Blood Hunt: Red Band #5 - Marvel Comics

BLOOD HUNT: RED BAND No. 5, September 2024

Despite comprising of more tie-in issues and spin-off limited series than your average Marvelite can shake a pointy stick at, this final instalment of “Blood Hunt” probably still felt somewhat rushed to many of its readers in July 2024. True, the super-sized thirty-three page periodical does manage to pull many of its numerous plot-threads together for a sort of satisfying resolution. But, having an infected Miles Morales prove to be the improbable hero of the day, when the likes of the mighty Thor, invincible Iron Man and Captain Marvel appear disconcertingly impotent, is arguably a bit of a head scratcher; “I had only one weakness, Avengers. The girl. The bloodline. And she’s not here.”

Furthermore, it’s not entirely clear whether Stephen Strange’s “dread bargain” with Doctor Doom actually has any impact upon the final result. Having successfully stabbed a possessed Blade through the chest with a sword, many a bibliophile probably felt the battle was already won, and that once the Daywalker was free of Varnae’s malign influence the Darkforce surrounding our planet would return to its own dimension. However, before such an event can occur Victor casts his pre-fall Atlantean spell, supposedly brings sunlight back to the half the world, and diabolically solidifies his stance as” Earth’s new, Superior Sorcerer Supreme” – which somewhat cynically leads into another “Marvel Worldwide” major event “coming in November…”

For those onlookers able to ignore these quibbles though, Jed MacKay’s penmanship certainly still delivers a pulse-pounding experience, with much of this comic focusing upon the Avengers' fisticuffs against the dread Bloodcoven. These toe-to-toe confrontations between some of the publisher’s most popular protagonists is genuinely enthralling, especially when the God of Thunder manages to finally summon Mjolnir whilst battling the first of all vampires.

Equally up to the task of pencilling all this adrenalin-charged action is Pepe Larraz, who should genuinely cause a few painful gasps from those witnessing poor Vision losing a limb in a truly horrific manner to Bloodstorm One. In addition, ably supported by color artists Marte Gracia and Fer Sifuentes-Sujo, the Spanish illustrator impressively manages to imbue the scenes featuring Doctor Strange with a noticeably different, though far from off-putting, ambience, which speaks of the ancient and powerful magic being depicted in the panels.

The regular cover art to "BLOOD HUNT" #5 by Pepe Larraz & Marte Gracia

Midnight Suns: Blood Hunt #3 - Marvel Comics

MIDNIGHT SONS: BLOOD HUNT No. 3, September 2024

It’s probably a fair bet that many a reader was rather disappointed with Bryan Hill’s script for Issue Three of “Midnight Sons: Blood Hunt”, considering that the vampireless comic doesn’t contain any sort of showdown between Blade and his former comrades whatsoever. In fact, up until this twenty-page periodical’s conclusion – which frankly feels like a bolt-on when the American author realised his ‘play by the numbers’ plot was going to fall significantly short - there’s not even a glimpse of Eric Brook’s sword-slashing alter-ego to be found despite its publisher’s pre-print solicitation promise to the contrary.

Instead, any bibliophiles picking this mini-series’ final instalment up will be faced with the “now (mostly) banded together” titular characters disconcertingly confronting a demonic clown in an Illinois hospital. Admittedly, this bemusing twist definitely contains a few terrifying scenes as Danny Ketch, Vicki Montesi and Johnny Blaze all appear to abandon a local nurse to a gruesome fate (possibly worse than death). But such is the team's confidence to trounce the worm-infested walking cadaver that the storytelling quickly becomes almost sedentary once it becomes clear that the petrified health worker was simply being used as bait; “You are bound. Embodiment of darkness. Bound in this form. And once banished, never shall you return.”

Furthermore, for some utterly bizarre reason Tamlyn Hamato seems to leave the paranormal super-heroes to the battle by ‘exiting stage left’ just as the fearsome fight begins. This baffling departure ‘off-screen’ debatably makes a complete mockery of just why Tulip was brought into the book in the first place, as the three devil-hunting comrades-in-arms all seemed perfectly willing to be drawn together without her influence anyway. Indeed, somewhat uncharitably, the Chicago-born screenwriter could be criticised for including the Japanese arms dealer simply so he could pointlessly pen her walking the sun-drenched streets of Chiang Mai, Thailand some “weeks after the defeat of Varnae and his blood hunt” and finding a heavily-bearded Blade.

Possibly just as perturbed by this bizarre sequence of events as the audience is German Peralta, who pencils some rather lack-lustre, lifeless panels depicting Montesi trying the convince Julie that she needs to face her greatest fear so it can physically manifest itself in our dimension. Some of the illustrator’s panels genuinely look like reused sketches from earlier in the layouts (or even page), and debatably lack a lot of dynamic energy any onlooker might expect from a frightful undead fun-fair attraction stalking the living.

The regular cover art to "MIDNIGHT SONS: BLOOD HUNT" #3 by Ken Lashley & Juan Fernandez

Midnight Suns: Blood Hunt #2 - Marvel Comics

MIDNIGHT SONS: BLOOD HUNT No. 2, August 2024

Despite starting with a scene seemingly stolen straight out Stanley Kubrick’s 1980 psychological horror film “The Shining”, there’s arguably still plenty to enjoy with Bryan Hill’s narrative for Issue Two of “Midnight Sons: Blood Hunt”. Indeed, no sooner has the audience waded through Victoria Montesi’s blood-drenched nightmare, than they are whisked away to the vampire-stalked corridors of a partially-deserted hospital in Springfield, Illinois for an enjoyable, pulse-pounding confrontation with a skin-shredding revenant; “I have so much pain inside me… Pain I want to share… with you.”

This tense, adrenalin fuelled chase scene genuinely doesn’t look good for the poor female nurse who finds herself at the fanged fiend’s not-so-tender mercy, and right up until the flame-fuelled Ghost Rider makes an impressive last-minute appearance, everything penned by the American author appears to lead the understandably terrified woman towards a truly grisly demise. Likewise things look similarly glum for the titular characters when their former friend Eric Brooks shocking crashes into the middle of their latest congregation and appears on the verge of dispatching at least a couple of the super-powered protagonists with his deadly sharp sword.

Quite possibly this twenty-page periodical’s best moment however, doesn’t come until its very end, when it’s revealed that Blade was merely trying to lure his ex-team-mates away from the infirmary so that some unseen demonic “sleeper of Hell” could cross over into our dimension. So disconcerting a plot twist really is very well delivered by the Chicago-born writer, and debatably occurs just as the audience are probably expecting the supernatural troupe to somehow follow their one-time mentor straight out of the clinic’s smashed multi-storey window.

Proficiently pencilling all this action is German Peralta, whose sketches of the aforementioned vampire literally clawing his flesh off of his head are well worth a “parental advisory” warning alone. Furthermore, the Argentinian artist does a cracking job in making the reader drop their guard with the ‘quiet’ of the hospital’s empty canteen. This serene atmosphere is disconcertingly peaceful, and resultantly makes the Daywalker’s dramatic entrance all the impactive as it completely shatters the calm nature of the moment in an instant.

The regular cover art to "MIDNIGHT SONS: BLOOD HUNT" #2 by Ken Lashley & Juan Fernandez

Hulk: Blood Hunt #1 - Marvel Comics

HULK: BLOOD HUNT No. 1, September 2024

Promising a “spine-chilling chapter of the Blood Hunt event”, this one-shot certainly should have pleased any Hulk-heads who picked the thirty-page periodical up from the spinner rack in the hope that it would both progress Bruce Banner’s quest to save poor Charlie Tidwell’s soul, as well as give them an insight into the Green Goliath’s adventures during the publisher’s vampire-filled crossover story-arc. Indeed, one of the narrative’s greatest strengths is arguably Phillip Kennedy Johnson’s ability to simply dip the audience’s toes into the undead blood-drinker’s worldwide invasion, without any of them needing to specifically own or encounter any of the numerous comic book’s covering the actual calamity; “Of course. The sun’s gone dark. They’re not trapped in the desert anymore, are they.?”

Much of this accessibility is undoubtedly due to the reader simply being able to witness the gamma scientist’s overnight stop at the Old West movie set of Old Tucson without any foreknowledge as to how he got there, and subsequently tremble at poor Miguel’s horrifying encounter with a coven of ghastly ghouls some fifty years earlier. This yarn, enthrallingly told by the somewhat elderly Mexican immigrant, is incredibly well-penned by the “Eisner-nominated writer”, and should genuinely tug upon the heart-strings of any one ‘hearing it’ for even the tenth time – especially when the poor boy’s mother sacrifices everything just so he has a chance to escape the Nosferatu’s underground lair.

Equally as enthralling as this book’s emotional journey though is the Hulk’s subsequent brutal battle against the vampires residing beneath the saloon’s creaking floorboards. Absolutely packed full of body horror, bone-breaking punches and innards-spilling slashes, this action-sequence is terrifically paced, with the founding Avenger desperately attempting to fend off his inhuman assailants with a pair of large, improvised wooden stakes.

Also throwing a well-stocked bucket full of grisly, internal organs into the mix is artist Danny Earls - who pencils some truly harrowing scenes of unwholesome slaughter. Foremost of these contributions is probably young Miguel’s terrifying escape from the hungry-horde who transform his entire family into the next generation of Arizona’s undead inhabitants. However, the Irish illustrator is just as proficient pencilling Banner’s initial fate at the hands of the Nosferatu, when they quite literally cut his belly wide open and witness Bruce’s alter-ego horrifically rise from the gory mess of his badly disfigured rib cage.

The regular cover art to "HULK: BLOOD HUNT" #1 by Nic Klein

Werewolf By Night: Blood Hunt #1 - Marvel Comics

WEREWOLF BY NIGHT: BLOOD HUNT No. 1, September 2024

Apparently spinning out of “the bloodiest event in Marvel history” Jason Loo’s narrative for Issue One of “Werewolf By Night: Blood Hunt” would certainly seem to live up to its publisher’s promise of providing the audience with an incarnation of the titular character “unlike any you have seen or known before!” But whilst a ferociously fanged shapeshifter is arguably always going to play an anti-heroic role in any comic book storyline, it’s debatably difficult to rally together any support whatsoever for a fiend who ends up quite literally eating his old school friends along with the vampire police officers he was trying to protect them from.

Furthermore, the entire premise of this publication’s plot, apart from allowing the Eisner Award-winner to “flex a dark, macabre writing muscle than my usual fare”, appears to be bemusingly based upon a group of feckless teenagers somehow summoning the demonically damned soul of Uncle Duke Jensen using a load of mumbo jumbo, a chalk circle and a coin. Just how the adolescent sorcerer Sam is able to achieve any of this wizardry is frustratingly never explained, with the Canadian author actually implying that the ‘kids’ were simply trying to hold a séance as opposed to rousing a full-blown, death-dealing devil.

Lastly, for those bibliophiles who are well-versed in the “Blood Hunt” crossover event, this twenty-five page periodical’s passage of time appears to veer badly off-track just as soon as Jake Gomez enters the Wild Dino Adventure Park whilst the sun is still setting – presumably therefore occurring before the Dark Dimension’s Darkforce blankets the planet in eternal night and allows the undead to rise from their crypts. The entire unholy ritual then only seems to take a matter of minutes to succeed in resurrecting Jensen. Yet it’s clear from the dialogue of the blood-drinking patrolmen who are drawn to Uncle Duke’s subsequent murder spree inside a now flaming fun factory, that they have been feasting upon the living for some considerable time (perhaps even days)..?

Quite possibly this “teen-horror” grindhouse’s greatest asset therefore lies in the layouts of Adam Gorham, who does a proficient job pencilling all the gratuitous, bodily mutilation which occurs within this comic. Indeed, whether it be the new Werewolf By Night waking up to find himself cuddling a severed leg, or Trevor’s ghostly relative incinerating a hapless stooge, it’s crystal clear from the artwork just why Loo would state beforehand that “you’ll need permission from your parent/guardian” to read this book.

The regular cover art to "WEREWOLF BY NIGHT: BLOOD HUNT" #1 by Davide Paratore

Amazing Spider-Man: Blood Hunt #3 - Marvel Comics

AMAZING SPIDER-MAN: BLOOD HUNT No. 3, September 2024

Entirely focused upon the titular character’s exploits inside Hemoglobin Incorporated’s Headquarters, many a bibliophile will probably feel a considerable amount of time has passed between Issue Three of “Amazing Spider-Man: Blood Hunt” and its previous edition. In fact, the entire twenty-page periodical arguably reads like a couple of insubstantial instalments involving Justina Ireland’s overall narrative simply being smashed together so as to bring the storyline to something akin to a satisfactory conclusion in short order; “Another chance.? That’s closer to happily ever after than most of us get.”

Foremost of these complaints can seemingly be found straight from the comic’s opening, as Peter Parker’s alter-ego and Misty Knight brazenly break straight into the supposed vampire stronghold, and quickly reach both the scientific facility’s security computer room, as well as Doctor Michael Morbius’ laboratory, with barely a hair out of place. This breathtakingly fast momentum then continues with the revelation that Colleen Wing has been completely transformed into a deadly blood-drinking monster (and completely embraced this change), whilst “Morb” has somehow already discovered a cure for Theocritus’ undead vision – presumably due to him having access to “real equipment… for the first time in months.”  

To make matters worse though, the Living Vampire’s moral dilemma to remain working with the villainous corporation for the betterment of all fanged fiends is almost instantly resolved with an unconvincingly sudden change of heart following Spider-man giving him a brief flea in his ear. Such a surprising U-turn really does smack of the American author being desperate to get events in place for this comic’s climatic final confrontation, and subsequently leads directly into Web-head easily covering the coils of the building’s cooling system with an antidote as the so-called central antagonist absent-mindedly waxes lyrical about his grand scheme for citywide conquest.

Also distinctly adding to this publication’s feeling of two incomplete books being compressed into one are Marcelo Ferreira and Chris Campana sharing pencilling duties. This decision is incredibly jarring for the audience as the artists’ illustration styles are rather different to one another, and resultantly makes the publication’s already hasty ending feel even more rushed as the Wall-crawler easily outwits his beefed-up undead foes, Maxine Danger (once again) turns up out of nowhere to ‘save the day’, and despite being a feral force of nature for much of this tale, the Lizard dons a long white coat to become Morbius’ unlikely new lab partner.

The regular cover art to "AMAZING SPIDER-MAN: BLOOD HUNT" #3 by Marcelo Ferreira 

Union Jack The Ripper: Blood Hunt #3 - Marvel Comics

UNION JACK THE RIPPER: BLOOD HUNT No. 3, September 2024

Skewered straight through the torso by an enormous vampire, and then chomped in the neck by the self-same blood-sucker, it’s probably a good bet that many bibliophiles experiencing Cavan Scott’s early plot for Issue Three of “Union Jack The Ripper: Blood Hunt” thought the titular character was well and truly sunk. But whilst Joseph Chapman’s “one man war” momentarily appears to have come to a tragic conclusion, this twenty-page periodical does a terrific job in snatching a costly, bitter-sweet victory from the savage jaws of defeat; “’E felt it. The boss. Every time we got ‘it. My ‘and, ‘Elen and the pretty boy. Even told Eddie ‘bout it. ‘Bout the pain Joe caused ‘im.”

Indeed, poor possessed Bulldog’s horrendous sacrifice is arguably one of the saddest affairs to have occurred during the entire “Blood Hunt” crossover event by “Marvel Worldwide”, and will surely have traumatised this book’s audience as much as it clearly does Union Jack when the surviving super-hero wearily sinks down to his knees in abject grief over his gore-covered team-mate’s mutilated corpse. Such a sad, long-lingering impact is genuinely rare for a secondary cast member, and goes to show just how well-penned the member of the Britannia Project’s story-arc was.

Impressively however, this sense-shattering shenanigan is just one of many to pack a phantastic, pulse-pounding publication, with the startling appearance of the undead lord Hunger, a truly treacherous betrayal by Alan, and Police Constable Mara Syal getting beaten within an inch of her mortal life, being just a few of them. Furthermore, the “New York Times bestselling comic writer” also even manages to provide tiny Judy with a genuinely innocent moment, as the child naively refuses to believe her former friends-turned-vampires will actually hurt her, or that Chapman’s alter-ego will let anyone do the young girl harm. 

Also helping to make such an emotionally-charged tour-de-force occur are Kev Walker, inker Craig Yeung and colourist Java Tartaglia, who combine together to create as much mayhem as a “Parental Advisory” book can allow. In fact, the sheer noisy brutality of the central protagonists’ desperate conflict against a literal cacophony of living corpses and unrelenting evil is debatably what makes this narrative’s more quieter moments, such as Winston’s aforementioned death and Judy’s unwavering belief in Union Jack, so incredibly impactive.

The regular cover art to "UNION JACK THE RIPPER: BLOOD HUNT" #3 by Rod Reis

Blood Hunt: Red Band #4 - Marvel Comics

BLOOD HUNT: RED BAND No. 4, August 2024

Arguably crammed full of more surprises than those found inside presents sat around a Christmas Tree, Jed MacKay’s narrative for Issue Four of “Blood Hunt” surely must have caused a few gasps of amazement in its audience – especially from those readers who had been struggling to keep up with the plethora of tie-in publications which separates this edition from its predecessor. Indeed, straight from the comic’s start events have clearly moved on somewhat since Blade miraculously slammed the Temple of the First Blasphemy smack into the middle of New York City, with both Stephen Strange and his wife Cleo shockingly appearing ‘cap-in-hand’ before Doctor Victor Von Doom in Doomstadt, Latveria.

To further confound and befuddle the readers’ senses though, within a handful of panels it is revealed that Eric Brooks is not in fact the traitor this unwholesome event has portrayed the Avenger to be. But has disconcertingly been possessed by Varnae, the first vampire ever to walk the planet. Such an admission is probably not too great a surprise to those bibliophiles more familiar with the Dhampir’s usual preference to stake any blood-drinker in sight. But the notion that “one who has survived the death of continents” intends to use the Daywalker as a vessel so he can merge with “an entire dimension of darkness” is impressively grandiose in design if nothing else.

Likewise the sub-plot of Hunter’s Moon teaming up with Tigra and the super-villainous Wrecker so as to free Khonshu from his prison on Asgard proves to be a real eye-opener. The resultant hordes of mummified “dead fists” pitching themselves headlong against every vampire across the globe is pulse-poundingly penned, and probably the stuff fans of the old Hammer House of Horror movies would die for; especially when the Moon God decides to seemingly also resurrect Marc Spector’s crime-fighting alter-ego simultaneously.

More than helping to sell all these story threads are Pepe Larraz and colour artist Marte Gracia, who together manage to imbue all the lead characters with the solemness or sparks of indignation an onlooker would expect from those living through such cataclysmic times. In fact, one of this comic’s best moments comes when Doctor Doom makes it clear to a truly startled Master Of The Mystic Arts that he had already foreseen the vampire’s planetwide upheaval, and taken plenty of steps to ensure his dictatorship was not affected by it; “Ah, the Darkforce. I have precautions for that as well, of course. It was only a matter of time, after all.”

The regular cover art to "BLOOD HUNT" #4 by Pepe Larraz & Marte Gracia

Blood Hunt: Red Band #3 - Marvel Comics

BLOOD HUNT: RED BAND No. 3, August 2024

Disconcertingly containing barely a punch in anger, Jed MacKay’s dialogue-driven and somewhat sedentary storyline for Issue Three of “Blood Hunt” probably didn’t live up to the expectations of an audience whose desire to read more about Blade’s vampire uprising made the title the “top advance-reordered comic book” in early May 2024 (at least according to “Diamond Comic Distributors”). True, the twenty-one page periodical does contain a savage attack upon the Avengers by a brainwashed Miles Morales inside the supposedly safe Sanctum Sanctorum. But this ferocious ambush is quickly quelled once Clea Strange traps the fanged fiend within the Crimson Bands of Cyttorak, and her deceased husband rids Spider-man of his devilish influence via the Eye of Agamotto.

Instead, the reader is subjected to several grand speeches throughout the Canadian writer’s script, with Sam Wilson’s twelve-panel tour-de-force as Captain America being the longest and most memorable of them. This repetitious rhetoric certainly has its place within the narrative, most notably poor Brielle Brooks’ reaction to discovering that her own father is at the heart of the planetary problem and discovering that Count Dracula plans for the young girl to assassinate her parent. However, to simply plonk one word-heavy discussion after another into a single edition completely saps any pace out of this publication’s plot, and quite literally leaves any bibliophile desperately wanting events to considerably move on just so both opposing forces can once again battle one another; “Do not presume to lecture me, Spider-Man, I will not let my one hope of victory just run away --”

Desperately trying to inject some energy into this lack-lustre lethargy is Pepe Larraz, who pencils some excellent shots of the chaos being caused by Blade's minions whilst Wilson waxes lyrical about the Avengers saying “No” to the vampires' demands. These pulse-pounding pictures cover a variety of locations, from Halifax and Manhattan through to the Sahara Desert and Mexico City, so resultantly do a good job of depicting the violence stretching right across the world. Yet, any momentum which they generate is then swiftly scotched by Carol Danvers spending what seems like an eternity singing Sam’s praises, and Eric Brooks unconvincingly having a major hissy fit because he feels the super-group should “lie down and die.”

The regular cover art to "BLOOD HUNT" #3 by Pepe Larraz & Marte Gracia

Midnight Suns: Blood Hunt #1 - Marvel Comics

MIDNIGHT SONS: BLOOD HUNT No. 1, July 2024

It is difficult to imagine that many fans of action and terror were truly satisfied with Bryan Hill’s narrative for Issue One of “Midnight Sons: Blood Hunt”, no matter how hopeful the American Author was during this mini-series’ pre-publication launch interview in February 2024. True, the thirty-page periodical definitely contains some high-octane action sequences, alongside a disconcertingly dark journey into a haunted cave in El Fasha, Iraq. But considering that large chunks of this comic consist of little more than conversational pieces, a lot of the storytelling’s dynamism has arguably already been negated by the time Tulip encounters a warband of vampire mercenaries in the desert.

Indeed, so much of this book appears to simply depict Tamlyn Hamato just nonchalantly talking to the likes of Danny Ketch and Johnny Blaze as part of her recruitment drive to tackle an utterly villainous Blade, rather than the tale actually explaining just how the “clairvoyant Japanese arms dealer” knows where to find the former super-team’s members, or that the Daywalker has even turned treacherously rogue. Much of this legwork was presumably obtained ‘off-screen’ and through her numerous contacts in the underworld. However, this unwillingness on the part of the writer to even summarise any of this, and instead simply signpost that Eric Brooks has been empowered by Dracula, debatably smacks of an assumption on Hill’s part that the reader has already consumed the entirety of his run as writer on the recently cancelled 2023 “Blade” series.

Such a shortfall of context also somewhat seems to permeate the Ghost Rider’s subsequent demand that Tulip help him first before the Midnight Sons will help her. Just why the Spirit of Vengeance and his predecessor need the help of a ‘mortal’, no matter how large the bazooka she carries into combat, is never explained, nor the reason behind why Blaze and Ketch needed to specifically destroy a thing from the Darkforce Dimension in the first place..? Unless they simply felt it was too dangerous a living weapon for the vampires to own..?

Ultimately, quite a bit of this comic’s palpable lethargy disappointingly also seems to stem from German Peralta’s layouts, which even when crammed full of explosions, flesh-tearing bullets and deadly sword slashes, seemingly lack the raw energy which so attracted Stan Lee to Jim Steranko’s artwork in the Sixties. Indeed, despite the Argentinian illustrator prodigiously pencilling an incredibly violent splash page showing the Ghost Rider riding straight through the aforementioned tentacled beastie from elsewhere, the picture appears to be devoid of the ‘oomph’ a bibliophile might ordinarily expect from such a sense-shattering shenanigan.

The regular cover art to "MIDNIGHT SONS: BLOOD HUNT" #1 by Ken Lashley & Juan Fernandez

Union Jack The Ripper: Blood Hunt #2 - Marvel Comics

UNION JACK THE RIPPER: BLOOD HUNT No. 2, August 2024

Whilst on the face of it Cavan Scott’s script for Issue Two of “Union Jack The Ripper: Blood Hunt” simply consists of the “New York Times bestselling comic writer” demanding artist Kev Walker pencil more and more gore with each passing panel, there’s actually a lot of intriguing interpersonal relationships taking place inside Joseph Chapman’s compromised secret head-quarters. In fact, one of the most enthralling elements of this book comes with the revelation that a master vampire mysteriously known as The Hunger, is actually able to telepathically contact those infected with his undead curse – even one such as Bulldog, who the titular character is desperately trying to find a way to save.

Similarly as well-penned though is arguably the Bristol-born author’s use of poor Edward, who was so tragically chomped to death in this mini-series’ previous instalment. Now undeniably one of the Nosferatu, the fearsomely fanged amateur actor adds tons of flair to this publication’s twenty-page long proceedings, courtesy of some well hammed-up Shakespearean quotes and repartee. Indeed, in some ways it is actually a pity the grotesque ghoul is ultimately torn asunder by Joey’s grisly team-mate, as the blood-drinking brood leader had all the hallmarks of a truly memorable long-term nemesis.

Delightfully, Scott isn’t shy on giving plenty of this comic’s supporting cast some welcome spotlight either, with Alan bravely battling to his last breath so as to buy young Judy some valuable time to get to safety. So noble a sacrifice is genuinely quite moving, and additionally provides the aforementioned Edward with the opportunity to double-down as the ‘villain of the hour’ when he nonchalantly stomps the already dying hero to death; “’Fraid you don’t get any choice in the matter, Matey-Jim.”

Enthusiastically immersing the audience in all this gratuitous, physical mutilation, are Walker’s layouts, which alongside Craig Yeung’s inks and Java Tartaglia’s colours, completely bombard each and every bibliophile’s senses from all angles. True, some of the action sequences, such as Bulldog literally having his eyes gouged out, might be a bit too much for the faint-hearted. But there can be no doubting the lightning fast speed which the vampires can move at, or the deadliness of a well-swung sword blade as it eviscerates any torso foolish enough to get in its way.

 The regular cover art to "UNION JACK THE RIPPER: BLOOD HUNT" #2 by Rod Reis

Amazing Spider-Man: Blood Hunt #2 - Marvel Comics

AMAZING SPIDER-MAN: BLOOD HUNT No. 2, August 2024

Considering that Justina Ireland’s handling of Theocritus and his decidedly dodgy dealings running Hemoglobin Incorporated are arguably far more entertaining than Spider-Man’s seemingly endless excursion through the vampire-filled streets of New York City, it’s probably safe to assume that Issue Two of “Amazing Spider-Man: Blood Hunt” didn’t land quite so well on the spinner-rack as perhaps its publisher had hoped. Indeed, so much of this mini-series’ rather intriguing exposition occurs within the walls of T.J.’s experimental laboratories that many a bibliophile doubtless found themselves a little frustrated whenever the spotlight shifts upon the titular character instead.

Much of this irritation is debatably due to Peter Parker’s somewhat tedious, self-indulgent doubts as to whether he should even be hurting the fanged-fiends stalking his not-so-friendly neighbourhood. The super-hero readily acknowledges that the massive undead horde will “hurt more people” the longer their battle goes on for. Yet still somehow manages to persuade the much less idealistic mercenary Misty Knight that the “ravenous throng” of killers shouldn’t be harmed; “I’ve been thinking about what you said… especially since I know these were innocent people.”

Furthermore, the action is suddenly brought to a surprising full-stop by its “New York Times Bestselling author” unconvincingly introducing the audience to Beyond Corporation’s former Chief Executive Officer - Maxine Danger. True, the capable young businesswoman’s presence is crucial to give Spider-Man a means of ‘defeating’ Theocritus, courtesy of a convenient computer virus which should “erase all of the networked data” and halt the vampiric company's chemical-based shenanigans. But considering just how deadly the Big Apple is supposed to currently be due to its undead invasion, it’s a little difficult to believe a non-powered entrepreneur, no matter how rich or influential, is able to successfully drive around the densely populated metropolis with just two bodyguards for protection.

Slightly more successful than its writing, is this comic’s artwork by Marcelo Ferreira and Chris Campana. This twenty-page periodical’s pencilling is very good at depicting the athletic prowess of Web-head as he somersaults around Central Park gluing down as many Nosferatu as his unblessed web fluid will allow. However, the attention to detail on the Lizard, especially the villain’s snout when sketched from any distance, is rather indistinct and lacking – leading to Doctor Curt Connor’s alter-ego actually seeming to be unfinished in some panels.

Writer: Justina Ireland, and Pencilers: Marcelo Ferreira & Chris Campana

Amazing Spider-Man: Blood Hunt #1 - Marvel Comics

AMAZING SPIDER-MAN: BLOOD HUNT No. 1, July 2024

‘Spinning directly out of Issue Forty Nine of Amazing Spider-Man’, this mini-series’ opening instalment perhaps unsurprisingly solely focuses upon Peter Parker’s enthralling excursions “in the era of the vampires”, as opposed to the Wall-crawler’s usual crime-fighting exploits throughout the 'Grid' of the Big Apple. But whilst this comic’s scenario is significantly more blood-thirsty than Web-head’s usual adventures, courtesy of some genuinely gratuitous depictions of hapless New Yorkers being slaughtered like sheep at the hands of numerous Nosferatu, Justina Ireland still manages to imbue the titular character with plenty of his famous tongue-in-cheek wit and repartee to persistently lighten the narrative's mood; “That is a lot of fangs.”

Much of this humour is surprisingly generated by Steve Ditko’s co-creation teaming up with the highly unlikely duo of Misty Knight and the Lizard, who essentially recruit Spidey to supposedly help them rescue Colleen Wing and Doctor Michael Morbius from the clutches of Hemoglobin Incorporated. Perhaps understandably distrustful of his allies’ true motives, as well as realising the deadly gravity of their potentially suicidal mission, the colourfully costumed vigilante appears ever ready to diffuse even the deadliest of situations with either a well-timed quip or barbed comment at his companions’ oft-times suspicious behaviour.

Of course, the biggest draw of this twenty-one page periodical are the layouts crafted by Marcelo Ferreira, Roberto Poggi and Rachelle Rosenberg. Together, this creative team really help bring the insane world of “Blood Hunt” to life, whether it be depicting a seriously formidable-looking Lizard savagely squaring off against an already ticked-off Spider-Man, or the aforementioned poor inhabitants of New York City sadly succumbing to the sharp teeth of the undead in their droves. In fact, the sheer scale of this event’s “eternal night” is really driven home to the audience through this book’s top-notch artwork, with homes, hospitals, tube stations and even churches being viciously attacked.

Impressively though, this comic’s nine-page ‘secondary’ tale is just as good at keeping the reader thoroughly entertained, courtesy of Wing and Morbius desperately attempting to escape the evil clutches of Theocritus themselves. Essentially a well-paced sub-plot which shows the duo tensely exploring Hemoglobin’s headquarters in an effort to find a way out, the pair’s nervous verbal exchanges are easily as enthralling as the adrenalin-fuelled action that kicks off when they inadvertently walk into a room packed full of momentarily shocked vampires.

The regular cover art to "AMAZING SPIDER-MAN: BLOOD HUNT" #1 by Marcelo Ferreira & Rachelle Rosenberg

Union Jack The Ripper: Blood Hunt #1 - Marvel Comics

UNION JACK THE RIPPER: BLOOD HUNT No. 1, July 2024

Undeniably living up to its pre-publication promise of Union Jack painting the United Kingdom red, courtesy of poor English teacher Edward Hardcastle quite literally having his throat torn out by a hungry vampire, Cavan Scott’s thirty-page long trip to Manchester, England, also clearly deserves its “Parental Advisory! Not For Kids!” cover warning on account of its expletive-laden dialogue as well. Sure, most of the actual swear words are scribbled out by the letterer. But even that step doesn’t completely stop the odd coarsely-chosen cuss word from appearing in some of Police Constable Mara Syal’s speech balloons.

In addition, the sheer gratuitous violence on show within this comic greatly outweighs any offense a reader might take from the cast’s verbal improprieties. The gory demise of the aforementioned “Shakespeare nut” is just the tip of the iceberg as far as penciller Kevin Walker’s panels are concerned, especially once Joey Chapman’s alter-ego makes a well-timed appearance and simply coats anyone around him with human gore and mutilated body parts. Indeed, the sheer number of heads which are subsequently lopped off or blown to pieces is probably only matched by the number of bullets the titular character sprays at his blood-drinking enemies.

Astoundingly however, despite this charnel house-like chaos, the Bristol-born author impressively still manages to imbue both the dislikeable Knight of Pendragon and his unlikely entourage with some intriguing character development – most notably one of Greater Manchester Police’s few surviving officers. Furthermore, the sheer presence of presumably orphaned infant Judy (complete with cuddly doll Britannia), appears to repeatedly succeed in adding an extra air of tension to the publication’s already tense proceedings whenever the child is given the spotlight; “I’ll check. You wait here. No running off now.”

Easily this book’s biggest draw though has to be the energetic artwork by its British illustrator. Walker’s incredible eye for dynamic action is easily epitomised by the man’s layouts depicting Union Jack going toe-to-toe with a coven of vampires during an all or nothing rescue mission. Armed with a submachine gun and a double-handed sword, the anti-hero comes across as a homicidal killing machine, who completely loses any sense of humanity due to his battle lust – even when facing certain death having been dreadfully wounded by one his foes.

Writer: Cavan Scott, Penciler: Kev Walker, and Inkers: Craig Yeung & Belardino Brabo

Free Comic Book Day 2024: Blood Hunt/X-Men #1 - Marvel Comics

FREE COMIC BOOK DAY 2024: BLOOD HUNT/X-MEN No.1, May 2024

Described by its New York City-based publisher as the “thrilling first steps” into Marvel Worldwide’s “next monumental crossover event”, Jed MacKay’s script for this early glimpse into “Blood Hunt” definitely should have whetted the appetites of any bibliophiles anticipating the Structure’s all-out undead assault upon the living. In fact, the ten-page preamble debatably does an incredible job of informing its audience as to just how the vicious vampires are able to stalk their prey during daylight, and quickly hurling some of the Big Apple’s most recognisable super-heroes headfirst into the frightening fray; “Horray. Another unproblematic win for old Spidey.”

Furthermore, this “Free Comic Book Day” celebration shows straight from the start just how gory this multi-title epic is likely to be, by depicting the Man Without Fear almost nonchalantly disembowelling and beheading his ferociously fanged foes using the cable holding together his billy club. So violent an opening seemingly bodes incredibly ill for the survival rate of those wretched bystanders facing the blood-drinker’s series of “ambitious, coordinated attacks that put humanity on the defensive”, and this strong sense of desperation is only worsened when it becomes evident that Blade’s daughter, Brielle Brooks, is going to have to team-up with her father’s most hated nemesis, Dracula, if she hopes to escape the streets of Atlanta unscathed.

Equally as intriguing as MacKay’s “nocturnal war” though, is this publication’s second yarn “The Fire Still Burns”, which sees Eisner Award Winner Gail Simone essentially pen a solo Jubilee story in preparation for the American author’s upcoming run on “The Uncanny X-Men”. Initially focusing upon the government’s apparent dismantlement of Charles Xavier’s School For Gifted Youngsters, this enticing insight into Chris Claremont’s co-creation could so easily have become a disconcertingly dark reading experience.

Happily however, despite the firework-generating pyrotechnic encountering a rather unpleasant quartet of young mutant-haters in an all-star diner, the story does eventually end on a much more positive note, with the former gymnast finding the motivation she needed to rejoin Wolverine and Rogue. Indeed, coupled with David Marquez pencilling some mesmerising insights into the villainous antagonists now utilising Professor X’s home as their own headquarters, and this “glimpse of the future of mutant-kind” enjoyably establishes the two opposing sides for the battle to come.

Writers: Jed MacKay & Gail Simone, and Artists: Sara Pichelli & David Marquez

Blood Hunt: Red Band #2 - Marvel Comics

BLOOD HUNT: RED BAND No. 2, July 2024

Pitching the surviving Avengers alongside Count Dracula himself in a highly unlikely team-up against a planetwide invasion of vampires, Jed MacKay’s script for Issue Two of “Blood Hunt” certainly seems to strike a much brighter note as to the Earth’s future fate than this summer event’s deeply dark preceding instalment. In fact, the absolute beating the likes of Bloodstorm One and Megrim take at the hands of Captain Marvel, the Vision and Captain America probably caused the odd reader to leap to their feet in order to cheer the protagonists on; “Here’s our philosophy: We have a lot to avenge.”

Enjoyably however, this twenty-one page periodical’s plot doesn’t simply rely upon an insane action sequence packed full of face-pummelling fisticuffs to entertain either, as the Canadian author also pens some intriguing plot progressions into the comic too – most notably the fact that Doctor Strange is still alive as a wandering spirit despite being disembowelled by Blade. These ‘quieter’ moments are especially impressive as they both provide the writer with an opportunity to bring any bibliophiles unwilling or unable to peruse the almost overwhelming number of tie-in titles bang up to speed with the overarching narrative, as well as provide a modicum of spotlight upon some of the Marvel Universe’s lesser known characters, such as Hunter’s Moon and the Daywalker’s daughter, Brielle Brooks.

Of course, it’s the aforementioned rematch between the “broken” Earth’s mightiest heroes and the Bloodcoven which most Marvelites will probably enjoy though. Having previously defeated the “all-star” supergroup, the vampiric villains are quick to forget that they had a distinct advantage over their opponents in their first fight, courtesy of a thorough briefing and the element of surprise. This time round the creatures of the night have no such benefits, and resultantly their arrogance is quickly silenced by the Vision’s ability to harness the power of solar energy.

Equally as intrinsic to this mini-series’ storytelling as MacKay’s contribution are the lavish layouts provided throughout by Spanish illustrator Pepe Larraz and Mexican colorist Marte Gracia. Together, the two artists genuinely depict a visual feast for the eyes, with perhaps Carol Danver’s socking Vlad Dracula’s gigantic clone squarely on the jaw being this apocalyptic publication’s most noteworthy smackdown.

The regular cover art to "BLOOD HUNT" #2 by Pepe Larraz & Marte Gracia

Blood Hunt: Red Band #1 - Marvel Comics

BLOOD HUNT: RED BAND No. 1, July 2024

Touted by its New York City-based publisher as “the bloodiest Marvel event ever”, Jed MacKay’s storyline for Issue One of “Blood Hunt” definitely lives up to its promise of vampires slaughtering nearly everyone that they can get their sinisterly sharp claws on. Indeed, whilst many a bibliophile might feel the comic’s ‘explicit content’ sealed polythene bag and repeated ‘mature reader only’ warnings are rather gimmicky, this thirty-two page extravaganza soon causes its audience to be up to their necks in severed limbs, torn-off heads, spilling intestines and literal rivers of icky human ichor.

Furthermore, for those onlookers able to withstand such a stomach-churning assault upon their senses, the Canadian author arguably leaves the best until almost last, by pitching the Earth’s Mightiest Heroes against the “mysterious and deadly vampire faction” known as the Bloodcoven. This battle is as brutal as it is (perhaps somewhat) disappointingly one-sided, with the likes of Iron Man, Vision, Black Panther, Captain Marvel, Scarlet Witch, Thor and Captain America all getting their proverbial clocks cleaned by a strike force specifically designed to exploit each hero’s unique set of vulnerabilities; “Or was a match, I guess. This isn’t conjecture. The Avengers are down.”

However, it isn’t arguably the notion that Stan Lee’s co-creations are soundly defeated which comes as such a surprise. But rather the truly gruesome manner in which it all occurs. Whether it be as a result of a thousand cuts, a crystalline shaft straight through the brain, or a hand tunnelling its way through the stomach, these close combat conclusions are shockingly savage, and jam-packed full of gore-drenched innards. In fact, it’s probably difficult for long-term Marvelites to recall so much physical mutilation being on show this side of a “MAX Comics” imprint – at least until the attention shifts to Doctor Stephen Strange’s horrific evisceration at the publication’s conclusion.

Also presumably being constantly peppered by MacKay to add extra buckets of blood into his prodigious pencilling is Pepe Larraz, who does a stellar job of depicting the sheer scale of the voracious blood-drinkers’ assault across the world. Of particular note is the Spanish artist’s design work on the super-vampires, with Jed himself going on record to state it was the illustrator “who really brought these characters to (un)life, creating an extremely gnarly set of predators!”

The regular cover art to "BLOOD HUNT" #1 by Pepe Larraz & Marte Gracia