing” certainly should have entertained its readers with a good mixture of adrenalin-fuelled action and emotional insight into the costumed crimefighter’s psyche. Sure, the English writer’s premise of a villainous company executive placing “deadly experimental weapons in the hands of the city’s oh-so-corrupt police force” isn’t perhaps the most original of ideas. However, also placing the nefarious Spheric Solutions behind Bludhaven’s current all-out gang war is arguably a stroke of genius, and one that makes the notion of jet-pack wearing police officers mercilessly gunning down fourteen year old kids with technology-advanced ray-guns traumatically terrifying.

Furthermore, the idea of Batman’s first protégé risking all for a white, whiskered rabbit will doubtless make many a bibliophile smile despite the increasing seriousness of the storyline. Desperate to allay the cute, yet clearly badly traumatised animal, the titular character instinctively brings the fluffy victim of Olivia Pearce's cybernetic experimentations back home with him – rather forgetting that he already has a beloved pet dog waiting for his return; “Haley! Down! He. Is not. Breakfast!”

Finally, the London-born author also makes it abundantly clear that Nightwing is not dealing with a stereotypical big businesswoman who simply believes her enormous fortune can buy her anything she wants. But rather someone who can easily manipulate the media for her own ends, and use them to stir up the turf battle Grayson is so determined to thwart. Indeed, the fact that Dick knows Pearce’s corporation is setting up the Teddies to die along with the rest of the municipality's surviving gangsters, yet can do little about it, shows just how influential and deadly Spheric Solutions has already become.

Dexter Soy also needs a congratulatory slap on the back for prodigiously pencilling all this drama with great gusto and flare. Whether it be the former Robin bravely battling a giant robot, running for cover with a rabbit tucked under his arm, or realising that Bludhaven Police Department have mercilessly killed a teenager wearing a monkey mask, the Filipino illustrator does a fantastic job of imbuing all of his figures with dynamic life and, where needed, convincing emotion.

The regular cover art of "NIGHTWING" #120 by Dexter Soy

DC K.O. Knightfight #3 - DC Comics

DC K.O. KNIGHTFIGHT No. 3, March 2026

Considering that at the very start of this comic ‘all-star creator’ Joshua Williamson plainly spells out what this spin-off mini-series is apparently all about by having Batman categorically state that the Heart of Apokolips has arranged for him to fight his former Robins to the death, it’s probably still a safe bet that many within the book’s audience were nonetheless utterly bemused by the events they were witnessing. True, Bruce Wayne’s decision to team-up with his past proteges rather than fight them certainly seems to mess with the entity’s plan to punish him “for attempting to cheat” in the infernal machine’s fighting tournament. But it is never made clear anywhere within this twenty-page-periodical just what will happen to the super-hero if he does fatally kill the bogus Dick Grayson, Tim Drake or Jason Todd.

As a result, this publication’s rather choppy script arguably just plays out like some stories from an Elseworlds anthology, with each tale being tragically cut short whenever the Dark Knight finally manages to convince his fictious successor that they should work together. This pattern is genuinely frustrating, and leads to so many unanswered questions in the readers’ minds that by the time the cowled crime-fighter is shown facing his little grandson Alfred, any onlooker’s head will be positively spinning with an exhaustion and uncertainty; “You’re just mad that I beat your test my way.”

Similarly as perplexing as this comic’s plot though is also the logic of the Heart of Apokolips, which inexplicably does a complete U-turn midway through the narrative and irrationally offers Batman an opportunity to return to its tournament if he can “beat my [next] challenge.” Having already bested two of the sentient machine’s fake predicaments with relative ease, and developed a deep understanding of what he needs to do to continue winning, it appears highly unlikely that the Dark Knight will lose such a ridiculous bet – and indeed, in the very next contrived situation the Caped Crusader quickly emerges victorious.

Sadly, Dan Mora’s artwork also appears to become increasingly tired as the script progresses. It’s somewhat clear that the illustrator purposely changes his drawing-style to match the different trials and tribulations being thrown at Wayne’s masked alter-ego. However, these adaptions seem to predominantly rely upon the Costa Rican making his pencils become ever simpler to the eye, so by the time an aged Bruce encounters Damian’s aforementioned child, his sketched figures are debatably a mere shadow of those used during Clayface’s extraordinary rescue of a plummeting Red Hood during this issue’s opening sequence.

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

Wonder Man #1 - Marvel Comics

WONDER MAN No. 1, June 2026

Rather intriguingly focusing upon Simon Williams’ time working for Timely Studios as an actor rather than covering his exploits as part of the West Coast Avengers, “Marvel Mainstay” Gerry Duggan’s script for Issue One of “Wonder Man” probably proved a somewhat enticing read initially. However, this interest probably waned soon afterwards once the publication’s narrative shifts away from all the lights and cameras of Hollywood, and instead arguably turns into a choppy mess of flashbacks, comic book signings and unsuccessful assassination attempts; “I didn’t give law enforcement permission to enter my home without a warrant.”

Indeed, the sheer number of scenes crowbarred into this “true love letter to Los Angeles” which hurls its audience back in time soon becomes completely befuddling, especially when it occurs mid-way through a scene, like the titular character suddenly remembering how he first met Hellcat whilst battling the Defenders. Such sequences certainly add plenty of history to the comic’s considerable cast. But it also abruptly cuts short any momentum the modern-day tale is accumulating, as well as making it all too easy to get some events mixed up with one another.

In addition, it doesn’t ever seem to be explained just what Williams’ employers want him to do with his old cell-mate Randolph Chancellor, apart from sort the man out “quickly and quietly”. The voice behind Ziggy Pig and Silly Seal is clearly in great danger, following the disappearance of thirteen million dollars for which he is being blamed. Yet just what the prisoner-turned-actor actually has to do with the theft isn’t really explained, nor why someone would hire a laser-gun toting killer to shoot him down in the street. Instead, the American author debatably throws in even more befuddling sub-plots, such as Patsy Walker rather contrivingly taking a “gig” with the Los Angeles District Attorney’s Office, and the Ionic-powered Whacko secretly housing his super-villainous brother, the Grim Reaper, at his home.

Disappointingly, Mark Buckingham’s layouts aren’t all that eye-catching either – even with the various colourful costume changes Wonder Man undertakes throughout the twenty-five-page periodical. In fact, despite this book containing its fair share of chases and gun-play, the “legendary” artist’s figures frustratingly appear rather static-looking and sadly don’t show just how much fun the illustrator apparently had “designing a distinctive look for this book that will help ground us in Hollywood as Simon Williams revisits his LA life.”

The regular cover art of "WONDER MAN" #1 by Paulo Siqueira & Rachelle Rosenberg

Bring On The Bad Guys: Mephisto #1 - Marvel Comics

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

Described by its New York City-based publisher as bringing Mephisto’s epic scheme “to a fiery conclusion”, Marc Guggenheim’s script for this twenty-five page periodical disappointingly probably left the vast majority of its readers feeling pretty cold. Indeed, the notion that the Prince of Deceivers would be successfully outwitted by his servant Sister Sorrow, and resultantly readily allow the Latverian sorceress to walk off with the very Soul Forge he has spent so long filling with spirits, arguably provides this publication with a contrived ending at best; “You’re welcome to try to take it from me. Bur there are over eight billion souls on Earth. And they are all now under my command.”

Furthermore, many a bibliophile will surely find themselves scratching their heads in utter bemusement when Doctor Doom suddenly materialises inside the original sanctorum of the Lords of Darkness, leading the likes of the Dread Dormammu, Loki, the Red Skull, the Green Goblin and the Abomination in a premeditated attack upon the “Securer of the Seven Sins”. So preconceived an assault by so many of the Marvel Universe’s most powerful super-villains debatably smacks of sheer fan fiction, and doesn’t seem all that in character with several of the aforementioned evil power-houses; most notably the Lord of the Dark Dimension who would surely never feel it necessary to team-up with Norman Osborn or Emil Blonsky..?

Perhaps this comic’s biggest issue however, is that it is never made clear just what Mephisto’s plans for every soul on Earth actually are once he gains control over them. “Old Nick” presumably has some nefarious fate in mind for the world’s mortals. But such unimaginable power over the masses is never explored and resultantly will doubtless make some onlookers question just what the point behind these “seven villainous one-shots” actually was – especially as the Prince of Devils gives up his prize without even threatening Sorana with some future retribution.

Lastly, Alvaro Lopez’s artwork whilst proficient enough to help tell the story, does appear a little wooden once the plot becomes packed with so many “bad guys”. Admittedly, the illustrator does a very good job in capturing the look of the Silver Age Johann Shmidt. Yet when it comes to the supposedly super-athletic Green Goblin or quick-scheming Loki, this somewhat old-fashioned drawing style frustratingly causes them to appear as slow-footed, lumbering dolts.

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

Nightwing #119 - DC Comics

NIGHTWING No. 119, December 2024

Quite impressively becoming the thirtieth best-selling comic book of October 2024, Issue One Hundred and Nineteen of “Nightwing” certainly starts out well enough by providing its audience with an intriguing insight into the very different looking, ever competing criminal organisations which ‘rule’ Blüdhaven. In fact, at first glance Dan Watters’ twenty-two-page plot appears to be about to depict a fairly straightforward yarn involving the various mob bosses wisely teaming up with one another to both financially bleed the former whaling town dry, and fend off its costumed guardian; "Guys, I… Wow. It brings a tear to my eye. It really does. Holy plastic explosives.”

Surprisingly however, that is not actually what the London-born writer has in store for his readers and quite quickly subverts these expectations by having Dick Grayson shockingly stumble upon a massive assassination attempt upon the notorious gangsters. This fatal reversal in the fortunes of Mama Bear, Boss Bludgeon, Doctor Proboscis and the Blockbuster Gang should genuinely catch any and all onlookers completely off-guard and also rather neatly transform’s Batman’s protégé into the surviving goons’ protector, rather than their enemy.

Similarly as well delivered as this publication’s main narrative are the English author’s central antagonists, most notably the C.E.O. of Spheric Solutions Olivia Pearce. The woman absolutely oozes menace - even whilst wearing such everyday items like a simple red, high-collared cardigan, and it will debatably come as no surprise to any perusing bibliophiles that she is soon revealed to be behind the Blüdhaven Organized Crime Syndicate’s demise – along with this comic’s mysterious, and disconcertingly devilish masked narrator.

In addition to the penmanship behind this 'start of the ground-breaking new arc' though, the layouts of Dexter Soy should also be greatly admired. Coupled with colorist Veronica Candid, the creative pair quickly establish a rather dark, almost macabre tone to the publication’s proceedings, and this somewhat theatrical ambience really helps tie the action sequences in with the harlequin-like storyteller witnessing events from afar. Furthermore, the utter mayhem caused by the remaining crooks fighting over their turf in a carousel of separate incidents really does leap off the printed page, with bullets, as well as perplexing acidic vomit, flying all over the place.

The regular cover art of "NIGHTWING" #119 by Dexter Soy

Bring On The Bad Guys: Dormammu #1 - Marvel Comics

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

On paper pitting a mere mortal against the regent of the Dark Dimension probably seemed like a bit of a tall order for Alex Paknadel, especially when it soon becomes clear that Lord James Ravenglass is certainly no great sorcerer. But despite so great of disparity between this comic’s two leading characters when it comes to their magical abilities, Issue One of “Bring On The Bad Guys: Dormammu” must still have provided its audience with plenty of entertainment and a genuinely surprising conclusion; “My name is Sister Sorrow. And I’m here for your soul.”

To begin with, there’s an almost palpable sadness to the supposed lead protagonist, which may cause the odd bibliophile to momentarily forget the arrogant Englishman’s willingness to cold-heartedly sacrifice all the members of his Hermetic Order of the Peacock Quill, and actually make them feel a little sorry for him as his spirit is savagely stolen by Mephisto’s Latverian-born servant. Indeed, having been tricked into believing his ‘true love’ Agnes was still alive and desperately attempting to save him from Dormammu’s clutches, only to then crushingly realise it was the murderous Sorana in disguise, some onlookers might even forgive the Lord of Cumberland for having the life mercilessly sucked out of his girlfriend in the first place.

Furthermore, this twenty-page-periodical’s ultimate plot-twist is perfectly delivered and should catch a fair few readers completely off-guard. In fact, the notion that the Eater of Souls has been both toying with Ravenglass’ emotions and torturing his physical form the entire time is truly a terrifying prospect – particularly when upon his release from the alternate realm Ravenglass immediately succumbs to Sister Sorrow’s demonic blade whilst quite literally breathing out a sigh of relief.

Of course, a congratulatory clap should also be given to this book’s artist Javier Pina, who does a first-rate job of pencilling all these “arcane horrors of the Dark Dimension”. The Spanish illustrator’s early panels really manage to capture all the theatrical flamboyance of Jimmy’s performance as First Frater of the Hermetic Order of the Peacock Quill, and then later quite beautifully depicts all the pain and trauma of a man who believes he's witnessed his wife and infant son burn to death at the catastrophic end of the R101’s maiden voyage.

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

DC K.O. Knightfight #2 - DC Comics

DC K.O. KNIGHTFIGHT No. 2, May 2026

Having made it clear half-way through this particular twenty-page periodical that both the spin-off title’s opening instalment, as well as this one, was arguably a redundant read - courtesy of the Dark Knight realising that the world around him isn't real, many within this comic’s audience probably felt a little despondent. In fact, seeing as Joshua Williamson subsequently pens Bruce Wayne nonsensically transforming into the shape-shifting criminal Clayface at this publication’s end, it’s probably a safe bet that more than the odd bibliophile was probably thinking the American author's latest plot twist for this book wasn't the best of ideas either; “You need to accept it, Basil. You’re not Batman. I am.”

Of course, that doesn’t mean for a second that Issue Two of “DC K.O. Knightfight” doesn’t have its merits, as the notion of Gotham being encased in a giant glass ‘Red Hood’ for twenty years so as to prevent the Joker’s deadly toxic gas from escaping the city’s limits could easily be the basis of an intriguing “Elseworlds” title in its own right. However, even this enthralling notion of a deserted metropolis ruled over by Jason Todd’s deeply disturbed incarnation of the Caped Crusader is soon ruined by the real cowled crime-fighter’s discovery that this twisted reality is also just a figment of the Heart of Apokolips’ imagination.

Furthermore, it is genuinely difficult to understand just what in the world the point of this entire mini-series’ overarching narrative actually is..? On the one hand the writer makes it crystal clear that Wayne was killed by the Clown Prince of Crime early on in the King Omega Tournament, and yet on the other the “sentient, infernal machine that runs on Omega Energy” apparently wants to punish the supposedly deceased Batman for wearing a suit of “Apokoliptian armour outfitted with special Boom Tube” during the event..?

By far this book’s biggest asset therefore lies not in its writing, but in it’s artwork, thanks to some genuinely thrill-a-second panels pencilled by Dan Mora. Whether an onlooker is a fan of this comic’s implausible storyline or not, there should be little doubt that the constant punch-ups between Bruce and Nightwing, as well as the Dark Knight’s brutal confrontation with a sadly deranged Red Hood, are absolutely packed full of pulse-pounding action.

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

The Infernal Hulk #5 - Marvel Comics

THE INFERNAL HULK No. 5, May 2026

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

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

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

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

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

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

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

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

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

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

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

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

The Infernal Hulk #4 - Marvel Comics

THE INFERNAL HULK No. 4, April 2026

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

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

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

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

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

Conan The Barbarian #29 - Titan Comics

CONAN THE BARBARIAN No. 29, March 2026

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

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

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

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

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

The Infernal Hulk #3 - Marvel Comics

THE INFERNAL HULK No. 3, March 2026

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

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

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

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

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

DC K.O. Knightfight #1 - DC Comics

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

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

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

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

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

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

West Coast Avengers [2024] #10 - Marvel Comics

WEST COAST AVENGERS No. 10, October 2025

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

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

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

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

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

Space Ghost Annual 2025 - Dynamite Entertainment

SPACE GHOST ANNUAL 2025, June 2025

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

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

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

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

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

West Coast Avengers [2024] #9 - Marvel Comics

WEST COAST AVENGERS No. 9, September 2025

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

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

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

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

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