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

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 #8 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 8, June 2025

Having apparently decided to stop providing any explanation as to what is occurring within this mini-series’ tortuously tiring tale, and simply throw an absolute bucketload more B-string characters into the mix for good luck, Matthew Rosenberg’s narrative for this particular twenty-four page periodical must surely have completely deflated any reader hoping to understand just what was going on. Indeed, like the last human survivors battling against a blizzard-ravaged Sante Fe in New Mexico, many within this comic’s audience will almost certainly feel like they’re having to wade through waist-high snowdrifts as they painfully navigate the American author’s ‘storyscape’ of unrelated set-pieces and word-weary conversations.

Easily this publication’s largest problem however, is just how utterly disconnected everything feels. One moment the action is revolving around Miss Martian trying to hold off Darkseid’s forces in a desolate-looking church, and then suddenly the spotlight lurches to The House of Mystery where a dead John Constantine is informed that he’s been 'saved' simply so he can impotently watch the Lord of Apokolips’ unexpected invasion of a vampire-infested Earth through a mansion window.!?! Furthermore, any perusing bibliophile will doubtless find it incredibly difficult to keep up with the movements of Lashina, Mad Harriet, Caitlin Fairchild, Hank Henshaw, F.E.L.I.X., G.I. Robot, and Kilg&re, not to mention Jack Kirby’s roster of the New Gods and the Metal Men, when the writing doesn’t supply any rhyme or reason as to where they’ve suddenly come from, or what their motivations are; “I can still eat someone’s bones though, right Gilotina.?”

Admittedly, that doesn’t mean that Issue Eight of “DC Vs Vampires: World War V” isn’t completely devoid of pulse-pounding action. Far from it in fact, as Ra's al Ghul’s Batman and Alfred Pennyworth’s Green Lantern are prodigiously pencilled by Otto Schmidt getting into a right scrap against an army of Parademons. But as with so much of this comic’s content, the bickering pair’s appearance appears to follow no overall plot, and comes completely out of the blue.

Intriguingly though, what does prove a far more satisfying yarn is this book’s sadly short-lived back-up feature entitled “Wildcat: Going The Distance”. Penned by Shane McCarthy and drawn by Fabio Veras this disconcertingly dark insight into what happened to Wildcat when the vampire’s first took control of the world is wonderfully atmospheric, and remarkably manages to pull upon the emotional heartstrings of any onlooker as Ted Grant desperately searches for his missing son amidst a land ravaged by blood-sucking killers.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #8 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

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

DC's Terrors Through Time #1 [Part Three] - DC Comics

DC'S TERROR THROUGH TIME No. 1, December 2022

For those readers who enjoy good old-fashioned Nazi-bashing by some of America’s most memorable super-heroes from the Golden Age of Comic Books, Charles Skaggs’ “The Midnight Hour” will definitely deliver a few minutes of vintage entertainment with its carousel of no-nonsense punches, kicks and ‘in the nick of time’ rescues. But for those bibliophiles who actually like an adventure’s narrative to actually make some sense, the notion of the JSA suddenly disappearing whilst scouring the University of Pennsylvania in 1944 for German agents probably isn’t going to flow all that well; “No, hang back for now. There’s no telling what we might find here or where they’re keeping the Skull of Zosimos.”

To begin with, the entire team are captured ‘off-screen’ by a gaggle of undead goose-stepping goons because Hawkman bemusingly decides that having the Flash “scout ahead” isn’t apparently a good idea. This bizarre evaluation then leads to artist Tom Mandrake having to pencil Carter Hall’s alter-ego suddenly being tied to a sacrificial altar without any explanation being given as to just how the winged protagonist was imprisoned in the first place. To make matters worse, similar befuddling incidents occur for all the other Justice Society’s members, and appear to have been simply manufactured so as to allow Doctor Fate to be the hero of the hour by mind-blasting a luminescent ancient cranium. 

Much more straightforward in its storytelling is “A New Darkness” by Jeremy Haun, which arguably does a first-rate job in depicting the genuinely touching demise of Kar-Von as the Red Lantern attempts to rescue a group of hapless aliens in the Ethow Sector. Crammed with some intriguing characterisation, such as “the legendary wielder of both green and red rings” having to mentor a female member of the Corps who has previously lost her temper, this ten-pager initially seems to have been penned as a foretaster for a future publication focusing upon the two intergalactic law enforcement officers.

However, this notion is shockingly thrown aside when Juan Doe surprisingly sketches Kar-Von stoically battling a giant tentacled extra-terrestrial to a standstill, so his aghast partner can close a dimensional portal behind him and keep the universe safe. So unexpected an ending proves particularly unsettling, and definitely elicits the desire within the audience to learn more about Jan and her new mission to shut the remaining six monster-infested gateways which her ring detects at the tale’s end.

The regular cover art to "DC'S TERRORS THROUGH TIME" #1 by John McCrea & Mike Spicer

DC Vs. Vampires #12 - DC Comics

DC VS. VAMPIRES No. 12, February 2023

Bringing most of its planet wide sub-plots to a semi-satisfying ending James Tynion IV and Matthew Rosenberg’s “cataclysmic final issue of the bestselling series” quite surprisingly does actually end with both the promised “bang and a whimper!” Indeed, despite the highly anticipated confrontation taking place between the blood-drinker’s King and Barbara Gordon’s costumed alter ego, many of this twenty-three-page periodical’s readers will almost certainly be clamouring for a thirteenth instalment; “The war is over. I was the last casualty. And when I died so did the last thing Humanity had left to cling to… Hope.”

Foremost of these ‘dangling threads’ is that despite the heroic demises of Duke Thomas, Captain Cold and numerous unnamed prisoners at the Smallville blood farm, the Vampire’s domination of Earth arguably appears to be as formidably strong as ever. True, the narrative to “Dawn” does contain the grisly death of the aforementioned food farm’s supposedly immortal “real big one”, as well as the successful resurrection of Supergirl following Leonard Snart’s creation of “a sort of polar vortex in the upper atmosphere.” But what will actually come of these enthralling events has clearly been bookmarked for another day and potentially, a second mini-series.

Likewise, the last gasp efforts of Black Canary, Frankenstein and Damian Wayne battling a small army of sharp-fanged fiends in the streets of Gotham City disconcertingly disappears from sight once Signal has sacrificed himself so that Batgirl can make her way to Dick Grayson’s throne room reasonably unmolested. So sudden a departure is perhaps understandable given that the comic’s main focus primarily shifts across to Nightwing’s attempt to have the late Commissioner Gordon’s daughter join his side. However, like Green Arrow’s success in Superman’s hometown, nothing is actually finalised and is simply left up in the air for a subsequent publication.

Perhaps this book’s most agreeable asset therefore lies in the art and colours of Otto Schmidt, Francesco Mortarino and Pierluigi Casolino, who together deliver all the savage violence and depressing darkness of a DC Universe ruled by murderous vampires. Furthermore, the creative team do an excellent job of imbuing the smart-mouthed Harley Quinn with some incredibly funny moments, such as when the high-spirited fighter is evidently intimidated by the presence of an all-powerful Wonder Woman, and later traumatised by Barbara’s suggestion that Dick drink her blood.

The regular cover art of "DC VS. VAMPIRES" #12 by Guillem March

DC Vs. Vampires #11 - DC Comics

DC VS. VAMPIRES No. 11, January 2023

Potentially beguiling their audience like a circus performer with three simultaneous storylines, James Tynion IV and Matthew Rosenberg’s juggling act for Issue Eleven of “DC Vs. Vampires” certainly mixes all-out, adrenalin-fuelled action with stealthy, nerve-jangling shenanigans as Batgirl leads a seemingly suicidal assault upon Gotham City’s vampire army, Green Arrow initiates a prison break in Smallville and John Henry Irons desperately attempts to smuggle Supergirl onto an orbital rocket ship. Yet whilst some lesser writing teams might struggle to keep a perusing bibliophile hooked handling so many ‘balls in the air’ at once, “Our Finals Hours” arguably manages to do just that with admirable ease; “Sometimes you gotta learn the hard way not to mess with the main man, Martian Lady.”

Foremost of these ‘hooks’ has to be John Constantine’s supposedly doomed squad revealing themselves to King Nightwing’s blood-drinking cohorts and straightforwardly spanking them in their droves within an inch of their undead lives. This frenzied battle is absolutely spellbinding throughout, whether it be during its early stages when surprise is definitely on the fiery Bat Family’s side, or later on, when the super-heroes leap upon a number of motorcycles so as to make a headlong dash for the safety of the Huntress’ ultra-violet Bat-Signal.

Just as engaging is the admittedly much less violent and distinctly quieter infiltration of the Tamala space centre in Australia. Somewhat disconcertingly throwing the brash and ultra-loud Lobo into a supposedly covert penetration of extra-terrestrial collaborators definitely ramps up the tension to this sub-plot, with the duplicitous, gun toting Czarnian likely to let his new partners’ disguises slip at any moment and resultantly rob Humanity of its last chance to bring Kara-El before the energy-restoring light of the Earth’s sun.

Equally as impressive as this twenty-two-page periodical’s penmanship are its layouts, with Otto Schmidt, Francesco Mortarino and Pierluigi Casolino doing a first-rate job in depicting all its dynamic drama and sense-shattering shenanigans. Indeed, perhaps one of this comic’s biggest draws is the sheer sense of despair and world weariness which is persistently pencilled upon the faces and bodies of its formidably sized cast, as the few surviving meta-humans frantically fight against their insurmountable foes with little hope, but still plenty of bravado and deadly determination.

The regular cover art of "DC VS. VAMPIRES" #11 by Guillem March

DC Vs. Vampires #10 - DC Comics

DC VS. VAMPIRES No. 10, December 2022

Cleverly weaving the various exploits of Earth’s surviving super-heroes together as part of a combined effort against the blood-drinking machinations of a dark-hearted Nightwing, James Tynion IV and Matthew Rosenberg’s penmanship for Issue Ten of “DC Vs. Vampires” definitely delivers when it comes to portraying a global wide crisis. In fact, the sheer scope of the action on show is quite breath-taking, as the writers firmly take their readers by the crook of their arm through the dank waters of Gotham City’s underground, across the red-baked deserts of Australia, and finally, unflinchingly imprison them alongside the surviving “human cattle” found at Hawkman’s nauseating Blood Farm.

Enjoyably though, all three of these plot-threads are mesmerising, courtesy of their protagonists persistently being under threat by their now heavily fanged friends and foes alike. Such tension really is truly palpable, and perhaps best leaps off the printed page during Batgirl and Black Canary’s bold attempt to infiltrate the now long-dead Dark Knight’s former metropolis via a vulnerable-looking rowing boat; “If you really have a distraction, it might be a good time to use it, Damian.”

In addition, this comic’s collaborative writing team are very good at introducing the odd curve ball into their narrative, so as to ensure it is not simply about the likes of Green Arrow or Supergirl just facing off against the armies of the Undead in a full-on battle. Indeed, this book’s ‘detour’ to depict Punchline as the nefarious mastermind behind Gotham’s Black Market is very intriguing, and in many ways it is a shame that more time can’t be spent with Alexis Kaye’s vampiric alter-ego – especially once it’s established she’s not necessarily a force of pure evil, but more a businesswoman who is able to play both sides of the conflict for a profit.

Similarly as successful as this publication’s scintillating storyline is Otto Schmidt’s pencilling, which emphatically brings each and every one of this periodical’s sizeable cast to dynamic life. Foremost of these characters has to be the illustrator’s handling of an always uppity Harley Quinn, whose comical facial expressions and zany naked behaviour brings some welcome dark humour to an otherwise disconcertingly bleak tale of treachery, terror and grisly death.

The regular cover art of "DC VS. VAMPIRES" #10 by Guillem March

DC Vs. Vampires #9 - DC Comics

DC VS. VAMPIRES No. 9, November 2022

Quite beautifully interweaving three separate storylines together into a genuinely riveting read, James Tynion IV and Matthew Rosenberg’s narrative for “A Stillness and a Storm” must surely have had it audience sitting on the edge of their seats at times. Indeed, the arrival of some of the traitorous Justice League’s most powerful vampiric members, coupled with the startling revelation as to just who the new Black Manta actually is, disconcertingly suggests that more than a few of this comic’s considerably-sized cast are about to be brutally slain; “You take the form of water to attack me? I am the Lord of all Water, child. It is mine to command. Goodbye, Twin.”

Foremost of these potential fatalities has to be Oliver Queen, who opens this book single-handedly tackling both a heavily-fanged Tobias Whale and B'Wana Beast in a dilapidated Smallville farmstead. Long-bearded and freely utilising the deadly concoction of “three parts gasoline and one part holy water”, Green Arrow seems destined to die a horrific death under an overwhelming body of his blood-drinking assailants - especially when he later decides to attack Hawkman’s heavily-guarded Camp Hiawatha head on.

Equally as hopeless is John Henry Irons’ desperate attempt to get an emaciated Super-girl to safety in Australia via the ocean. Prodigiously-pencilled by Otto Schmidt, Steel’s “watery grave” appears absolutely certain once Aquaman appears along with his formidable Royal Guard. True, the Siberian artist sketches the former AmerTek Industries employee leading a stunningly savage assault upon the treacherous “Dweller-in-the-Depths” with his sledgehammer. But it’s obvious just from the horrified look upon the super-hero’s face when he first realises who he is facing, that the sea voyage’s entire expedition are going to be systematically defeated one by one.

Lastly, this comic’s collaborative writing duo depict the Birds of Prey sizing up the terrifying hurdles preventing them from entering the ruins of Gotham City. Faced with the prospect of going “toe-to-toe with Power Girl” it is perhaps unsurprising that Black Canary’s band prefer to talk through their problems as opposed to tackling them with some suicidal shenanigans. Yet despite this lack of dynamic action, the quality of the penmanship still makes these scenes a gripping drama, with the threat of Kara Zor-L suddenly swooping down from her skyline patrol to lethally open up their veins ever present in each tense, well-sketched panel.

The regular cover art of "DC VS. VAMPIRES" #9 by Guillem March

DC Vs. Vampires #8 - DC Comics

DC VS. VAMPIRES No. 8, October 2022

Admirably living up to its pre-publication blurb of continuing “this bloodthirsty series”, James Tynion IV and Matthew Rosenberg’s script for Issue Eight of “DC Vs. Vampires” certainly tries to cover a lot of different plot-threads within this twenty-two-page periodical. However, whilst the writing duo are enthrallingly successful with both the Birds of Prey heading back “into the heart of the vampire kingdom”, and Supergirl’s action-packed crossing of “a vampire-infested ocean”, Green Arrow’s mission is disappointingly barely touched upon, with the authors instead disconcertingly depicting Oliver Queen squandering eighteen panels simply arguing with his partner, Black Canary; “They’ve got blood farms, Dinah. Humans kept in cages to feed on. I can’t let that go. You can’t ask me to.”

Fortunately though, this dialogue driven interlude is easily forgiven considering the quality of the penmanship surrounding it, most notably Kara Zor-El’s terrifying trek towards Australia and her subsequent battle with a sea full of homicidal fish-people. Indeed, the Atlantean’s attack upon the Kryptonian’s small-sized fishing trawler is debatably the highlight of this comic, as both John Henry Irons and Jayna demonstrate just how truly desperate the super-heroes are by quite literally tearing their scaly foes apart with their bare hands.

Similarly as gruesome is this publication’s portrayal of Jason Blood’s apparent massacre at the House of Mystery, and a badly wounded John Constantine’s miraculous escape. Admittedly, much of this harrowing confrontation sadly occurs ‘off-screen’, just as the world’s “leading expert on the occult and demonology” politely introduces himself to a startled Phantom Stranger, Spectre and Doctor Fate. But Otto Schmidt’s marvellous pencilling of an open-mouthed Barbara Gordon when she discovers Hellblazer’s mutilated form in the battle’s aftermath speaks a thousand words as to the fiery carnage which must have taken place inside the Kentucky-based residency.

Seemingly sat on the side-lines, repeatedly throwing a bucketful of gore over the printed proceedings in every other scene, is this book’s artistic team of Schmidt and Daniele Di Nicuolo, who together genuinely appear to completely splatter anyone in ‘claret’ whenever the opportunity arises. In fact, bibliophiles will probably be hard-pressed to recollect a title sporting so much evisceration and disembowelment this side of a Teen Plus reader rating.

The regular cover art of "DC VS. VAMPIRES" #8 by Guillem March

DC Vs. Vampires #3 - DC Comics

DC VS. VAMPIRES No. 3, February 2022

Considering just how many different super-heroes, despicable villains and pulse-pounding plots James Tynion IV and Matthew Rosenberg manage to cram into Issue Three of “DC Vs. Vampires”, it’s arguably a credit to the collaborative pair’s penmanship that this periodical is only twenty-two pages in length. Yet whilst such a ‘tight squeeze’ might have caused other lesser-skilled authors to take a few short-cuts with their storytelling, the narrative to “Trust No One” seemingly does no such thing, and simply moves from scene to scene in an enthrallingly comprehensive manner; “We were meant to stay away from you Bat-people. But I can just lie and say this was self-defence.”

Indeed, the comic’s pacing is spot on, with even some of the more dialogue heavy sequences, such as “Batman’s investigation into the disappearance of Andrew Bennett” beneath the Hall of Justice sewers, and Black Canary’s visit to Oliver Queen’s Truck Stop hideout to discuss whether Damian could be one of the “undead plague”, doing little to slow down the speed of the vampires’ lightning fast attacks upon the hapless inhabitants of Gotham City’s streets. Naturally though, it is this book’s central thread of Green Lantern slowly increasing his hold over the Justice League which probably holds the most interest, even when Hal Jordan himself isn’t even actually present.

The fanged infiltrator’s fake anguish at the demise of the Flash is cringeworthy enough to make any bibliophile’s skin crawl at his murderous hypocrisy, especially when John Broome's co-creation instantly takes charge of the group’s investigation into Barry Allen’s cold-blooded killing and clearly directs the likes of Aquaman and Superman away from anything which would possibly link him to the crime. But the inter-galactic policeman's presence is still enthrallingly palpable during the Dark Knight and Jayna's subsequent grim discovery of Zan's light-shredded mortal remains.

Likewise, there’s a lot to enjoy with the tense patrols taking place throughout the dark, suddenly all-too deadly thoroughfares of Bruce Wayne’s home metropolis. Otto Schmidt does a first-rate job of pencilling just how dangerous even a low-life vampire can be when one surprises Bat-girl and Nightwing during one of their routine patrols. However, it is most likely Oswald Cobblepot’s shockingly brutal death beneath the pointy-teeth of an infected Zatanna which is going to haunt this comic’s readers for some time to come, due to the blood-sucking magic user’s callous desire to simply “eat some junk food” for a change.

The regular cover art of "DC VS. VAMPIRES" #3 by Otto Schmidt