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

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

DC Vs. Vampires: World War V #11 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 11, September 2025

Featuring plenty of perilous partnerships and treacherous double-dealings, as well as some seriously hazardous treks across the Earth’s most inhospitable landscapes, many readers perusing Issue Eleven of “DC Vs Vampires: World War V” were probably exhausted once Matthew Rosenberg’s twenty-four page plot concluded. In fact, by the time a visibly emotional Alfred Pennyworth shockingly sacrifices the highly unreliable Robin to save Humanity’s last chance of a treaty with the surviving super-powered blood-drinkers, quite a few bibliophiles will doubtless genuinely feel as if they’ve been physically battling the New Gods and Darkseid themselves.

Much of this palpable fatigue is arguably created by the publication’s sheer pulse-pounding pace, which doesn’t seem to let up even after the likes of Lois Lane, Steel and the Atom have safely been brought to the Spectre’s secret hideout. Initially, this particular moment of respite appears to be about to get boringly bogged down in exposition as to just how the “tyrannical ruler of the planet Apokolips” can be defeated. However, due to the American author’s use of the utterly zany Harley Quinn, the actual explanation of Nightwing's "great alien-killing machine" is surprisingly delivered rather energetically; “What kind of doctor is she?”

Similarly as entertaining though is Wonder Woman’s escape from the New Gods’ clutches, after cold-bloodedly decapitating the unwisely over-confident Mistress Gilotina in a trial by combat. It’s crystal clear that this mini-series’ heroes would be very wise not to trust the demonic vampire who now claims the crown over all other Nosferatu. But dead Diana’s transformation from a badly beaten plaything of Darkseid back to an arrogant exterminator is quite wonderfully penned, and makes Black Canary’s agreement to work alongside her all the more dangerous for mankind.

Just as successful as this comic’s largely dialogue-driven writing is Otto Schmidt’s pencilling, which appears to go to great lengths to show the audience just how utterly exhausted (and emaciated) any person still alive is. Of particular note is the artist’s tremendous work sketching the sizeable cast’s myriad of faces – all of which show a vast range of emotions, feelings and reactions with just a few simple lines here and there. Furthermore, the Siberian illustrator does a cracking job in Wonder Woman’s aforementioned return to power, with just the Amazonian’s eye slits alone projecting the tremendous damage the mass-murderer could inflict upon any mortal if she was inclined to do so.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #11 by Otto Schmidt

The Batman And Scooby-Doo Mysteries [2024] #11 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 11, January 2025

Utterly devoid of Batman – apart from one line explaining that he’s up “in space with the Justice League”, Sholly Fisch’s somewhat sedentary script for “Booked Up” rather surprisingly relies upon the tongue-in-cheek tomfoolery of Shaggy Rogers and Scooby-Doo to provide its readers with any notion of pulse-pounding action. Indeed, the American author even pens the pair supposedly running for their very lives from a harmless novel at the comic’s start – simply so something of moderate interest happens during the twenty-page periodical’s opening quarter; “Are you really still running away from a book?”

Happily however, things do become a little more interesting once Grotesque’s henchmen are (far too) easily apprehended, and Barbara Gordon is able to demonstrate a few of the computer-based skills she has honed as Oracle. Admittedly, the crime-fighter’s ability to just link into the Bat Cave’s computer with her mobile phone may well make many of her deductions a little too conveniently fast for some readers. But these quick-fire revelations as to the criminal behind Gotham City Library’s latest haunting at least provides an otherwise listless yarn with a bit of much needed pace.

Sadly though, once Batgirl’s nemesis is revealed the publication’s already apathetic plot appears to go right out of the window, with Phillipe Rianne’s obsession for “fancy things” degenerating into a need for a mystery writer’s original manuscript simply so the mask-wearing criminal mastermind has “something to read in bed tonight.” This motivation debatably dumbs down an already rather mediocre-calibre thief, and is as convincing as Gordon’s feeble attempt to fool her father into thinking she’s just a humble librarian, despite single-handedly battering her electricity-powered enemy into unconscious with a mere wooden chair.

Somewhat more substantial than this comic’s narrative are David Antón Gomis’ layouts, which at least attempt to imbue Shaggy and Scooby-Doo’s escapades with a bit of dynamism. The illustrator does a fairly good job of bringing this comic’s quite considerably-sized cast to life, especially when it comes to Jim Gordon’s steadfastness in the face of deadly danger. Yet, the artist’s rather strange decision not to pencil any motion lines in his panels, even upon the numerous members of the public racing out of the library in sheer terror, makes many a set-piece appear strangely lethargic and unrealistically languid – as if the figures were somehow running on the spot, rather than moving across the location.

Written by: Sholly Fisch, Drawn by: Puste, and Colored by: Carrie Strachan

DC Vs. Vampires: World War V #10 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 10, August 2025

Largely focused upon the exploits of Mister Miracle, as Jack Kirby’s creation ponders whether to surrender himself to Darkseid or not, there’s an almost palpable feeling to this twenty four-page periodical’s plot that Matthew Rosenberg’s mini-series is (finally) approaching its cataclysmic conclusion. Indeed, just the physical presence of Scott Free appears to be enough to bring several of the title’s overarching storylines together – including the up-until-now entirely separate sub-thread of Batman and Green Lantern banding together so as to summon the likes of Constantine and Doctor Fate back from beyond the grave.

Furthermore, Issue Ten of “DC Vs Vampires: World War V” also impressively shows a genuine war weariness to all its considerable cast, both mortal and blood-drinker, with many a character now apparently willing to do just about anything to convince “the tyrannical ruler of the planet Apokolips” to leave the Earth once and for all. This utter exhaustion is particularly startling when seen in the behaviour of Supergirl and Lois Lane, who have both fought tooth and nail to see themselves and their compatriots survive. But are now shown unhappily ‘bending the knee’ in supplication before the super-villain; “I don’t want to either. But it’s a small price to pay, Lois. We can end this here.” 

By far this book’s best moment though actually comes completely left field with the New Gods shockingly switching sides and ambushing Gorilla Grodd’s combined army. Such treachery is as sudden as it is astounding, and should actually make many a reader rather cross at the hypocrisy of a gutless Orion – who infuriatingly even tries to justify his duplicity by claiming an alliance with his mass-murdering father is supposedly in the galaxy’s best interests.

Clearly revelling in all this disheartening deceit and fatigue is Otto Schmidt, whose prodigious pencilling does a first-rate job in depicting the lethargy slowly infecting the planet’s fast-dwindling population. Of particular note has to be the freelance illustrator’s magnificent portrayal of poor, physically depleted Black Alice, whose haunted eyes alone convey all sorts of terrifying tales in the mind’s eye. In addition, the sheer outrage splashed across Kara-El’s face when she realises her cause has been betrayed by her latest allies is absolutely palpable, and it’s easy to see why even the vampire’s most ferocious fighters fear the Kryptonian.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #10 by Otto Schmidt

DC Vs. Vampires: World War V #9 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 9, July 2025

For those readers eagerly anticipating “John Constantine [coming] to the rescue” of Earth’s last surviving super-heroes, as promised by this comic’s solicitation synopsis, Matthew Rosenberg’s script for Issue Nine of “DC Vs Vampires: World War V” must have been a major disappointment. True, the twenty-four page periodical certainly contains its fair share of adrenalin-fuelled, large-scale battle action. But Hellblazer doesn’t even feature in this book, with its American author instead relying upon the likes of the New Gods of New Genesis to try and save Frankenstein’s forces on Dinosaur Island.

Furthermore, Darkseid’s need to take the primeval peninsula seemingly makes no sense whatsoever, with Granny Goodness claiming it’s the only place on the planet from which the tyrant can launch an attack upon Aquaman’s deep-sea domain due to the extra-terrestrials apparently having a limited ability to travel underwater. Considering that the Lord of Apokolips has already ventured from another entirely different dimension, this sudden snag is pretty unpalatable, and strongly suggests that it is simply an unconvincing excuse for the New Yorker to casually cause the parademons to fight somewhere other than the bland-looking wintry wastes of America.

Similarly as off-putting though, is probably this publication’s overinflated cast of characters - thanks to the mini-series’ regulars being joined by all manner of minor crime-fighters, anti-heroes and desperados. The introduction of the Highfather and his band of arrogant deities is debatably bad enough to get a handle on, considering just how bizarre (and dislikeable) their holier-than-thou personalities are. However, Rosenberg soon then ramps things up by a factor of ten by also hurling Detective Chimp and the impressively large Dinosaur Island army at his readers, along with Darkseid’s Deep Six, the Atlantean Vampires and a handful of other never-before-seen costumed vigilantes.

Far more satisfying an experience is the second instalment to “Wildcat: Going The Distance” by Shane McCarthy. Subtly sketched by Fabio Veras, this disturbingly dark conclusion to Ted Grant’s search for his son is incredibly engrossing, and shows a tender side to the “long-time member of the Justice Society of America” which is seldom seen. In addition, the back-up tale still somehow manages to end on something of a high note, despite the former heavyweight boxer losing much of his reason for living in a world where vampires supposedly rule both the night and day.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #9 by Otto Schmidt

DC Vs. Vampires: World War V #7 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 7, May 2025

Having shockingly thrown Darkseid and his numerous parademons into this mini-series’ already convoluted mix of characters towards the end of its previous instalment, Matthew Rosenberg’s gambit for Issue Seven of “DC Vs Vampires: World War V” arguably appears to consist of him trying to keep his audience busy with pulse-pounding slugfests and adrenalin-fuelled chase-sequences, so that there wouldn’t be any time for the readers to consider just how highly improbable the New God’s sudden appearance within this storyline actually is; “Your planet’s fate was sealed when he learned of its existence. But the timeline was sped up…”

And frankly, this ploy appears to work very well right up until the twenty-four page periodical’s plot comes to a crashing halt with the introduction of the traveller from the Fourth World known as Metron. Indeed, prior to the surviving super-heroes taking stock of their high casualty rate inside the Secret Sanctuary on Rhode Island, any bibliophile flicking through this comic book should have been immediately hooked by its splendidly-penned cocktail involving Robin, Gorilla Grodd, Jade, Green Arrow and Harley Quinn battling all sorts of demonic-looking, extra-terrestrials. 

By far the American author’s biggest hook though must surely be the one-on-one battle between Wonder Woman and the aforementioned ruler of Apokolips. This punch-up sadly soon becomes rather one-sided, after a ferociously-fanged Princess Diana loses her element of surprise. But even then the writing repeatedly holds the attention by suggesting that Darkseid is highly likely to tear the undead Amazon apart at any moment - just as he did with an overly-confident Aquaman earlier.

Helping to keep this book’s whirlwind of death-dealing and narrow escapes thoroughly engrossing is Otto Schmidt, whose panels race along at a neck-breaking speed. Of particular note has to be the illustrator’s ability to suggest the utterly insurmountable size of the parademon army. However, he is also a master of pencilling some wonderful little moments within all the mayhem, like Harley Quinn’s escape from the Vampire Queen - Barbara Gordon, and Mister Miracle’s sorrowful look from his underwater prison cell when he sees a distraught Queen of Atlantis stalking straight towards him and his baby daughter.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #7 by Otto Schmidt

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 #5 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 5, February 2025

There can surely be little doubt that Matthew Rosenberg’s revelation towards the end of this twenty-four page publication’s plot had its readers genuinely gasping in revulsion at “the horrifying secret” behind how the vampires were still defeating the human resistance. In fact, many a bibliophile will probably find themselves unable to move along from Green Arrow’s discovery and its “shocking connection to the Speed Force” without at least re-visiting the disturbing scene a couple more times; “They’re doing something with all that food they grow. If they’re not feeding a large group of people. What are they feeding.?”

Impressively though, this eye-opener isn’t the only surprise Issue Five of “DC Vs Vampires: World War V” has in store for its audience, with the comic’s American author clearly still having a few more trump cards tucked up his sleeves. Foremost of these disclosures is probably Big Barda’s sudden emergence from out of a dark, winter night’s sky to absolutely clobber the blood-drinking fiends intent on murdering her husband (and potentially harm their infant baby). To say Jack Kirby’s creation completely annihilates the likes of a heavily-fanged Power Girl and Raven is a massive understatement, and genuinely helps imbue this comic with some truly palpable energy at a time when its other simultaneous story-threads are undeniably dialogue-driven.

Likewise John Constantine’s ill-advised visit upon the convalescing vampire queen, Barbara Gordon, doesn’t pan out quite as some onlookers might have expected – albeit the Hellblazer is seemingly a little too cocksure for his own good when it comes to antagonising Gorilla Grodd. In fact, the anti-hero’s decision to visit the dark heart of the Nosferatu Empire appears suicidally insane straight from the start, largely due to him not actually having anything tangible with which to bargain for his life.

Prodigiously pencilling all these sense-shattering shenanigans is Otto Schmidt, who really imbues Big Barda with all the momentous muscle a member of the New Gods is expected to wield. Furthermore, the Siberian-born artist does an incredible job of capturing Batgirl’s myriad of emotions using just her eyes and mouth - a talent which is particularly impressive considering that the undead creature’s entire body is covered with unsightly burns and blemishes, so it must have been extra hard providing the figure with even the smallest of facial expressions.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #5 by Otto Schmidt

Nightwing #107 - DC Comics

NIGHTWING No. 107, December 2023

There’s arguably an awful lot for Nightwing fans to enjoy inside this second instalment to Tom Taylor’s “The Crew Of The Crossed” storyline, ranging from a frantic fist-fight with a group of burly pirates through to the super-hero walking a thin line between his old flame, Beatrice Bennett, and the current love of his life, Barbara Gordon. Furthermore, the twenty-two page plot also hints at the high-flying vigilante no longer having the chops to throw his body into danger like the acrobatic genius he ordinarily is; “I… I can’t move. Pulse is racing. Heart is pounding. Something’s wrong with me. I can’t jump.”

These ingredients all come together to create an utterly enthralling situation for Batman’s former side-kick, and debatably help keep this comic’s audience completely hooked, despite a lot of the book being rather dialogue-driven. In fact, apart from the titular character’s short-lived, violent scuffle with the big-boned Lucas and his similarly disagreeable deck-swabbing cronies, the vast majority of this publication revolves either around Dick Grayson establishing just what Captain Blud wants of him, or investigating the underground syndicate behind the mysteriously enigmatic Hold.

Fortunately, the Australian author is able to navigate such sedentary set-pieces by punctuating them with moments of high melodrama and adrenaline-fuelled action, such as Nightwing freezing atop the pirate vessel’s guard-rail and helplessly watching one of its crew drown in the ocean. The revelation that at least a single member of Bennett’s crew is actually a traitor, and on the payroll of the woman’s criminally-inclined brother, also adds another fascinating element to the mix – firmly placing a question mark over the motivations of an entire secondary cast who already strongly dislike Grayson already.

Prodigiously pencilling all these gripping goings-on is Stephen Byrne, who does a first-rate job of making Beatrice appear as if the entire weight of the world rests upon her shoulders. The new captain clearly still feels very strongly for her former lover. Yet her eyes also convey the sadness of her father’s recent death, and the female swashbuckler’s grim determination to ensure that she remains in charge of "a secret bank serving the rich and powerful", no matter what the cost.

The regular cover art of "NIGHTWING" #107 by Bruno Redondo

Nightwing #106 - DC Comics

NIGHTWING No. 106, November 2023

Whilst neither Nightwing nor Batgirl really “sail the high seas” in this twenty-two page publication as “DC Comics” solicitation suggests, it doesn’t mean for a second that Tom Taylor’s storyline is any less riveting. In fact, “The Crew Of The Crossed” still contains an abundance of swashbuckling saltiness with which to ensnare the audience’s imagination, and keep them utterly hooked as they’re plunged neck-deep in the mysteries of the Quartermaster’s enigmatic Hold; “Oh, it’ll be worth it. This is beyond anything you’ve ever seen. We’re talking generations of wealth in one -- It’s gone.”

Furthermore, this pirate-flavoured periodical also provides plenty for the adrenalin-junkies out there, courtesy of a pulse-pounding set-piece which sees the titular character and Barbara Gordon’s more sedentary alter-ego chasing down an ambulance through the busy streets of Bludhaven. Such a headlong dash could easily have become a somewhat typical affair as seen in many a comic book. But such is the Australian author’s skill that he imbues Dick Grayson will plenty of panache as he holds a polite conversation with his distant lover whilst simultaneously battering a pair of overconfident body-snatchers.

Similarly as successful as this tome’s penmanship is its pencilling, with Stephen Byrne providing its layouts with lots of shadowy subterfuge and secrecy. Indeed, considering that Ruben Blüd’s costume simply consists of the former Captain wearing a sailor's sou'wester and waterproof jacket, the actual character generates a spellbinding air of ambiguity which makes him utterly convincing as the pivotal protector of an ancient secret society, who seemingly knows the location of several highly sought-after safes.

Far more tongue-in-cheek, though potentially just as deadly for Nightwing as this comic’s main tale, is Michael Conrad’s short “Breakfast For Dinner”. Initially dealing with Richard just teaching Cassandra Cain how to make his famous pancakes in her flat's kitchen, this somewhat harmless undertaking may well be seen by some bibliophiles as something of a ‘filler’. However, throw in a well-dressed, professional assassin who plans to kill Grayson just as soon as the right moment presents itself, as well as two incarnations of Batgirl, and this tale contains some unexpected bite which should cause most Bat-fans to promptly visiting their local book shop to ensure they've pre-ordered a copy of its next instalment.

The regular cover art of "NIGHTWING" #106 by Bruno Redondo

Nightwing #118 - DC Comics

NIGHTWING No. 118, December 2024

Despite this twenty-four page periodical certainly living up to its promise of taking its audience “on an exhilarating journey through the streets of Blüdhaven as we bid a heartfelt farewell to the dynamic duo of Tom Taylor and Bruno Redondo”, the fact that the Australian author swiftly summarises the rest of the Bat-family tracking down the city’s kidnapped children could well still be seen by some as something of a missed opportunity. Indeed, the notion of the titular character teaming up with the likes of Tim Drake’s Robin, Cassandra Cain’s Batgirl or even the Dark Knight himself for a lengthy, possibly even issue-long, infiltration of Shelton Lyle’s covert organisation to discover the incarcerated kids' secret whereabouts would surely have provided some additional sense-shattering shenanigans for the original Boy Wonder to navigate.

Such a minor quibble aside however, there’s debatably not much else to complain about when it comes to this “epic conclusion” of the creative team’s “award-winning run”, as Dick Grayson embarks upon an almost entirely successful campaign to publicly clear his name of any criminal wrongdoing, ensure that Heartless’ reign of terror is brought to a swift end, and reconcile with the ghosts of the former circus performer’s deceased parents. True, the body of Gerald Chamberlain is never shown being recovered from the river into which he fell – which strongly suggests the deranged butler may well return to revive his supposedly dead master in the future, and Nightwing’s poor, three-legged dog takes a bullet meant for her owner. But overall, the book ends on a surprisingly neat shot of Bruce Wayne’s heir canoodling up to the love of his life watching the night stars.

Just as enjoyable as this comic’s script though are also its layouts, with Redondo giving the super-villain’s flight from Blüdhaven some breath-taking pace, as well as an awed “How?” moment when the mass-murderer’s colourfully-costumed pursuer plummets from a bridge to strike him straight in the face with a well-placed foot. This incredibly engrossing sense of speed then continues, with the “double Eisner Award winner” prodigiously pencilling Haley quite literally coming out of no-where to bite Chamberlain’s gun-toting forearm and Grayson providing his arch-nemesis with a truly memorable lesson in unarmed combat; “You thought you could buy strength. But you didn’t put in the work. You bought brute force. But that doesn’t make you powerful.”

The regular cover art of "NIGHTWING" #118 by Bruno Redondo

Titans #7 - DC Comics

TITANS No. 7, March 2024

Quite neatly bringing Tempest back into the family fold of the Titans, whilst simultaneously dispatching Brother Eternity rather fittingly to the Phantom Zone, Tom Taylor’s script for “Royal Blood” certainly seems to tick all the boxes needed for a successful comic book. Indeed, the Melbourne-born writer manages to imbue his twenty-page plot with a healthy dose of adrenalin-fuelled action as Batgirl single-handedly battles a horde of humanoid animal creatures, some distinctly dark decision-making on behalf of Raven, and even a smidgeon of tongue-in-cheek fun with the ever-dashing Dick Grayson being temporarily transformed into a red-furred specimen of Vulpes vulpes; “Nightwing is a fox. Of course he is.”

Sadly however, much of this publication’s impact is arguably lessened by just how easily the superhero team defeats its foes, starting with “the first Aqualad” - who is almost entirely dismissed by Rachel Roth’s alter-ego during their confrontation, and quickly laid low courtesy of a “flash dehydration”. Likewise, this long-running narrative’s main protagonist, the treacherous Tamaranean Xand’r, appears to completely fail in his plan to command the technologically-advanced Cyborg into doing his evil bidding, and is unflatteringly clobbered unconscious with a single punch from Starfire.

This sense of underwhelming achievement even debatably extends to the savage, seething mass of monsters who recently broke into the team’s base of operations and appeared to be on the verge of clawing all its occupants into tiny pieces. Rather than generate any lasting threat, at least once Barabara Gordon is shown bravely battling a trio of these nightmarishly fanged creatures in a partially submerged corridor, the audience are simply assured that the Flash has “rounded up all the beast people in the tower and contained them in the sub-basement.”

Ultimately, a lot of this lack of urgency or raw energy, may well lay at the feet of artist Travis Moore and colorist Tamra Bonvillain. There’s little doubt that the pair do a perfectly proficient job in depicting this book’s storyline, with Batgirl’s aforementioned fight whilst being waist-deep in water probably proving its highlight. Yet, there’s just something about the somewhat flat-looking, listless layouts which frustratingly doesn’t appear to imbue the panels with much in the way of palpable dynamism.

The regular cover art of "TITANS" #7 by Clayton Henry & Marcelo Maiolo

Titans #6 - DC Comics

TITANS No. 6, February 2024

For those fans either unwilling to fork out for the “Titans: Beast World” multi-issue comic book mini-series and the event's numerous crossover titles, or simply just completely oblivious to the notion of “the people of Earth turning into animals after being exposed to the Beast Boy spores” storyline, Tom Taylor’s narrative for Issue Six of “Titans” may well have proved a bit hard going in places. Sure, some early dialogue from the likes of Starfire, Nightwing and Batgirl provides a little background information as to what is currently occurring inside the "DC Comics" universe. But what this twenty-page periodical arguably really needs is some sort of synopsis for any within its audience who haven’t read the six different tie-ins published before this one; “Detective Chimp and Doctor Clancy are examining Wolf-Batman now.”

Luckily, the “New York Times bestselling author” does still manage to pen an enthralling yarn for those bibliophiles ‘in the dark’, courtesy of Tempest and Brother Eternity penetrating the security of Titans Tower, and allowing the titular characters’ headquarters to be quite literally overrun by beasts. Indeed, this moment generates a palpable sense of urgency within the facility’s inhabitants, thanks largely to Clancy’s children innocently watching cartoons in the Lounge Room whilst a horde of bears, alligators and white-furry bunnies are just a whisker away from ensuring their “vital organs [are] gouged out.”

However, just as engaging is probably this comic’s opening, which focuses upon Princess Koriand’r’s final moments in the presence of her ill-fated mother, just minutes before an alien invasion leads to the destruction of her civilisation. This flashback sequence is both well-written and seemingly connects to the publication’s current main antagonist – Xand’r, providing the storytelling with an exciting pair of bookend-like scenes.

Frustratingly, the same praise probably cannot be directed towards Travis Moore’s illustrations though. The visual artist is clearly a proficient penciller, who does a fine job in helping Taylor deliver an exciting adventure. Yet the American’s style debatably lacks a lot of the detail which this title’s regular contributor, Nicola Scott, definitely delivered, and resultantly, every now and then a panel will potentially ‘jolt’ a reader out of the tale, such as when Garth of Atlantis bursts in upon Dick Grayson and flattens a flailing leopard-person with a small tidal wave.

The regular cover art of "TITANS" #6 by Clayton Henry & Marcelo Maiolo

The Batman And Scooby-Doo Mysteries #11 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 11, October 2023

Unashamedly tapping into both the look and feel of the American cyberpunk media franchise “The Matrix”, Sholly Fisch’s script for “Bark Or Byte?” probably provided its readers with some genuine giggles and guffaws. True, the twenty-page periodical’s premise is rather straightforward in its depiction of Shaggy Rogers and Scooby-Doo donning black overcoats and shades in an effort to spot 'a series of numbers with periods in between them' amongst all the computer code surrounding them. But the tale’s delivered with such a tongue-in-cheek attitude that many a bibliophile would be hard pressed not to at least smirk at the duo’s desperate headlong dash through the ghost-possessed simulated reality.

Foremost of these laughs is probably found with the cowardly pair’s ability to immediately dream up a huge pile of Scooby-snacks and stuffed sandwiches, just as soon as they realise “you can be whatever you want” in the virtual world. This joke is later continued at the end of the comic’s conclusion, when the amateur sleuths are shown to be trying to physically force their way out of the criminal’s computer screens once they’ve somehow seen a pizza delivery guy enter the villain’s secret headquarters in the physical universe; “Could someone, like, get us out of here?”

Furthermore, Batman appears to play a secondary role throughout this book’s narrative, with the superhero spotlight firmly falling upon “the data broker Oracle”. This change of focus is both enjoyable and understandable, as the storyline follows a mysterious ghost somehow manipulating “one of the world's most complex and powerful computer systems” for their own ends. In addition, it provides Barbara Gordon’s alter-ego with an opportunity to educate those readers unfamiliar with Internet Protocol (IP) addresses, and how a person’s internet signal can be bounced “through a different country to mask his true location.”

Definitely helping imbue this publication with a Matrix-vibe are the layouts and colours of Erich Owen. The cartoonist’s number-infested, fluorescent green backgrounds and sketch of online hero Oracle’s face genuinely draw the audience into the Ghost in the Machine’s simulated world. Whilst his sketches of Mystery Incorporated make the characters look as if they’ve just stepped across from one of Hanna-Barbera’s classic animations.

Written by: Sholly Fisch, Drawn & Coloured by: Erich Owen, and Lettered by: Saida Temofonte

The Batman And Scooby-Doo Mysteries #9 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 9, August 2023

Despite being a direct sequel to the classic November 1969 aired television episode of “Scooby-Doo, Where Are You!” entitled “Bedlam In The Big Top”, debatably the vast majority of this comic’s readers were probably soon wishing for the Ghost Clown to entrance them so they could easily forget Matthew Cody’s disinteresting script and bewildering reinterpretation of Mystery Incorporated’s characters. Furthermore, the twenty-page periodical’s portrayal of Batman is far from convincing, even for a book seemingly based upon the crime-fighter’s more tongue-in-cheek “Filmation” incarnation, as it depicts the World’s Greatest Detective becoming utterly fixated upon the Joker being behind a group of mind-controlled citizens attacking “some silly old award ceremony honouring a bunch of teenagers”, simply because the unsuccessful raid’s mastermind dressed them up as clowns.

These anomalies increasingly become frustrating, and lead to some truly implausible moments where the likes of Daphne Blake and Batgirl have to physically defeat Harry the Hypnotist and his ridiculous minions, whilst the ordinarily dependable Fred Jones unexpectedly cowers behind a chair and the Dark Knight inexplicably speeds off in the Batmobile for sources of Smilex Gas rather than “comb this crime scene for clues.” To make matters worse though the Missouri-born writer’s script also suddenly has Crystal Cove’s Madam Mayor and Sheriff Stone arrest “these meddling kids” for causing all of the town’s problems without a shred of evidence or arguably basic logic and throws them all straight in front of a clearly unimpartial courtroom so they can be later tossed “into the deepest, darkest cell you can find in Arkham.”

Similarly as disconcerting is debatably Scott Jeralds’ artwork, which appears to repeatedly encapsulate a handful of different drawing styles all within the same panel. This bizarre-looking technique, coupled with the illustrator persistently reusing identical drawings from one frame to another, has caused the likes of William Martin of “Batman-news.com” to believe that “there is a strong chance that most of this comic is traced” by the “Marvel Studios” animator. Whatever the explanation actually is though, it is probably safe to say that the contrast between Commissioner Gordon looking exactly as he does in the 1992 “Batman: The Animated Series” working alongside a slender-looking Batman, who is much more reminiscent of his 1977 Adam West-voiced cartoon portrayal, must have badly jarred with even the most devoted of Batfan bibliophiles.

Written by: Matthew Cody, Drawn by: Scott Jeralds and Colored by: Carrie Strachan

Batman: The Adventures Continue Season Three #5 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON THREE No. 5, July 2023

Considering the sheer number of anti-heroes permeating this conclusion to Alan Burnett and Paul Dini’s “Crack-Up” narrative, many a bibliophile might find the twenty-page-periodical’s plot a little too rushed. Indeed, the entirety of Amanda Waller’s Suicide Squad are surprisingly easily taken out twice during this particular publication, despite the Wall’s team comprising of some significantly powerful combatants such as Deadshot, Katana, Captain Boomerang and King Shark; “Said he was gonna make his own gang of mindless mercs -- The J-Team!”

This somewhat frustratingly fast-paced storytelling sadly also surrounds the tale’s central character, Straightman, who despite being on the run from the authorities is all-too quickly located by Batman and Robin roasting a pair of rats for his supper down one of Gotham City’s lesser-frequented alleyways. The Joker’s former bodyguard is still depicted as having the strength of several normal men. But that doesn’t stop him somewhat shockingly being taken straight down by the Boy Wonder and a trusty bat-a-rang within moments of the Dynamic Duo trundling up to his location in the Batmobile.

Perhaps therefore this comic’s most impressive moment comes when General Joker launches a full-on frontal assault against the military hospital where Professor Hugo Strange is attempting to save Captain Finley’s “almost unsalvageable” mind. This set-piece initially appears to contain all the elements necessary for some truly memorable pulse-pounding panels, especially once the Clown Prince of Crime has the brain-washed Suicide Squad capture a formidably sized tank for him to use as a command vehicle. However, once again the action is cut frustratingly short by the Bat Family, in order to save plenty of sheet space for a ‘sickeningly sweet’ series of heavily narrated epilogues.

Of course, some within the audience may well argue that this publication is probably worth its cover price just for Ty Templeton’s dynamic pencilling and Monica Kubina’s eye-catching colours. The artists do a cracking job of imbuing the Joker with all the deadly zaniness a reader would expect of Jerry Robinson’s co-creation, as well as include the odd Easter egg within their artwork - not least of which is a spine-chilling Funtime Freddy look-a-like sat on a display shelf in the deserted Pizza Clown Family Restaurant at the start of the book.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON THREE" #5 by Scott Godlewski

Batman: Gotham Knights - Gilded City #4 - DC Comics

BATMAN: GOTHAM KNIGHTS - GILDED CITY No. 4, March 2023

Initially somewhat entertaining with its fascinating flashback to the origin of Vandal Savage, and the immortal cave man’s journey through the subsequent ages, Evan Narcisse’s storyline for Issue Four of “Batman: Gotham Knights – Gilded City” still probably disappointed many readers with its frustratingly frequent time jumps and spluttering pace. In fact, just as soon as “Vandar Adg of the Blood Tribe” has illogically agreed to give the mysterious Runaway four nights grace to retrieve the Cro-Magnon's stolen meteorological shard before his army of zealots puts Nineteenth Century Gotham City to the torch, this publication’s audience are mercilessly whisked all across the metropolis’ continuum, as well as taking a sudden, surprising present-day sojourn to Santa Prisca.

Similarly as head scratching as the increasingly frequent flashbacks to Bruce Wayne’s home municipal in 1847 A.D. is Batman’s battle against the manic victims of the Golden Iris Virus, who suddenly descend “upon a car dealership with explosive results.” This action-packed sequence certainly contains some dynamic moments, such as the Dark Knight swooping down to rescue two people who have unwittingly destroyed “millions of dollars in luxury automobiles.” However, it may well strike a fair few bibliophiles as being implausibly odd that the best solution the Caped Crusader can come up with concerning the pair of criminally-inclined miscreants is to eject his fire-proof cape between them and the fast-approaching blaze as a temporary shield and then tie the duo together as the deadly flames approach; “I know you’re the boss but this is why we’re a team, Batman.”

Likewise, the Runaway’s romp through the various headquarters of Gotham’s elite is debatably far from convincing despite artist Abel’s very best efforts. The illustrator does a cracking job pencilling the masked vigilante’s battle against Cameron Kane’s numerous security agents, with the flamboyantly attired castigator disarming his opponents with a number of well-thrown hand-darts and spinning plates. Yet, once the acrobatic “brigand from the posters” has failed to locate Savage’s shard the panels depicting his future exploits are penned to awkwardly flow thick and fast, as do the text boxes containing “Later…”, “The next night…”, “The next morning…”, and “Later that night…”

The regular cover art of "BATMAN: GOTHAM KNIGHTS - GILDED CITY #4 by Greg Capullo & Jonathan Glapion

Batman: Gotham Knights - Gilded City #3 - DC Comics

BATMAN: GOTHAM KNIGHTS - GILDED CITY No. 3, February 2023

It's difficult to imagine that many of this book’s bibliophiles were particularly won over by Evan Narcisse’s dubious decision to focus much of this comic’s narrative upon Nightwing and Robin’s successful endeavour to halt a roller coaster before its open cars plummet through “a broken section of track”. Indeed, the notion of the ‘dynamic duo’ spending a considerable amount of time simply stopping a horde of brainwashed people from visiting a condemned fairground, wolfing down large amounts of popcorn, sugary snacks and candy floss, arguably seems a strange setting for a storyline supposedly penned to help advertise an exciting new video game where the players must battle all manner of “notorious villains in epic confrontations”.

To make matters worse though, the American author doesn’t debatably do much better when it comes to writing what Batman is up to whilst his two proteges tackle the aforementioned “crazed victims of the Golden Iris Virus.” True, the Dark Knight is well known for seeking out those experts with more scientific or technical knowledge than himself if it’ll help his investigations. But turning to imprisoned criminal psychologist Harley Quinn seems a bit of a stretch, especially when he bizarrely has to fiurst fight his way through some of Blackgate Prison’s other inmates in order to speak to her; “Heya, Batsy! I see you’ve met my clients.”

Far more successful is the journalist’s flashback sequences to the Court of Owls on the outskirts of Gotham City in 1847. Nicely laced with some serious Frankenstein’s Monster vibes, the plight of a disorientated Runaway is rather riveting as he realises just how formidably well-organised and large the criminal organisation creating zombies actually is. In fact, the masked vigilante’s fate appears to be well and truly sealed by the ‘immortal’ Talons until the swashbuckling super-villain Vandar Adg of the Blood Tribe suddenly makes a surprise entrance.

Clearly this comic’s greatest asset therefore lies in the layouts of artist Abel, who manages to inject even the sweet scoffing miscreants at the old amusement park with plenty of dynamic life. Furthermore, the illustrator’s ability to pencil the acrobatic antics of both Dick Grayson and Damian Wayne’s costumed alter-egos as they utilise the Batwing's skyhook to slow down a runaway ride is one of the meagre memorable moments stemming from this twenty-two-page periodical.

The regular cover art of "BATMAN: GOTHAM KNIGHTS - GILDED CITY #3 by Greg Capullo

Batman: Gotham Knights - Gilded City #2 - DC Comics

BATMAN: GOTHAM KNIGHTS - GILDED CITY No. 2, January 2023

Opening with an adrenalin-fuelled confrontation concerning the Dark Knight and his former protégé Dick Grayson, as well as closing with artist Abel pencilling a genuinely shocking battle between some Wild West ‘super-heroes’ and a graveyard full of the undead, Evan Narcisse’s storyline for Issue Two of “Batman: Gotham Knights – Gilded City” probably delighted the vast majority of its audience in November 2022. But whilst these aforementioned action-orientated sequences are arguably well-penned, the writing behind the rest of this twenty-two-page periodical’s plot probably left something to be desired; “I’m sure some TV News producer at WGBS thinks they’re so clever.”

To begin with the motivation between the original Dynamic Duo furiously going ‘hell for leather’ at one another isn’t particularly convincing, considering that both combatants essentially want the same thing, and it is only the manner in which their mission is accomplished which the pair disagree upon. Of course, Nightwing’s move to Bludhaven to rid himself of the Caped Crusader’s shadow is certainly shown to give the former Robin a sizeable chip on his shoulder, especially when an incredibly arrogant Batman unapologetically tells the already irate costumed acrobat that he will go wherever he wants when an operation demands it.

But frankly neither character comes away from this fracas in a good light, with both appearing egotistical, self-righteous and unwilling to compromise – at least until Bruce Wayne’s alter-ego supposedly submits to taking “that hit from my Escrima stick so you could figure out what was happening”. Furthermore, the two protagonists settle their differences with such suddenness, that it is debatably difficult to comprehend just what all the fuss was about in the first place. Indeed, within moments of trying to batter the Dark Knight half to death, Grayson is next shown bemusingly telling him how good it is to see his old mentor again.

Much more enthralling is the secondary narrative concerning poor Abraham’s investigation into the disappearance of his brother from a nearby coal mine during the Wild West. Crammed full of shady characters, brain-hungry zombies and some truly sinister shenanigans, these scenes are much more riveting, and definitely provide this comic with a sensational cliff-hanger as the clearly distressed labourer shockingly loses his life just as it appears he’s discovered a clue as to the dreadful demise of his sibling.

The regular cover art of "BATMAN: GOTHAM KNIGHTS - GILDED CITY #2 by Greg Capullo