The Batman And Scooby-Doo Mysteries #5 - DC Comics

THE BATMAN AND SCOOBY-DOO MYSTERIES No. 5, April 2023

For those Silver Age connoisseurs who enjoy nostalgic trips back to the days of “wealthy Gotham City heiress and former circus performer” Kathy Kane wearing the colourful costume of Batwoman, Sholly Fisch’s script for “Rat’s All Folks” surely brought them a lot of rosy reminisces. In fact, arguably this twenty-page-periodical’s greatest strength is its incredible ability to educate its audience with the history of Edmond Hamilton’s co-creation and then bring the partially greying crimefighter back out of retirement, alongside sidekick-turned-professional tennis player Bette, for one final adventure.

However, for those bibliophiles who require at least some sort of explanation as to why a pack of ferocious Rat-men are ransacking the antique motorcycle collection of the Caped Crusader’s former-love interest, Issue Five of “The Batman And Scooby-Doo Mysteries" is probably going to be something of a disappointment, especially once Professor Achilles Milo’s masterplan to create an unstoppable army of the “monstrous minions” is revealed; “Who were you expecting? Hugo Strange? Tell me, what do you think of my new serum’s ability to transform bikers into quite literal lab rats?”

Admittedly, the “renowned chemist who turned to crime” does concede that his despicable concoction is only partially successful, and it is also clear from Batwoman’s stark concern at having to restrain Shaggy Rogers after he inadvertently consumes some, that Milo’s cocktail detrimentally affects the behaviour of its victims. But seeing as the perfidious pseudoscientist is supposedly just a day away from achieving his grand aim, it seems somewhat bizarre that he’d allow his guinea pigs to attract the attention of the local authorities by repeatedly terrorising the local highways and roads with a spate of burglaries.

Luckily, what this comic debatably lacks in logic or depth, it more than makes up for with Dario Brizuela’s drawings and Franco Riesco’s colours. The flashbacks to Aunt Kathy’s heyday when she “trained her mind and body” to become Batwoman are superbly sketched, with the sequences being greatly enhanced via the washed-out pigmentation of publications printed during the Sixties. Furthermore, there is definitely something distinctly uplifting about seeing the likes of the original superheroine riding a motorbike alongside her trusty Bat-Girl and alter-ego’s latest modern-day incarnation, whilst the Mystery Machine brings up the rear.

Written by: Sholly Fisch, Drawn by: Dario Brizuela, and Colored by: Franco Riesco

DC Vs. Vampires: All Out War #4 - DC Comics

DC VS. VAMPIRES: ALL OUT WAR No. 4, December 2022

For those comic book fans who enjoy an unremitting assault upon their senses straight from the opening panel, coupled with a publication’s artistic team fervently throwing buckets of body fluid over every other illustration, Issue Four of “DC Verses Vampires: All Out War” must have landed incredibly well. In fact, it’s debatably hard to find any fault at all with Alex Paknadel and Matthew Rosenberg’s twenty-four-page periodical as the Midnighter, Mary Marvel and Booster Gold dive head-first straight into the Baron’s formidably ferocious vampire knights “whose blades are every bit as bloodthirsty as they are.”

To begin with absolutely nothing is guaranteed due to this action-packed pseudo-Elseworld’s plot quite merrily ending its cast’s lives without so much as a moment’s notice, and in as gratuitously grisly a manner as this magazine's “Ages 13+” certification will allow. Such wanton death genuinely makes each and every scene a ‘must read’, as it’s never certain just who is going to survive what blow, nor even who can actually be trusted – Cue Vic Sage’s appearance as a vampiric Question who later on will doubtless catch many a bibliophile off-guard just as a certain cowled member of Stormwatch appears to have saved the day without even raising a finger to defeat the tactical super-computer built into his opponent’s “stupid [expletive] helmet.”

Likewise, penciler Pasquale Qualano and colourist Nicola Righi provide a mesmerising experience with their disturbingly dark illustrations, which are predominantly only lit by splashes of unnerving eldritch lighting and galleons of spilt claret. Indeed, it’s incredible just how much evisceration takes place during this comic’s ensuing melee, with various so-called super-heroes (and villains) having either their heads explode in a fountain of ruby froth, or their innards spattered all over the floor; “You can heal from this, right? I mean, you’re Midnighter!”

Similarly as well-received should be Matthew K. Manning’s “backup” tale entitled “Kill The Messenger”. This Black Lightning-centric storyline still contains an incredible amount of death, courtesy of its blood-drinking ghouls ill-advisedly entering Jefferson Pierce’s blessed abode. But due to Acky Bright’s much more clean-looking, self-taught drawing style, as well as his choice of a surprisingly sombre blue palette, the short-lived yarn provides an enjoyably enthralling contrast to the maniacal mayhem of this book’s main adventure.

The regular cover art of "DC VS. VAMPIRES: ALL OUT WAR" #4 by Alan Quah

DC Vs. Vampires: All Out War #3 - DC Comics

DC VS. VAMPIRES: ALL OUT WAR No. 3, November 2022

Tightly focused upon “the apocalyptic” Suicide Squad’s all or nothing attempt to rescue Koriand'r from the diabolical clutches of Baron Cinder, this twenty-four page periodical’s plot must surely have had its audience riveted throughout every scene. Indeed, the notion that any one of this comic’s protagonists could suddenly meet with a grisly death at a moment’s notice repeatedly leaps out of every panel, especially when the perilous mission riskily relies upon the good will of a blood-sucking Batwoman; “I think she’s legit. But if you have doubts just incinerate her.”

Equally as terrifying is Alex Paknadel and Matthew Rosenberg’s ability to imbue the vampire’s medieval-looking fortress with a genuine creepy vibe, which arguably appears able to sends shivers down any reader’s spine the moment Deathstroke, Azrael and Kate Kane approach its guarded gates through a heavy sea of blood-splattered mist. This ‘Hammer House of Horror’ ambience really adds to the storytelling, as it repeatedly hints at the possibility of a gory demise occurring just around every corner. In fact, the perpetual suspense is so well-penned that it debatably almost comes as a relief when one of the party is finally slain through dark witchcraft.

Artists Pasquale Qualano and Nicola Righi must also take a well-deserved bow for their contribution to this publication’s success, as their sombre-coloured layouts, occasionally made all the more unnerving with a garish splash of red pigmentation, are truly mesmerising. Moreover, the duo are responsible for possibly this book’s biggest highlight when they depict a formidably brutal Bane squashing a load of hapless thralls beneath the castle’s main door and then go on a ferocious rampage alongside “one of Gotham’s daughters” up the fortification’s inner stairwell.

Just as disconcerting is Emma Vieceli’s unfairly labelled “backup” story “Dark Birth”. Prodigiously pencilled by Haining, this deeply disturbing tale of Dick Grayson being treacherously ensnared by his own half-sister, Melinda Zucco, into Bludhaven’s vampire civil war is desperately sad, due to the former Robin bravely facing an entire cartel of the Undead single-handedly and knowing full well that Barbara Gordon, the Teen Titans nor even Batman will be able to save him from a truly tragic fate.

The regular cover art of "DC VS. VAMPIRES: ALL OUT WAR" #3 by Alan Quah

Harley Quinn #17 - DC Comics

HARLEY QUINN No. 17, September 2022

Supposedly promising “the moment we’ve been building toward for months”, Stephanie Phillips’ narrative for Issue Sixteen of “Harley Quinn” certainly should have sated most of this comic’s audience with its succinct conclusion to the American author’s five-part long storyline concerning the Verdict. Yet whilst this twenty-two-page periodical undeniably brings the “violent vigilante” to justice, courtesy of the titular character teaming up with Batwoman once again, its sickly-sweet nature and somewhat illogical set-up, rather ruin the moment; “I think you’re going to make someone really happy one day. But more importantly… We’ve got each other. And we’ve got this entire city.”

For starters, having only given “your hyper-verbal, semi-reformed former villain” a flesh wound with her close-range gunshot, Sam Payne suddenly decides to end it all by blowing up Gotham’s City Hall and all its innocent inhabitants with her still inside it. This suicide mission admittedly demonstrates just how deranged the former cop has become following her realisation as to the deep-rooted corruption infesting her metropolis’ justice system. However, it seems somewhat at odds for Kevin’s girlfriend to go ‘off the rails’ quite so dramatically that instead of continuing to target just the corrupt judges and council workers individually, she instead decides to just wipe the municipal building, complete with any innocent employees and unfortunate visitors, en masse.

In addition, it’s perhaps not as clear as it could be just how Quinn actually manages to save the day..? Batwoman is clearly busy desperately trying to deactivate all the Verdict’s explosive devices before the homicidal maniac detonates them. But just how Harley is subsequently still throwing Muhammad Ali-style haymakers with the same injured shoulder she could barely move an hour earlier is anybody’s guess, especially when Payne has literally just given the colourfully costumed trained psychiatrist a serious smackdown of her own.

Providing this publication with their swansong as its interior artist is Riley Rossmo, who arguably adds a lot of much-needed energy to this comic’s storytelling. Of note is the Canadian artist’s dynamic depiction of Quinzel’s delirious dream sequence boxing the Verdict. The pencilled punches are ferocious and readers will surely be able to hear both the sound of leather upon flesh, as well as the squeak of trainers upon canvas, as they enthusiastically peruse the scintillating sparring taking place in the squared circle before them.

The regular cover art of "HARLEY QUINN" #17 by Riley Rossmo

Task Force Z #8 - DC Comics

TASK FORCE Z No. 8, July 2022

Described in its pre-publication synopsis as comprising of an “All-new team! [with the] Same old problems!” Issue Eight of “Task Force Z” arguably gives the extended Bat-Family significantly more ‘screen time’ than Harvey Dent’s titular squad of undead felons and evil-doers. Indeed, such is the ever-pervading presence of the Dark Knight throughout Matthew Rosenberg’s scintillating script that its cataclysmic events read as if they're occurring within a Batman book rather than one focusing upon “a line-up of some of Gotham City’s worst criminals who’ve ever lived.” 

Admittedly, Bruce Wayne’s alter-ego doesn’t actually appear within this twenty-two-page periodical until its halfway stage, when he arrives to tackle a rampaging Solomon Grundy during a faked heist. But the Caped Crusader’s famous Batmobile is a persistent feature of the storyline straight from the start, and as a result everything which both Two Face and Red Hood do is in direct response to the cowled crimefighter’s night-time patrol; “Ha. You’re not going to fight him. He’d destroy you. You just have to look like you’re going to fight him.”

In addition, Jason Todd’s exhilarating battle against the likes of Nightwing, Red Robin and Batwoman is as a direct result of Batman ordering his proteges to take the crowbar-carrying vigilante into “custody”. This awesome smackdown really does demonstrate just how mercilessly violent ‘The Outlaw’ has become since he was “resurrected by Talia al Ghul using the Lazarus Pit, and then trained by both the League of Assassins and the All-Caste”, as he brutally batters his three opponents within an inch of their lives, especially Timothy Drake – who staggers away from the confrontation with both a broken nose and genuine sense of betrayal as to the behaviour of his mask-wearing predecessor.

Curiously however, perhaps this publication’s greatest asset lies in editor Dave Wielgosz’s decision to utilise the talents of Jesus Merino, Jack Herbert and Vicente Cifuentes as its artists. Obviously, there is some noticeable difference in pencilling styles between the three different illustrators. Yet that doesn’t stop Red Hood’s pulse-pounding punch-up with the Bat-Family, or the Dark Knight’s dynamically drawn fracas against a certain pale-fleshed reanimated corpse from almost literally leaping off the printed page with vibrant energy.

Script: Matthew Rosenberg, and Artists: Jesus Merino, Jack Herbert & Vicente Cifuentes

Harley Quinn #15 - DC Comics

HARLEY QUINN No. 15, July 2022

Pulling a plethora of plot-threads together so as to ensure this comic’s cataclysmic conclusion features a sensational fist-fight between the murderous Verdict, Batwoman, Jaylin Shaw and the “Clown Princess of Crime”, there’s arguably plenty for fans of the Joker’s ex-girlfriend to enjoy inside Issue Fifteen of “Harley Quinn”. Indeed, once the reader has navigated writer Stephanie Phillips’ somewhat bemusing sojourn to a “Biggo” burger restaurant, this book’s pace really undergoes a blistering change of speed, whether its action-packed exploits are depicting Kate Kane’s alter-ego mixing it up with Detective Isaac Hudson’s inexperience new partner deep within Gotham City Police Department’s evidence store, or hapless Kevin discovering his battered girlfriend Sam bleeding out in his bathroom; “It better not be that raccoon again… Hey… You took my best pair of socks last time you --” 

Foremost of these well-penned frantic flashes however, has to be the aforementioned ‘dust-up’ at the greenhouse Quinzel once shared with Poison Ivy, and the brain-bruising beating the head-doctor dishes out to the masked woman who framed her. Just who would have won should the scintillating skirmish have remained simply between the two combatants is arguably anybody’s guess, as the heavily-armed killer is apparently able to hold her own against Harley despite initially being knocked senseless. But once a rubber-caped Batwoman joins the fray to prevent her fellow costumed crime-fighter from the torrent of bullets zinging about the place, the result quickly becomes a foregone conclusion with the Verdict understandably shifting her goal from killing her pasty-faced attacker to merely escaping from the clutches of the law.

Similarly as successful, and undeniably stealing the show, is the tongue-in-cheek relationship between Kane and Quinn. The cowled Justice Leaguer firmly believes that the smart-mouthed psychologist is completely innocent of being the psychopathic mass-murderer who has removed the eyeballs from some some of Gotham's most corrupt judges. Yet Batwoman still finds her patience to be repeatedly tested by the anti-hero’s antics, such as when the red-haired vigilante is prodigiously pencilled by Canadian illustrator Riley Rossmo desperately determined to examine the abundant police evidence supposedly incriminating her ‘friend’ beyond all doubt, and is instead waylaid by an unhealthy night-time snack comprising of “a burger, curly fires, onion rings, and this fried quesadilla thing that looked good.”

Writer: Stephanie Phillips, Artist: Riley Rossmo, and Colors: Ivan Plascencia

Harley Quinn #14 - DC Comics

HARLEY QUINN No. 14, June 2022

Primarily focused upon the titular character’s unjust incarceration “in Blackgate Penitentiary for multiple homicides thanks to a growing body of evidence”, Stephanie Phillips’ narrative for Issue Fourteen of “Harley Quinn” undeniably contains some well-executed set-pieces packed full of pulse-pounding pugilism. But whilst these punch-ups rather neatly bookend the twenty-two-page periodical, the word-balloon filled middle of this comic is arguably far less satisfying, courtesy of the American author dwelling for much too long upon the domestic bliss of Kevin whilst he's overcooking some pancakes for his new girlfriend; “I’m not sure watching you run around the kitchen in that tiny apron could ever be ruined, babe.”

Admittedly, the rotund sidekick’s beloved Sam certainly provides the plot with some interesting angles as her physically bruising nocturnal activities are hinted at being far more homicidal in nature than those of a normal sleepwalker. But after ploughing through an incredibly word-heavy conversational piece involving Quinzel in prison pleading her innocence over the telephone, this publication’s readers debatably don’t then need to experience twenty-seven more panels crammed full of even more displeasing dialogue.

Thankfully however, the addition of Batwoman to this book’s secondary cast repeatedly imbues its somewhat sedentary storyline with some much-needed animation and fast-paced fist-fights. Straight from the start, when Katherine Kane’s alter-ego discovers the mutilated body of a corrupt judge at Gotham City Courthouse, it’s clear that exciting things are going to happen whenever the Justice League reservist is given the ‘spotlight’, and the super-heroine’s well-timed intervention just as Harley is about to be stabbed by a group of shiv-carrying convicts is debatably the highlight of the comic.

Possibly therefore carrying the lion’s share of the storytelling for “The Verdict” rests upon the shoulders of Riley Rossmo, whose dynamic pencils really help imbue Kate with all the athletic vitality one would expect from a costumed crimefighter who swoops across night-time skylines using a grapple gun. In addition, the Canadian artist does a fantastic job of making the red-haired vigilante’s fighting style look particularly savage, as she satisfyingly smacks one female inmate squarely on the nose, and eye-wateringly high-kicks another right in the midriff.

Writer: Stephanie Phillips, Artist: Riley Rossmo, and Colors: Ivan Plascencia

Batman/Superman [2019] #14 - DC Comics

BATMAN/SUPERMAN No. 14, January 2021

Despite this comic bringing Joshua Williamson’s three-part “Planet Brainiac” storyline to a fairly fulfilling finale, some within this particular publication’s audience probably still found themselves checking out the comic’s actual page count once they had finished perusing it. Indeed, it’s arguably hard to recall such a rapier-fast read as the one the California-born writer presents within Issue Fourteen of “Batman/Superman”, as the titular characters finally manage to stop the homicidal machinations of an utterly deranged artificial intelligence located deep inside a “deadly moon base”.

Happily however, rather than “DC Comics” simply reducing its content, this apparent brevity of an experience is actually down to good old-fashioned prodigious penmanship and a thoroughly enthralling battle against a technologically advanced opponent, courtesy of the script cleverly mixing the Man of Steel’s pulse-pounding encounter against the composite Batman/Superman automaton in Metropolis, with that of the Dark Knight’s clever infiltration of its electronic mind in the digital world; “It worked… Overwhelmed the program long enough for you to download it into a closed system."

Also adding to this book’s sense-shattering shenanigans is Williamson’s use of Steel and Batwoman as supporting cast members, and their crucial involvement in distracting the misguided ‘Brainiac protocol’ prior to the “World’s Finest duo” applying their coup de grâce. John Henry Irons debatably takes the lion’s share of such a spotlight, thanks to his “little Hail Mary for rainy days” and ability to hack into the “army of killer robots”. But Batwoman definitely steals the show with a genuine badass moment as she single-handedly takes out an entire army of mechanical murder-bots using just her electrically-charged fists, and purposely poses atop her mountain of metallic mayhem.

In rounding off this excellent instalment, it would simply be rude not to mention Max Raynor’s extraordinarily dynamic contribution to the success of this comic’s story-telling too, and his breath-taking attention to detail for all the numerous automatons based upon the cream of the DC Universe Rogues Gallery. This publication’s prodigiously pencilled bouts of pugilism really are tremendously well-drawn, with the artist’s ability to imbue every punch with a palpable, bone-breaking impact doubtless making many wish the comic had at least depicted a few panels of Kate Kane’s aforementioned triumph over her numerous foes.

The regular cover art for "BATMAN/SUPERMAN" #14 by David Marquez & Alejandro Sanchez

Batman/Superman [2019] #13 - DC Comics

BATMAN/SUPERMAN No. 13, December 2020

It is difficult to imagine that many of this comic’s 31,000 readers in October 2020 didn’t get caught up in the pulse-pounding pace of Joshua Williamson’s plot for Issue Thirteen of “Batman/Superman”. For whether they be a fan of just the titular characters or this twenty-two page periodical’s guest-stars – Steel and Batwoman, the almost endless series of nefarious knockdowns, titanic tussles with mechanical arch-nemeses and brutal bouts of cybernetically-enhanced boxing, surely must have sated the pugilistic desires of even the most voracious bibliophile; “…It is clear your battles are never-ending. I must act quickly if I am to truly help you put an end to your enemies. You have passed many of my tests.”

Arguably leading this foray into some superbly-penned shenanigans is the half-blinded Batman, who despite being manacled upside-down by the robotic Prince of Puzzles, reveals just why he is both a formidable fighter and the World’s Greatest Detective by besting the android Nygma in a brutal game of Chess. Grim-faced, badly injured, yet still a formidable combination of brain and brawn, the Dark Knight absolutely tears through every trial Braniac's seemingly homicidal computer program can throw at him, and demonstrates just why the Caped Crusader is “listed among the greatest comic book superheroes… ever created.”

Similarly as impressive, at least as far as his ability to brutalise his motorised opponents, is Clark Kent’s alter-ego, who for once is given the opportunity to “enjoy the freedom to unleash your full power” upon his hapless foes. Superman’s action-packed sequences may well lack much of the mental agility depicted within his cowled team-mate’s scenes. But that doesn’t mean the Kryptonian wants for thought-provoking conundrums, especially when he is literally stopped dead in his tracks by his artificially-enhanced antagonist’s query as to why he doesn’t save Lex Luthor if he already realises that the people who raised the Metropolis businessman “would rather hurt him than teach him kindness.”

Also adding an enormous amount of bang to this book’s buck is Max Raynor’s dynamic and highly-animated pencilling. The artist’s layouts really help speed along this publication’s story-telling, and then provide its audience with the occasional splash-page long pause so as to help them gather their wits before hurling them head-first back into the awesome action.

Writer: Joshua Williamson, Artist: Max Raynor and Colorist: Alejandro Sanchez

Batman/Superman [2019] #12 - DC Comics

BATMAN/SUPERMAN No. 12, November 2020

Whilst readers less tolerant of editor Paul Kaminski’s frustrating use of this comic to blatantly promote at least six other “DC Comics” titles might argue Joshua Williamson’s narrative for “Planet Brainiac” is little more than a rather choppily patched together advertisement. Those more forgiving fans of the American author who enjoy a healthy combination of pulse-pounding pugilism and Machiavellian mystery were probably thrilled by the exciting pace found inside Issue Twelve of “Batman/Superman”.

Indeed, not only does this twenty-two page periodical depict a fantastic free-for-all between the titular characters and the very best of the Batcave’s technologically-advanced mechanical guardians, such as the Batmobile, Batwing and the latest incarnation of the Justice Buster. But it also produces a thoroughly enjoyable exploration into circumstances surrounding the Dark Knight’s possible demise by the somewhat unlikely pairing of Steel and Batwoman – a team-up which proves as intriguing as the destruction of the Caped Crusader’s secret lair appears utterly overwhelming; “The trick is going to be hacking the bat-computer. Might not matter with the amount of damage --”

Likewise, the California-born writer manages to effectively pull off one of the ‘oldest tricks in the book’ with this comic’s cliff-hanger conclusion, by making its bibliophiles believe one thing when Bruce Wayne’s alter ego has all along been saying quite the opposite. Just how a seriously battered and bandaged Batman manages to escape Brainiac’s clutches on “the dark side of the Moon” in order to make his misinterpreted video message is never made clear, yet it still leads into a mouth-watering finale which surely caused many comic book collectors to impatiently await the appearance of this storyline’s subsequent instalment on their local store’s spinner rack.

Similarly as successful as this publication’s prose is its interior layouts by Max Raynor and colourist Alejandro Sanchez, who together provide this comic’s quite considerably-sized cast with plenty of animated life. John Henry Irons and Katherine Kane’s costumed counterparts, as well as giant super-villain Chemo, are especially well-drawn, with the creative team really managing to show the super-heroes’ increasing concern as they realise just how much trouble an off-world Dark Knight might actually be in.

Writer: Joshua Williamson, Artist: Max Raynor, and Colorist: Alejandro Sanchez