DC Vs. Vampires: World War V #6 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 6, March 2025

It will be quite difficult for some within this comic’s audience not to have the feeling that Matthew Rosenberg simply threw his hands up in frustration with this script for Issue Six of “DC Vs Vampires: World War V”, and just hurled the two competing armies straight against one another two-thirds of the way through. For whilst the all-out fracas on a bleak, snow-caked tundra certainly causes plenty of drama as the likes of Damian Wayne, Green Arrow and the Black Canary seemingly fall beneath the fangs of a thousand bloodthirsty thralls, the head-on conflict comes completely out of the blue.

To make this mini-series’ storyline even more troubling though, the American author also appears to throw his sub-plot concerning Mister Miracle and his baby daughter squarely under a bus, by having the highly disagreeable Atlantean ruler Aquaman simply drown the pair by submerging them underwater. These almost nonchalant murders are as coldly calculated as they come ‘left field’, and momentarily suggests that this title is somewhat shockingly going to end significantly short of the twelve instalments its Burbank-based publisher originally promised; “The battle has turned in our favour. Shall we send in the rest of the troops, my Queen..?”

Easily this book’s biggest surprise however, has to be the sudden appearance of Darkseid and his numerous Parademons, following the revelation that the hooded old woman mysteriously trying to guide Barbara Gordon’s rule over all the vampires, is actually the New God from Apokolips - Granny Goodness. This revelation is gobsmackingly ill-timed for the Nosferatu as they’re just about to best humanity’s last few surviving super-heroes, and resultantly turns the entire title’s narrative right upon its head. Indeed, to some readers it may well look like Rosenberg suddenly tired of the complicated political manoeuvrings he has previously penned for this title and spontaneously felt like wiping the chalk board completely clean.

Disconcertingly, Otto Schmidt’s artwork is rather brusque-looking too, with the various panels depicting the competing armies jostling for any advantage looking like a mere collection of unrecognisable black blobs moving upon a boring, bare white winterscape. In fact, even the Siberian-born illustrator’s Granny Goodness is a disappointing shadow of the character originally imagined by her creator Jack “King” Kirby, due to the emaciated servant of Darkseid showing none of the physical attributes which made her the formidable leader of the Female Furies on Apokolips.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #6 by Otto Schmidt

DC Vs. Vampires: World War V #3 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 3, December 2024

Haphazardly throwing its audience all over the show with a twenty-four page plot that arguably rarely reaches any sort of conclusion with its various sedentary scenes and action sequences, Matthew Rosenberg’s storyline for Issue Three of “DC Vs Vampires: World War V” probably struck many readers as being something of a mess. Sure, the American author does a fairly solid job in progressing Aquaman’s attempt to put an end to Damian Wayne’s unruly rebellion against the now dead Vampire Queen Barbara Gordon. But even this ambush is debatably hamstrung by its events suddenly being cut short by an unlinked, dialogue-driven interlude concerning John Constantine and the Black Canary back at the Headquarters of the Human Council.

To make matters even more bemusing though, apart from the comic’s opening, which presumably depicts the creation of the mysterious “Miracle Child” ten months ago, there isn’t a great deal of direction as to just how much time passes in between set-pieces. These time jumps cause the likes of Arthur Curry and Dinah Drake to seemingly pop up all over the place, with Green Arrow’s partner in particular appearing to be knee-deep in snow and blood-drinkers on the streets of Newark, New Jersey one moment, and then almost randomly appearing alongside an inebriated “Hellblazer” to give him some sort of earful in the next; “I didn’t know you could do magic drunk.”

Resultantly, it’s possibly only this publication’s aforementioned focus on Robin and his heavily-bandaged renegades’ battle against the vampire army which properly holds the attention. However, having witnessed Batman’s former protégé being saved at the last minute from Cassie Sandsmark’s clutches by Batwoman bravely sacrificing herself, any engaged onlooker is then left wondering exactly what happened next, as the story suddenly shifts elsewhere, and when it does return, Damian is strangely hiding alone from Black Adam deep inside a snow-laden forest somewhere.

Perhaps somewhat discombobulated by all these somewhat senseless shenanigans is Otto Schmidt, whose pencilling occasionally appears to be surprisingly rushed and undisciplined. Furthermore, the illustrator’s layouts debatably don’t tell the entire tale, such as when a blood-drinker somehow manages to wrestle from out of Ted Grant’s grip so as to slay a “traitor” spilling his guts, or Zealot apparently turns upon a horde of biters unwisely stalking her down some streets so as to slay them.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #3 by Otto Schmidt

DC Vs. Vampires: World War V #2 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 2, November 2024

Containing such an impressive variety of twists and turns that it might make even the most ardent of fairground ride fans somewhat queasy, Matthew Rosenberg’s script for Issue Two of “DC Vs Vampires: World War V” rather cleverly still makes this comic’s complicated narrative extremely accessible, courtesy of simply telling the story in sequence as events take place. In fact, with the exception of Mister Miracle’s all-too brief plot thread, each incident is arguably handled in its entirety before the reader is moved on to a new development somewhere else within this mad Elseworld.

Just as notable as this pulse-pounding pacing though is the intriguingly palpable presence of the planet’s truce between humanity’s survivors and the blood-drinkers who at one point appeared destined to conquer the Earth. This political nightmare, supported by the likes of Lois Lane and apparently despised by Black Canary, permeates almost every panel, and leaves the audience in absolutely no doubt that just one move by either side will probably result in another massive battle between the two sides; “Don’t take it personal. Some people only understand war.”

Easily this twenty-four page periodical’s highpoint however, has to be Wonder Woman’s rule-breaking incursion into a League Of Shadows safehouse, and the undead Amazonian’s utterly wicked skirmish with Talia al Ghul. The gloves really are off for this particular conflict due to the American author imbuing the dread Princess Diana of Themyscira with a truly disconcerting adoration of sickening violence. Such a dramatically different incarnation of William Marston’s co-creation is incredibly intriguing to see, as is the writer’s shock conclusion when Alfred Pennyworth desperately attempts to thwart the inhuman killer by donning the late Hal Jordon’s Green Lantern ring.

Adding plenty of visual plausibility to all these blood-curdling confrontations and divisive arguments are the pencils of Otto Schmidt and colours of Pierluigi Casolino. Together the two artists really manage to make this publication a feast for the eyes by somehow bringing the stark light of day to the streets of Dakota City, and freezing chill to the snow-covered roads criss-crossing Johnstown in Pennsylvania. Furthermore, it’s difficult to imagine a more terrifying yet seductive version of Wonder Woman patiently picking apart the Daughter of the Demon's Head or calmly enquiring with Bruce Wayne’s former butler just how he wants her to kill him.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #2 by Otto Schmidt

DC Vs. Vampires: World War V #1 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 1, October 2024

Despite a truly soul-shaking opening which sees a pair of dutiful Green Lanterns falling slap into the hands, or should that be fangs, of an undead Wonder Woman and her ever-hungry super-powered minions, a fair portion of Matthew Rosenberg’s narrative for Issue One of “DC Vs Vampires: World War V” is actually extraordinarily sedentary. Indeed, the action doesn’t arguably really pick back up until this thirty-two page periodical’s shocking last minute conclusion when Barbara Gordon is sent into a flaming death-dive from atop her Gotham City-based ‘ivory tower’ by a duplicitous Hush; “You misunderstand. We simply came to bring you a message.”

However, for those readers able to set aside any sense of disappointment about such a situation, the American author’s ability to pen a wonderfully intriguing political drama is debatably just as entertaining as watching numerous meta-humans physically go toe-to-toe against a planet partially consumed by murderous Nosferatu.

Foremost of these 'hooks' has to be the precarious string of agreements, treaties, truces and laws which this comic's considerably-sized cast must abide by so as not to plunge the planet back down into chaotic carnage. The resultant arguments, threats, and concessions provide a palpable sense of fear throughout all the conversations, and make it intriguingly dangerous to second guess the true motivations of a fair few ordinarily entirely trustworthy characters.

In addition the writer also introduces a third party into the mix, by way of Damian Wayne’s breakout vampire rebellion. Unwilling to bend the knee to Batgirl and the likes of her ambassador Gorilla Grodd, Robin appears intent on carving out his own kingdom from civilisation’s remaining population – and whilst this might seem like a good idea to begin with, the immortal boy’s guerrilla fighters might actually be just the spark to pit human against blood-drinker once again.

Equally adding to the success of this “smash-hit series” is Otto Schmidt, who does a stellar job of imbuing all the antagonists infected by the curse of the undead with just the sort of emaciated hawkishness a bibliophile may well associate with Dracula’s kith and kin. Furthermore, the Siberian illustrator somehow manages to make the likes of Grodd appear even more dangerous than ever before, with many in this comic’s audience soon realising just how deadly quick a vampire can actually be if hungry (or angry) enough to disregard the fragile armistice currently in place.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #1 by Otto Schmidt

Batman: Urban Legends #17 [Part One] - DC Comics

BATMAN: URBAN LEGENDS No. 17, September 2022

Described by “DC Comics” as “a blockbuster issue”, Ryan Cady’s script for “Cold Shoulders” arguably appears to live up to the Burbank-based publisher’s boast by providing this anthology book with a fantastically fast-paced opening yarn featuring Batman and the Flash. However, whilst it is undoubtedly the “Scarlet Speedster” who injects this twenty-page tale with much of its mesmerising momentum. It is perhaps the plot’s focus on Captain Cold questioning just how evil he is willing to be when compared to the murderous machinations of his partner-in-crime, Mister Freeze, which is the highlight of the adventure.

Similarly as sensational is the story’s artwork by Gleb Melnikov, Scott Hanna and Luis Guerrero. The creative team’s depiction of events as respective penciller, inker and colorist genuinely adds to the ever-increasing sense of peril as Barry Allen feverishly attempts to run rings around Gotham in an effort to locate Victor Fries’ secret hideout. Indeed, a lot of the wide-eyed youth’s anguish and sense of desperation to both thwart the villains’ deadly plan, as well as live up to the Dark Knight’s high expectations, are projected through the character’s well-drawn facial expressions and body moments, rather than what Central City’s protector says.

Likewise, the impetus quickly established by Joey Esposito’s excellent “The Sea Beyond” doesn’t let up until Bruce Wayne’s deep sea mission to identify the mysterious source of some catastrophic seismic activity has been completed. Sure, the author’s decision to pen Mera as a debatably dislikeable foil to Aquaman’s good manners and courteousness may well remind many a Silver Age bibliophile of Stan Lee’s writing for the anti-hero, Namor the Sub-Mariner. But her overzealous, sarcastic rants that the Caped Crusader only ‘rules’ on land because her beloved King permits it can easily be forgiven once the three super-heroes enter the ocean; “You’re not listening, Batman! We know the cause. That’s why we’re here. With you. Show him, Arthur.” 

Serg Acuna and Alex Guimaraes also add an incredible amount of energy to this narrative’s telling, courtesy of some truly sumptuous underwater illustrations which genuinely help sell just how far down under the surface the action is taking place. The sheer physical power of the spiralling currents at play are incredibly well sketched, as is this chronicle’s final splash page, depicting the World’s Greatest Detective riding home on the back of a grim-looking Killer Whale.

The regular cover art of "BATMAN: URBAN LEGENDS" #17 by Jim Cheung & Jay David Ramos

Aquaman/Jabberjaw Special #1 - DC Comics

AQUAMAN/JABBERJAW SPECIAL No. 1, July 2018

Relying upon a number of in-jokes based upon Steven Spielberg’s 1975 American thriller film “Jaws”, the start to Dan Abnett’s script for this “legitimately considered part of the Aquaman canon” crossover must have had many of its 21,088 readers smirking away to themselves quite merrily. For whilst the frequency of the comic cast’s “What. The. F--” exclamations appears disconcertingly out of place within the narrative of a “brand new Hanna-Barbera” publication, the thirty-page periodical’s astounding similar beginning to that of “one of the greatest films ever made” proves a superbly written homage to “the prototypical summer blockbuster”, especially when a handful of panels later Officer Erika Watson’s lunch-time conversation regarding “recent shark attacks” is interrupted by a diner employee ‘innocently’ screeching “the new specials” on the restaurant’s black board in chalk…  

Sadly however, once these similarities fade, and the action moves away from Amnesty Bay to Los Aquales, “one of the biggest cities in Aqualand”, the British-born author’s innovation seemingly dries up, resulting in a disappointingly unimaginative adventure involving the Neptunes pop band discovering a clichéd criminal who is determined to ensure “people will never trust the sea enough to start living in it!” This plodding plot, which amongst other ingredients contains a giant mechanical sea-bed based shark, may well have proved entirely suitable for an episode of the Seventies “Saturday morning animated series”, but when written “for the stoic and serious tone of Abnett’s Aquaman”, which palatably ‘kicks in’ once the titular characters arrive at “the future undersea utopia”, provides little in the way of either enthralling engagement or entertainment. Certainly, it’s hard to take any script seriously when its central villain ends up in an “I am too” argument with Arthur Curry over whether he can use the moniker Ocean Master...

“A Bigger Beat” is though happily blessed with some excellent pencilling by Paul Pelletier, who brings a distinctly realistic look to Joe Ruby’s “air-breathing, anthropomorphic great white shark”. Quite literally towering over the “Human-Atlantean Hybrid”, the well-animated Jabberjaw is undoubtedly the star attraction of this comic, and is only momentarily bested when the American artist sketches a frenzied shoal of “ultra-aggressive”, red-eyed sharks, which come dangerously close to chomping Aquaman in half with their formidably sharp-toothed maws; “Can you believe it? They mistook me for a killer shark! Hyuk-yuk-yuk! I’m not. By the way.”

Such praise though cannot unfortunately be heaped upon Scott Kolins’ illustration work for this comic’s secondary tale, “Captain Caveman!”, a stupefying surreal eight-pager which depicts the wizard Shazam winning a bet over the Spectre that heroism is not “a relatively recent trait” by transporting “an offshoot of Neanderthal” to the modern world and granting the hairy primate the gift of speech “so you can begin to understand this world.” Roughly drawn with its somewhat awkwardly angular figures, Jeff Parker’s incarnation of "Cavey" is regrettably a far cry from television writer Ken Spears' lovable “prehistoric caveman… thawed from a block of ice”, even if he does have him besting monsters, Manhunters, Nazis and even winning a baking tournament..?

The regular cover art of "AQUAMAN/JABBERJAW SPECIAL" No. 1 by Paul Pelletier & Gabe Eltaeb

Dark Knight III: The Master Race #9 - DC Comics

DARK KNIGHT III: THE MASTER RACE No. 9, July 2017

Despite this twenty-seven page periodical being “initially advertised” as the culmination of Frank Miller’s nine-issue long “DC Comics” storyline, as well as “the conclusion to the Dark Knight series” itself, it is clear from this publication’s tantalising conclusion, which depicts both a rejuvenated Batman and symbolically less colourfully-attired Batwoman taking to Gotham City’s roof-tops in order to continue their ever-vigilant fight against crime, that the Maryland-born screenwriter undoubtedly still had a number of “plans that have been running through my mind” as to the future of the Caped Crusader’s “noir-style” adventures on Earth-31. In fact, the Inkpot Award-winner actually announced “in November 2015… [that] he planned to produce a fourth mini-series to conclude the story” after ‘thoroughly applauding’ what his collaborator, Brian Azzarello, had accomplished with this title.

Perhaps somewhat contentiously though, arguably the most exciting of these potential future plots is actually the penning pair’s exploration of the Man of Steel rather than Bruce Wayne’s alter-ego. Naturally, the narrative behind Book Nine of “Dark Knight III: The Master Race” understandably depicts the titular character leading the fight against the remaining Kandorian cultists, and rather ably outwitting them with the aid of thousands of screeching bats; “To hell with they. I mean, they say money is the root of all evil, right? And that an old dog can’t learn new tricks. But nothing about a new dog using old tricks.”

However, whilst this innovative sequence not only disposes of nearly all the Leader of the Master Race’s forces, but also shows just how well “the world's greatest detective” understands what people will do “in unexpected extreme situations” and his ability to use such “friendly fire” to his advantage, it is soon quickly surpassed by a genuine ‘Superman’ moment as Jor-El’s son shockingly reveals just how much “he’s been holding back” in his past battles by shattering the collarbone of the truly obnoxious Baal, and doubtless causing 103,319 exhilarated readers to suddenly hear the familiar opening notes to John Williams’ iconic 1978 motion picture theme tune in their heads. Such one-upmanship by the “Big Blue Boy Scout” arguably leads to Jerry Siegel’s co-creation overshadowing Batman during this magazine’s most memorable moment, and suggests a pattern which debatably could well intensify further should Miller make good on his promise for a fourth instalment...

Sadly, the same cannot be said for Frank’s “Dark Knight Universe Presents: Action Comics” script, with the micro-magazine not quite managing to replicate the enthralling mix of characters which this book’s main story succeeds in achieving, and resultantly simply appears to little more than a rather lifeless list concerning the exploits of Batman, Batwoman, Aquaman, Green Lantern, The Flash, Wonder Woman, The Atom, Lara and Superman. Admittedly, the American author desperately tries to imbue this ‘short’ with some emotional gravitas, courtesy of its dramatic narration, yet even Diana’s tantalising confrontation with a multi-headed hydra or Hal Jordan’s all-too brief intervention with an erupting volcano, can’t help liven up Clark Kent’s laboriously-long conversation with his disagreeably dislikable daughter.

Story: Frank Miller & Brian Azzarello, Pencils: Andy Kubert, and Inks: Klaus Janson

Dark Knight III: The Master Race #5 - DC Comics

DARK KNIGHT III: THE MASTER RACE No. 5, August 2016

The sixth best-selling title of June 2016, at least according to “Diamond Comic Distributors, Frank Miller and Brian Azzarello’s script for Book Five of “Dark Knight III: The Master Race” finally provided it audience of 139,919 readers with a glimmer of hope that the "dystopian near-future version of Gotham City" would not become irreparably ravaged by the recently restored inhabitants of Kandor. Indeed, for a narrative partially penned by a writer “noted for combining film noir and manga influences in his comic art creations”, the plot to this twenty-three page periodical arguably contains an incredible amount of optimism, faith and just the occasional moment when one can almost hear the opening notes of John Williams’ theme to “Superman”…

Foremost of these marvellous moments must undeniably be Robin’s miraculous voyage to the dark depths of the ocean floor, some “twenty thousand leagues under the sea”. Accompanied by Aquaman riding a gigantic Hammerhead shark, a cohort of squid-riding Atlanteans and a whole posse of Anglerfish, Carrie Kelley’s successful search for Superman’s black matter tomb and the Man of Steel’s subsequent escape proves to be a genuinely uplifting experience, especially when it transpires that as far as Kal-El is concerned “it seemed centuries had passed” since he allowed his daughter to best him in a fist-fight and that "was all the time I needed to search my soul. Do you want to save the world?"

Equally as heart-warming is the Palme d'Or nominee’s conclusion to this publication. With the re-emergence of Clark Kent’s alter-ego, alongside the appearance of the Flash, Wonder Woman and Atlantis’ King, it is potentially all too easy to forget that this mini-series is actually the continuation of Miller’s story concerning an “aged Bruce Wayne.” This reality truly bites home when Batman squares off against one of the Kryptonians, who despite being robbed of his super-powers due to being drenched in synthetic Kryptonite, quickly shows the Caped Crusader why the old man “shouldn’t physically engage” as he is “not really in the shape to.” Fortunately however, an armour-encased Superman suddenly appears at the Dark Knight's side, informing his elderly friend not to worry, as “I got your back.”  

Disappointingly, far less enjoyable, or even understandable, is this comic’s mini tie-in “Dark Knight Universe Presents: Lara”. Focusing upon Baal’s childish attempt to woo Wonder Woman’s daughter by murderously hurling a car of humans into the air and then ‘stealing’ a kiss from her, the dislikeable killer perhaps unsurprisingly receives a foot to the mouth for this troubles. But then seems to win her heart despite the terrorist clearly standing for everything which the girl’s parents passionately stand against…

Story: Frank Miller & Brian Azzarello, Pencils: Andy Kubert, and Inks: Klaus Janson