Dungeons & Dragons: Ravenloft Caravan Of Curses #1 - IDW Publishing [Part Two]

DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES No. 1, April 2024

Whilst similar-sized tomes to this “Dungeons & Dragons” anthology might well sag somewhat in the middle, such an accusation surely cannot be levelled against Amy Chase and Casey Gilly’s genuinely gross story to begin this book’s second half. In fact, it’s apparent obsession with a man-eating goddess and her self-harming cult of wannabe mothers probably walks a very fine line between completely captivating its readers’ attention, and causing many to simply put the comic down in disgust; “You must understand that to a child of Viktal, an outsider is no different from wild game.”

Foremost of these disturbing plot threads is that all the women must apparently pluck out one of their eyes if they want to become pregnant, or, in the case of Hesta Sinclove, consider sacrificing a close friend’s baby in order to have one of her own. Coupled with luring strangers to the village so the hapless visitors can be feasted upon, as well as the expectant protagonist developing a craving for bowls of blood, and this yarn is certainly not one for the squeamish, or a bibliophile anticipating having any sympathy whatsoever for the curse’s victim.

By far this comic’s least ghoulish tale is its finale, which somewhat unexpectedly attempts to tie together some of the loose threads left unanswered in its preceding gore-fest whilst simultaneously bringing the crone’s own adventure to a surprisingly sickly-sweet close. Indeed, it’s arguably not until the halfling mass-murderer Wilkis Nettlekettle makes an appearance some seven pages in, that the co-authors’ penmanship thankfully stops waxing lyrical about a carnival worker’s life tending goats, and finally settles down to telling “a new nightmare”.

Intriguingly however, it would seem that the owner of a blade which causes his own body to be cut whenever it is used to even just slice cheese, is an entirely appropriate punishment for its evil owner. And yet that doesn’t initially seem to stop Shortcrust’s owner from ridding the fiendish fellow of his jeopardising jinx so she can trick him into accepting an even worse fate than bleeding to death. This subsequent, shocking transference of ownership of the Caravan of Curses rather neatly brings the anthology to an end, albeit many within the audience may well be left wondering what crime the now rejuvenated Zhyl committed to have “seen all these years of evil” herself.

The regular cover art of "DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES" #1 by Sarah Stern

Dungeons & Dragons: Ravenloft Caravan Of Curses #1 - IDW Publishing [Part One]

DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES No. 1, April 2024

Described by “IDW Publishing” as “an oversized one-shot containing four terrifically terrifying short stories”, this hefty anthology certainly seems to start off well enough, courtesy of a truly torrid tale by Amy Chase and Casey Gilly which is initially set within Tenebrarum Woods. Indeed, if the cackling crone and her decidedly disconcerting maggot baby don’t instantly raise the heckles upon the back of its audience’s necks, then the quite literal buckets of blood which soon follow after the “gang of misfits” encounter the blue-hued Yvelda Bonnefoy, surely will.

Fortunately however, such a grotesque curse as having to pour and drink numerous teacups over brimming with ruddy-coloured gore, hasn’t simply been penned just for its sickening impact upon any perusing bibliophile. But is surprisingly central to an intriguing storyline of royal court politics that depicts a malicious mother-in-law determined to ruin her son’s marriage when he falls for a woman supposedly far beneath him on the social ladder; “The true purpose of the gift is removing any threats to your security and station. I care not for that little opportunist’s feelings.”

Far more flowery word-wise, and ultimately rather disappointing when it comes to the tale’s somewhat uncertain ending, is this comic’s look at an arrogant Elven actor who initially appears to have become the prey of a werewolf-turned-understudy. This deadly threat to Aster’s future becomes increasingly bleak when it appears that the thespian’s foe has deliberately infected him with a deftly placed scratch upon his right shoulder, and many a reader’s heart will surely beat a little faster when his boyfriend finds himself confronted by a pack of potential hungry lycanthropes in the claustrophobic darkness of the understage.

Somewhat frustratingly though, the possibility of a man-wolf or four massacring anyone is eventually shown by the Vistana witch as being an infuriating red-herring, after she swiftly deduces the true cause of the now rapidly aging artist’s dire predicament. Perhaps unsurprisingly, the performer appears eager for the hag to rid him of his unsightly, wrinkly flesh. Yet in doing so it arguably becomes unclear as to whether he will for at least a short time re-tread the boards with both vigour and youth, or rather unconvincingly has agreed to suicidally die there and then with simply an ageless countenance for the worms to marvel at.

The regular cover art of "DUNGEONS & DRAGONS: RAVENLOFT CARAVAN OF CURSES" #1 by Sarah Stern

Dungeons & Dragons: Fortune Finder #5 - IDW Publishing

DUNGEONS & DRAGONS: FORTUNE FINDER No. 5, March 2024

Whilst some within this twenty-page-periodical’s audience might find Jim Zub’s ability to tie his mini-series’ central plot to a comic he penned way back in June 2018 quite clever. The revelation that Finder’s “true nature” actually stems from a momentary chance encounter with the mage Delina may well prove a bit too contrived for those readers anticipating an origin story much more enigmatic or precocious from the “Dungeons & Dragons fan favourite” author. In fact, the notion that all the gruesome deaths, hapless mind-swaps and head-scratching chaos contained within this mini-series are simply as a result of the Moon Elf’s fast-declining magical powers inadvertently leaking into a Modron and altering its basic programming is debatably underwhelming at best.

What does arguably work though, is the Canadian writer’s wonderfully enthralling flashback sequence of unit F1R’s “tour of the great wheel of the planes to refresh [the] information archives and take inventory of reality.” This lengthy quest genuinely appears capable of capturing many a bibliophile’s imagination, as the rotund walking sphere witnesses dragons fighting against one another in the sky, learns some basic spells, and encounters a giant, multi-tentacled plant monster – which disappointingly signifies the increasingly sentient automaton’s sad demise.

Indeed, it’s probably a pity that the Eisner Award-nominee didn’t use this approach to his storytelling straight from the start, rather than trying to confusingly combine the mystery surrounding Finder’s origin with a disconcerting headlong descent into the recently released “Planescape: Adventures in the Multiverse” role-playing sourcebook instead. Such a stance may well have made far more sense to those who were bamboozled by this tale's persistent body-exchanging premise, and allowed them to supportively share the wide-eyed construct’s wonder at the much larger world it was journeying into; “I didn’t just record data like the others. I was actually curious. Curious and eager to see and do as many new things as possible."

Impressively managing to give the central Modron a life of its own though, has to be Jose Jaro, whose ability to transform one of many identical machines into so endearing a central character with just a few pencilled lines here and there is positively breath-taking. The frustration, excitement, fear, and pain of F1R’s escapades are so plain to see on the inquisitive adventurer's face, that few purchasing this publication will be able to stop themselves giving a little jump for joy when it concludes with the reassembled ‘immortal’ back in the city of Sigil, and once again teaming-up with Notitia Never-Lost.

The regular cover art to "DUNGEONS & DRAGONS: FORTUNE FINDER" #5 by Max Dunbar

Dungeons & Dragons: Fortune Finder #4 - IDW Publishing

DUNGEONS & DRAGONS: FORTUNE FINDER No. 4, February 2024

For a brief while there’s probably plenty of fun to be had with Jim Zub’s storyline for “Lawful Uph-Evil”, regardless of whether the reader be a devoted disciple of Dave Arneson’s tabletop role-playing game or not. Indeed, Finder’s journey through the chaotic cogs, winding wheels, and spiralling sprockets of Mechanus should still ensnare even the most uninformed of bibliophiles, courtesy of the pink-hued succubus’ desperate attempt to escape the diabolical clutches of Missy Maddyknack, and her subsequent heartwarming meeting with the well-mannered, tinker orc Crundlespike.

Frustratingly however, these intriguing exploits are soon replaced with a tremendously tiresome court room trial, which sees the colourfully-costumed ‘crystal shard’ attempt to reason with the mechanical logic of the Modrons. Admittedly, the computer-like behaviour of this particular race of robotic immortals is arguably quite endearing at first, especially when they march about their kingdom like human-sized, wind-up soldiers. But by the time the aforementioned Maddyknack has inexplicably returned as the titular character’s dubiously-qualified defence counsel, it debatably appears that even this mini-series’ Canadian author has somewhat lost the will to pen anything moderately understandable; “Council, your insipid, incoherent, and insulting display is a mockery of our esteemed judicial process!”

In fact, what follows Finder’s predictable capture appears to have been written simply so the lead protagonist can once again demonstrate their propensity for both dying quite horribly, and then being reborn in a completely different physical guise. This sequence sadly smacks of the author badly needing to find something long-winded to help pad out the twenty-page-periodical’s plot, and simultaneously cause the creation of a cliff-hanger conclusion which sees the “agent of chaos” sensationally transformed into a winged Modron.

Nobly assisting Zub in his endeavour to pack Mechanus with all manner of gearwheels and bone-grinding machinery are Jose Jaro’s layouts. The “Filipino American” designer appears particularly adept at greatly expanding upon any modicum of action found within this book’s script, such as when Finder takes a seriously long tumble through numerous giant gears, or Maddyknack does her best to keep the two trespassers out of the ultimate law’s sight. Furthermore, the illustrator is evidently a ‘dab hand’ when elongating a reasonably straightforward conversation, as seen when the “plane hopping” adventurer just asks the fortress of disciplined enlightenment’s guardians for help and spends an unnecessarily long ten-panelled piece to do so.

The regular cover art to "DUNGEONS & DRAGONS: FORTUNE FINDER" #4 by Max Dunbar

Dungeons & Dragons: Fortune Finder #3 - IDW Publishing

DUNGEONS & DRAGONS: FORTUNE FINDER No. 3, January 2024

Despite debatably still befuddling many within this mini-series’ audience with yet another ‘deep-dive’ into the “new Dungeons & Dragons sourcebook Planescape: Adventures in the Multiverse”, Jim Zub’s narrative for “Dead To Rights” probably still pleased a fair few fans of Gary Gygax’s fantasy tabletop role-playing game on account of the beguiling duo of Bran and Gris. In fact, the unstoppable investigators are by far the most entertaining element of this twenty-page periodical’s plot, and doubtless caused many a reader to wonder why the Canadian author hadn’t simply focused his storytelling around their tongue-in-cheek exploits to track down a mystic murderer, rather than rely upon something seemingly straight out of an episode or two of the 1989 science fiction television programme “Quantum Leap”.

Furthermore, the two hunters provide the Animex Honorary Award-winner with plenty of opportunities to tell a genuinely intriguing tale packed full of murder, mystery, and humorous altercations without him having to resort to the persistent amnesiac, Finder, once again aimlessly pottering around the “floating city in the centre of the Outlands” in a desperate effort to regain their lost memory once more. This penmanship should genuinely draw in even the most disinterested of bibliophiles, as the amateur detectives bribe, barter and utilise every lucky break in the book, to track down the magical energy which they fear will soon tear “the fabric of reality itself”, and become inadvertently embroiled in Maddyknack the Hag’s desperate desire to own an enigmatic shard of power.

Helping to add plenty of exasperation to Bran’s face whenever he's dealing with the political red tape of Sigil and its corrupt officials, as well as imbue the mortician with all the ponderous, sloth-like movement one might expect of a creature inhabiting the partially-shelled body of a Tortle, is Jose Jaro. The artist appears equally as adapt at portraying emotion as he is at sketching the action-packed antics of this comic’s quite considerable cast once they all simultaneously realise just who the latest physical incarnation of the living crystal is. Whilst, alongside colorist Adam Guzowski, they also do a good job in depicting all the previously slain shard personalities, as the blue-hued spirits run as one towards the next hapless being selected to be their host; “Wait a sec, I’m juggling? That must mean I’m a … Juggler. Trying to keep it all in the air so nothing bad will happen.”

The regular cover art to "DUNGEONS & DRAGONS: FORTUNE FINDER" #3 by Max Dunbar

Dungeons & Dragons: Fortune Finder #2 - IDW Publishing

DUNGEONS & DRAGONS: FORTUNE FINDER No. 2, December 2023

In many ways something of a hard reboot of this mini-series, Jim Zub’s storyline for Issue Two of “Dungeons & Dragons: Fortune Finder” will probably still baffle and bewilder many a bibliophile with its early soup-based shenanigans and tongue-in-cheek theatrics. True, the overall adventure does start to make a little progress once the central character suddenly teleports to Dungeonland. But any excitement garnered from the comic’s revelation that the gnome girl is actually the highly sought after Shard is sadly soon dispelled, courtesy of the short-statured server's horrific death upon the horns of a stampeding bull; “Watch out for… the Cow.”

What the “Dungeons & Dragons fan favourite” author does do well though, is imbue this latest incarnation of Finder with plenty of brazen bravado, which leads to a few genuine loud-out-loud moments. Perhaps the best of these is Maddyknack’s green-skinned seeker spitting out his wine when he spots the small humanoid spying upon his business meeting from an overhead chandelier. Although the goblin magic user’s stoicism at being blasted to pieces by some explosive glyphs during the one time he’s not surrounded by healing clerics is perhaps just as waggishly penned.

The Canadian writer is also rather good at introducing the audience to “Sigil’s most famous casino” without delving too deeply into the “new Dungeons & Dragons sourcebook” which apparently “inspired” this comic. Rather than just wax lyrical about all the different deities and denizens who frequent the gambling den, as if the twenty-page periodical was a mere textbook, the reader is instead introduced to the frantic, almost chaotic gaming house via its army of catering staff – who buzz about the place’s patrons carrying all sorts of exotic dishes and drinks.

Helping to add the odd guffaw to this publication’s proceedings is Jose Jaro, who for the large part does a solid job of pencilling the fast-paced antics of young Finder. However, the illustrator does arguably appear to somewhat struggle with some of the larger panels he’s asked to populate, such as a double-splash page welcoming the audience to Fortune’s Wheel, which contains large areas of blank walls, ceilings, and floor space – despite supposedly being an incredibly popular saloon.

The regular cover art to "DUNGEONS & DRAGONS: FORTUNE FINDER" #2 by Max Dunbar

Dungeons & Dragons: Fortune Finder #1 - IDW Publishing

DUNGEONS & DRAGONS: FORTUNE FINDER No. 1, November 2023

Despite bounding along at a ‘fair to middling’ pace, Jim Zub’s narrative for Issue One of “Dungeons & Dragons: Fortune Finder” will probably only appeal to those bibliophiles who share his evident in-depth knowledge of the Concordant Domain of the Outlands, or at least recently purchased “the new adventure book, sourcebook and monster manual themed around Planescape” by “Wizards Of The Coast”. Indeed, by the time Nottia Never-Lost, “the sharpest tout in all of Sigil”, has briefed this comic’s central protagonist as to the dangers of even looking at the Lady of Pain, everyone else’s head will arguably be spinning around in a confused mess of mortals, demi-gods, and deities as badly as the “amnesiac hero” is himself.

Such a deluge of different divinities, denizens, devils, and numerous locations, all of which can apparently be reached simply by walking through an unguarded gateway, is genuinely suffocating, and disappointingly drowns out what had been a rather promising start set inside the decidedly dangerous tavern, the Hooded Lantern. This ‘opening’ is most assuredly the highlight of the book, as “Finder” is intriguingly depicted being held at the mercy of several seriously mean marauders, who want to know his business before they slit the pointy-eared adventurer’s throat. However, just as soon as the young Elf narrowly escapes his incarceration, little excitement follows, besides a literal killer of a cliff-hanger where Maddyknack's murderous goblin minion decides to pluck some mysterious shard off of the witless wanderer's corpse.

In fact, the vast majority of this comic appears to have been penned just to introduce its audience to “the strange city and how it connects to outer planes like The Abyss, The Nine Hells and Mechanica”, as well as perhaps a little cynically, encourage the odd customer to buy into the role-playing game upon which its based. Of course, this isn’t a new sales ploy by any means. But perhaps on this occasion the “fan favourite” author’s story might have been better served by him providing some background to the City of Sigil in a more piece-meal fashion as the plot progresses, rather than off-loading a twenty-five-panel flurry of gobbledegook proficiently pencilled by artist Jose Jaro; “It’s at the centre of the ring on top of the ring inside the ring, separate yet central, hence all the doors. Don’t overthink it.”

The regular cover art to "DUNGEONS & DRAGONS: FORTUNE FINDER" #1 by Max Dunbar

Dungeons & Dragons: Legends Of Baldur's Gate #4 - IDW Publishing

DUNGEONS & DRAGONS: LEGENDS OF BALDUR'S GATE No. 4, January 2015

Despite actually promoting Issue Four of “Dungeons & Dragons: Legends Of Baldur’s Gate” as containing “less talk, more fight!”, Jim Zub’s narrative for this twenty-page periodical regrettably doesn’t really get going until the comic is half-way over. Sure, the Canadian author manages to whip up a modicum of mystic mischief at the very start of the publication by taking its audience back to when an adolescent Delina first realised her rare aptitude for magic “without any training”. But this glimpse into the young Moon Elf’s backstory is fleeting, and arguably is included more to show the angry resentment stored up within her jealous brother than to provide any injection of dynamic action.

Instead, this book’s audience must first negotiate a series of conversational pieces between “The Fist of Truth” and “Ugly Walrus Face”, as well as the evidently evil Deniak’s unsurprising betrayal of his naïve sister. These dialogue-driven scenes are somewhat necessary to explain how Minsc, Krydle and Shandie can quickly navigate the legendary city in the hope of thwarting the cultists’ dark ritual. However, it’s not until some thirty-six text-laden panels later that any bibliophile will actually see Boo explode onto the scene atop his ranger’s formidably sized shoulder; “My hamster speaks truth, ugly ones! Surrender or face huge justice!”

Enjoyably though, once Zub’s penmanship does finally get things going, it’s easy to imagine most of this publication’s 4,602 strong circulation thoroughly enjoying its jaw-cracking concoction of powerful pummels to the face, well-aimed arrows and deadly attacks by a certain miniature giant space rodent. Furthermore, the pace of the already frenzied action is ramped up every so often by the clever inclusion of Deniak feverishly working his dark magic upon his immobile, sacrificial sibling to become imbued with all the dread power of a dragon.

Ably aiding any reader through this comic’s sedentary start, and then gleefully hurling them face-first into the sheer carnage of Minsc bludgeoning a basement full of Bugbears, is Max Dunbar, whose artwork does a tremendous job in depicting the emotions of this mini-series’ considerably sized cast. Indeed, besides the sheer ferocity on show during this book’s climatic fight sequence, one of its highlights is just how well the concept artist manages to etch the venomous envy upon Deniak’s face and the genuine concern upon Delina’s for her beloved brother’s wellbeing despite everything he has done against her.

Written by: Jim Zub, Art by: Max Dunbar, and Colors by: John-Paul Bove

Dungeons & Dragons Annual 2022 - IDW Publishing

DUNGEONS & DRAGONS ANNUAL 2022, August 2022

Enthusiastically described by “IDW Publishing” as a “special self-contained issue that’s perfect for new readers and gaming fans alike”, Jim Zub and Ryan Cady’s two yarns for the “Dungeons & Dragons Annual 2022” certainly seem to live up to their hype. Indeed, as was probably intended, the authors’ exploration of the Feywild Realm will doubtless pique the interest of this comic’s audience so much so that many may well consider purchasing “The Wild Beyond The Witchlight” adventure sourcebook upon which its narratives are inspired; “Once every eight years, a piece of the Feywild returns to enrapture and entertain the good people of this town.”

First up is arguably the meatier adventure of the book, “Lost & Found”, which sees “fan-favourite D&D writer” Zub take the reader on a fun-packed romp full of humanoid rabbit warriors, wyrmling-guarded cottages and super-cute Owl-bears. The penmanship for this thirty-page escapade proves particularly effective as it will surely cause many a bibliophile to initially dislike its lead protagonist Billi Sharpe right up until the young rogue’s mysterious (and decidedly tragic) background story is revealed – after which they’ll probably be rooting her on as she desperately tries to rescue her brother from the clutches of a truly despicable old witch.

Somewhat reminiscent of the Brothers Grimm fairy tale “Hansel and Gretel”, along with a sprinkle of Lewis Carroll’s “Alice In Wonderland”, this fable is also quite cleverly bookended by artist Eduardo Mello, with Kyler Clodfelter tackling all the interior illustrations once Sharpe has taken the plunge through one of Witchlight’s numerous looking glasses. This visual emphasise that both the thief’s world, as well as its rules, have radically changed genuinely helps reinforce her character’s edgy nervousness at being placed in an entirely unknown environment, and also adds an extra element of potential danger to the sneaky lockpick’s perilous predicament.

Perhaps somewhat less venturesome is Cady’s “Something For Everyone”. Possibly best described as “Romeo and Juliet” but with fairies, this ten-sheet ‘short’ provides a fairly straightforward romp concerning a lawful faction of tiny, winged warriors and a pilfering band of similar-sized criminals. Gorgeously sketched and coloured by Vincenzo Riccardi, this intriguing yarn definitely delivers some well-pencilled eye-candy, and helps provide a romantic air to the two lovers' dramatic escape from the inflexible attitudes of their polar opposite cultures.

Written by: Jim Zub & Ryan Cady, and Art by: Eduardo Mello, Kyler Clodfelter & Vincenzo Riccardi

Dungeons & Dragons: Legends Of Baldur's Gate #3 - IDW Publishing

DUNGEONS & DRAGONS: LEGENDS OF BALDUR'S GATE No. 3, December 2014

Despite essentially consisting of a frantically paced, night-time dash across some of the city-state’s most precarious, tile-covered rooves, Issue Three of “Dungeons & Dragons: Legends Of Baldur’s Gate” still provides plenty of intriguing insights into the corruption-riddled world of the Patriar, as well as a bag full of laugh out loud humour. In fact, Jim Zub’s ability to combine super-tense action with a seemingly never-ending carousel of one-liners is arguably this twenty-page periodical’s greatest strength, and certainly helps invigorate its potentially more sedentary scenes with some much-needed sparkle; “Hamster justice cannot be ignored, ugly man!”

Foremost of these sequences is the leading cast’s extraordinary entrance into one of “the upper crust’s" most lavish of social gatherings, in which Minsc somehow manages to convince a startled servant that the heavily muscled adventurer is supposedly a musically-talented troubadour. This somewhat lengthy conversational piece runs on for a good twelve, well-proportioned panels, and could easily have dragged on if it wasn’t for the Canadian author making the doorman extremely dry-witted, and “the beloved ranger” engagingly naïve.

Likewise, the sheer scale of the chaos caused by Delina when she inadvertently bumps into “one of the jerks who ambushed us” is hilarious and demonstrates just how fast things can get out of control when you allow the former bodyguard of the witch Dynaheir into a banquet whilst he’s still armed with his extraordinarily large two-handed broadsword. Whether it be Shandie stuffing her face full of vol-au-vents, Krydle face-palming himself at the sight of his partners-in-crime tearing up his brother’s party, or Coran’s disbelief at finding Boo suddenly squeaking in his hands, it’s doubtful that many of this comic’s 5,563 readers successfully managed to stifle a laugh or two during such well-penned carnage.

Adding enormously to this book’s sheer sense of fun are Max Dunbar’s layouts, which debatably do an incredible job of imbuing the storytelling with lots of energy and dynamism. The swashbuckling swordfights atop some the metropolis’ tallest buildings are particularly noteworthy for their prodigious pencilling, as are the plethora of facial expressions drawn upon every character as they endure a myriad of different emotions during the Dragon Cult’s attempted abduction of their young moon elf team-mate.

Written by: Jim Zub, Art by: Max Dunbar, and Colors by: John-Paul Bove

Rick And Morty Verses Dungeons & Dragons II: Painscape #4 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS II: PAINSCAPE No. 4, December 2019

Depicting “the final battle between demons, gods, and the most min-maxed Rick imaginable”, Jim Zub’s narrative for Issue Four of “Rick And Morty Verses Dungeons & Dragons II: Painscape” surely must have had any players of Gary Gygax’s co-creation appreciatively frothing at the mouth with all its excellent nods to the rule-set’s celebrated lore. Indeed, considering that this comic contains such notable weapons as “the legendary Dragonlance (enhanced with Boo, miniature giant space-hamster)” and “The unholy Wand of Orcus” it’s arguably easy to see why the mini-series’ final instalment managed to maintain a 11,226-strong readership in January 2020.

Furthermore, these intermittent dips into “an ancient conflict that raged between the fiends of the Lower planes” and the Caves of Klang genuinely provide the twenty-two-page publication with both some ludicrous laugh-out-loud jiffies, as well as some surprisingly dark moments; most notably when the Canadian writer pens the Smith Family individually meeting a truly unheroic demise before the overwhelming demonic hordes of Bardrick. Such contrasting emotional journeys really help to keep the audience engaged with the decapitation-laden action at hand, even when it consists of some seriously silly skirmishes during “the real Blood War at the Hobby Mall -- Now.”

Quite possibly this periodical’s finest moment though, comes with the coverage of Rick Sanchez following the Level Five Wizard’s decision “to shakety-shake things up a bit” and delve into multi-classing. The elderly scientist’s short-lived battles against a Manticore, Medusa and Frost Giant are a lot of fun to follow, as is the subsequent Rogue’s friendship with a Beholder which ultimately ends in the floating head’s unexpectedly sad death, and a significantly older-looking adventurer grasping the “Ring of Three Ultra-Wishes – A bulls**t item younger Rick came up with as the ultimate treasure in his ultimate dungeon.”

Also plying his trade most prodigiously is Troy Little, whose well-pencilled panels are absolutely packed full of all sorts of eye-candy. The cartoonist’s depiction of the Blood War is particularly gruesome, courtesy of numerous severed limbs and cleaved heads being visible during the intense fighting. And let us not forget the incredibly insensitive demise of poor Boo, loyal companion of the Rashemi ranger Minsc, who is explicitly fried alive by Sanchez’s evil musical counterpart following a tragic blow from the demon lord Orcus’s obsidian rod.

Written by: Jim Zub, Illustrated by: Troy Little, and Colored by: Leonardo Ito

Rick And Morty Verses Dungeons & Dragons II: Painscape #3 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS II: PAINSCAPE No. 3, November 2019

Plush with plenty of the slapstick humour which helped make Adult Swim’s animated television programme so critically acclaimed, Jim Zub’s storyline for Issue Three of “Rick And Morty Verses Dungeons & Dragons II: Painscape” certainly bounds along at an enjoyable pace, as the Smith Family desperately battle the demonic forces ‘wonkily named’ by the fantasy role-playing rule-set’s creators to try and convince parents that it was not “Satan’s game.” Yet whilst such a narrative creates a few laugh-out-loud moments, such as Jerry’s son using a sneak attack to annihilate Sorcerick with a standing lamp, it also arguably contains some rather lack-lustre moments which help explain the mini-series fall in sales to just 11,936 copies.

Foremost of these frustrating flaws is the way Rick Sanchez is seemingly wasted just wandering around his old, incomplete campaign setting, trying to determine whether there truly is “no way home” from the “little burg of graph paper regret” he created in his younger days. This initially slow, sedentary sequence does momentarily appear to contain a real gem of a plot idea when it forces the scientist to negotiate the Caves of Klang – a “masterpiece dungeon” the central protagonist forgot he wrote.

However, rather than depict the Level One Wizard using his wits for once as he encounters obstacles he was far from expecting, the storyline quickly degenerates into a series of simple conflicts between him and a quartet of his failed, previously rolled characters; “Man, you are the worst f*****g Rick I’ve seen since Doofus Rick from J19 Zeta 7…” Indeed, by the time Sanchez finally encounters the Level Six Elven Fighter, Warriorick and his cursed intelligent longsword, the utterly insane battle inside a busy, modern-day shopping mall involving Jerry, Summer and Beth has become much more entertaining.

Possibly this publication’s best asset therefore, alongside the excellent layouts of artist Troy Little, are all the nods to the extensive lore established by Gary Gygax’s co-creation which are scattered throughout its twenty-two pages. Much of this background is seemingly taken from the Second Edition sourcebook, Monstrous Compendium: Outer Planes Appendix, with the comic’s illustrator not only going so far as to pencil a recognisable likeness of the book’s cover, but also ensuring that its contents describing the Outer Planes are all clearly hole-punched.

Written by: Jim Zub, Illustrated by: Troy Little, and Colored by: Leonardo Ito

Dungeons & Dragons: Legends Of Baldur's Gate #2 - IDW Publishing

DUNGEONS & DRAGONS: LEGENDS OF BALDUR'S GATE No. 2, November 2014

Combining a marvellous mixture of flashbacks, swashbuckling swordplay and political intrigue, Jim Zub’s narrative for Issue Two of “Dungeons & Dragons: Legends Of Baldur’s Gate” probably landed rather well with the mini-series’ 7,642-strong audience in November 2014. For whilst the comic’s plot certainly contains some quite lengthy conversations between the likes of Delina and her would-be rescuers Krydle and Shandie, as well as those involving Duke Ravenguard and the duplicitous Fetcher, these dialogue-driven interludes are arguably just as mesmerising as Minsc’s bloody battle with a coven of mask-wearing magic users.

In fact, one of this twenty-page periodical’s greatest assets is the way its Canadian author manages to quickly establish just how complicated the coordination and running of the large city actually is; whether it be the major port’s devilish criminal underground packed full of favours and faceless cut-throats, or its supposedly more honourable noble quarters, where its City Watch dare not disturb its wealthy occupants even after two of their armoured number have been slain. Such attention to detail truly does help sell the menacing environment surrounding our heroes and also promotes the sprawling conurbation as a very real, living metropolis, full of merchants, warriors, priests and thieves.

Likewise, Zub perfectly projects the ever-present threat of a violent death into his storyline even when Delina’s newfound friends are both heavily-armed and evidently formidable fighters. Before the reader can really even register that the party are being waylaid by sorcery-aided assassins, its “beloved Ranger” is stabbed in the side by a sinister-looking curved blade and Krydle is fighting for his life against the razor-sharp talons of an unknown attacker. This shocking assault upon the senses immediately ramps up the tension within the comic, and demonstrates just how much danger the quartet are already in, even though they’ve yet to attempt to move between Baldur Gate’s upper and lower levels. 

Impressively imbuing all of this book’s numerous chess pieces with plenty of individual character is Max Dunbar, whose pencils are particularly impressive when it comes to facial expressions – even when the figure is that of “a miniature giant space hamster of great courage and wise wisdom” called Boo. Furthermore, this publication contains an enthralling insight into the artist’s preliminary sketches of its protagonists, as well as some of the highly-detailed landscapes required for his layouts - courtesy of a behind the scenes article by editor, John Barber.

Written by: Jim Zub, Art by: Max Dunbar, and Colors by: John-Paul Bove & Joana Lafuente

Rick And Morty Verses Dungeons & Dragons II: Painscape #2 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS II: PAINSCAPE No. 2, September 2019

Splitting this comic’s storyline into two distinctive plot threads, Jim Zub’s decision to focus upon Rick Sanchez’s early encounters with “the world’s greatest role-playing game” must surely have delighted its 13,813 readers in October 2019. In fact, the mega-genius’ evident frustration with a rule-set that simply can’t provide him with all the “statistics and probabilities” he requires so as to “measure and o-o-optimise” his character is perfectly palpable, and it’s little wonder that the increasingly enraged scientist quickly fills his Folio of Flawed Failures when each creation is repeatedly based upon chaotic dice rolls; “Fate has dealt its hand, my friend. You don’t qualify for bard-dom, but it’s still a powerful array. You could --"

Equally as entertaining is Albert Ein-douche’s subsequent foray through the labyrinthine Tomb of Horrors, which demonstrate what an absolute badass Sanchez can be when he already has foreknowledge of the obstacles impeding him. These snappily-paced action sequences concerning a four-armed gargoyle, poisonous snakes, secret doors and levitation rooms are seemingly correct “down to the last f*****g detail”, and only disappoint in the brevity of ‘spotlight’ awarded to “the deadliest dungeon in Dungeons and Dragons history” when compared to the arguably less entertaining exploits of Rick’s grandson.

Indeed, Morty and Summer’s lengthy confrontation with a Level Thirteen Half-Orc Barbarian named Barbarick probably contains some of this twenty-two page periodical’s weaker moments, especially when so much of its drama is simply based upon the two adolescents hiding behind furniture until their assailant runs out of puff and falls asleep. True, the Canadian writer does manage to incorporate plenty of rule-set references into the narrative, such as Acrobatics, Athletics and Stealth checks. But compared to their grandpa’s desperate attempt to flee the Painscape by creating an all-new portal gun at a medieval blacksmiths, the children's unsuccessful attempt to phone the police from a bedroom is debatably a little underwhelming.

Far more riveting is Troy Little’s layouts, which are vibrantly coloured by Leonardo Ito. The incredible vexation felt by a young, hippy Sanchez at his inability to consistently roll well is plainly pencilled upon his face by the illustrator, as is Rick’s anger at being teleported back to the fictional Borden instead of Earth, after having proved himself “the master of these dungeons.”

Written by: Jim Zub, Illustrated by: Troy Little, and Colored by: Leonardo Ito

Rick And Morty Verses Dungeons & Dragons II: Painscape #1 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS II: PAINSCAPE No. 1, August 2019

Offering “a new mini-series issue of Dungeons & Dragons with Rick and Morty”, Jim Zub’s narrative for this twenty-two page periodical certainly demonstrates the “fan favourite dice dependent” author’s love of all things six-sided. Indeed, the Canadian author’s depiction of a world which entirely revolves around everybody’s love for Dave Arneson’s co-creation is incredibly enticing, especially when it contains twenty-four seven televised broadcasts of live games, thirty-seven shop-filled Hobby Malls dealing exclusively with the fantasy role-playing game, and a limited, life-size reproduction of the “Aegis-Fang Warhammer from the Crystal Shard by R.A. Salvatore.”

Sadly however, such an intriguing storyline soon starts to arguably disappoint once Sanchez deduces that the planet has become infected by a “D20 Dependence Outbreak” devised by the barking-mad scientist’s first two characters for the tabletop game. Admittedly, it’s momentarily quite cool to explore Rick’s “unfinished masterpiece” Borden and question the medieval settlement's various walking quest prompts. But such a fascinating campaign setting is regrettably soon replaced by Bardrick and Sorcerick kidnapping the dysfunctional protagonists and using a portal gun to enter our own dimension from the Painscape.

In addition, whilst such Smith-family focused shenanigans also provide this comic with some laugh-out-loud moments, such as when Morty giggles hysterically at his grandfather’s embarrassing choice of names for his playing pieces, nothing is penned explaining just how the entire Earth became contaminated by “a virulent, unstoppable need to play Dungeons & Dragons” in the first place, nor why Rick is able to simply teleport himself to its source without any difficulty whatsoever; “I don’t wanna keep saying the same s**t, but I still have no idea what’s going on.”

Fortunately, what this book’s plot debatably lacks in exposition it does make up for with solid storyboarding by Troy Little. The Prince Edward Island-born cartoonist genuinely seems able to capture all the nuances of the animated sitcom’s considerably-sized cast, and pencils a gobsmackingly good cliff-hanger when Sanchez realises he’s been dispatched to the tomb of the demi-lich Acererak in order to experience Dungeon Magazine’s “third greatest Dungeons & Dragons adventure of all time” first-hand - Gary Gygax’s “Tomb of Horrors”.

Written by: Jim Zub, Illustrated by: Troy Little, and Colored by: Leonardo Ito

Rick And Morty Verses Dungeons & Dragons #4 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS No. 4, December 2018

Debatably abandoning any strong notion that this comic’s central cast are actually Rick Sanchez and his daughter’s dysfunctional family in favour of a party of brave, world-saving adventurers, Patrick Rothfuss and Jim Zub’s script for Issue Four of "Rick And Morty Verses Dungeons & Dragons" certainly demonstrates both the writers’ love and intimate knowledge of the “fantasy tabletop role-playing game originally designed by Gary Gygax and Dave Arneson.” In fact, it is arguably easy to forget at times that this book isn’t simply about Kiir Bravian and the confident Abjurer’s desperate quest to thwart “the sacrifice of six non-human children”, as opposed to being a tie-in to Adult Swim’s animated television programme.

Happily however, this full-on ‘dungonfest’ proves to be an incredibly enjoyable read, simply packed full of excitement, tension, destruction and even the shock death of one of its lead characters. In addition, despite having been physically transformed into the gnome bard Gee-Willikers Petalebutt, Morty’s acid-tongued grandfather persistently provides some genuine laugh-out-loud moments as the diminutive-sized musician no longer finds himself the centre of attention, and instead falls victim to a plethora of fantasy-based scenarios – whether it be an encounter with a gelatinous cube, a monstrous red dragon, or even failing the Athletics skill check required to cross a bottomless ravine via a rope.

Summer Smith’s alter-ego Ari Strongbow is also blessed with some considerable ‘screen time’ within this twenty-five page periodical, courtesy of the ogre-hating ranger’s comprehensive backstory and gut-wrenching sacrifice made towards the end of the book. This gruesome demise is poignantly penned by the creative team, as it leads into a surprisingly emotional moment with Kiir (Jerry) deciding he doesn’t wish to dwell inside the ‘D&D universe’ now the warrior of the wilderness has died, and the surviving quartet subsequently returning to a seemingly empty home; “I mean, we could clone her, or bring in a Summer from another dimension, but her brain, her memories… It wouldn’t be her.”

Equally as enthralling as this publication’s writing is Troy Little’s pencilling, which absolutely excels in depicting all the storyline’s action. Of particular note though, are the incredibly well-pencilled antics of Petalebutt, whose facial gestures when he has either been partially-disintegrated from the waist down by a hungry jelly, or trying to read a just out-of-reach tome in the Greyhold Library, are utterly hilarious to peruse.

Written by: Patrick Rothfuss & Jim Zub, Art by: Troy Little, and Colors by: Leonardo Ito

Rick And Morty Verses Dungeons & Dragons #3 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS No. 3, November 2018

For those readers able to wade through this twenty-five page periodical’s opening dialogue-driven half, there’s an incredible amount to enjoy in “Reality Bites (For 3D6+1)”. Indeed, once Kiir Bravian’s band of adventurers encounter their first wandering monster, Patrick Rothfuss & Jim Zub weave an incredibly entertaining narrative, which is not only absolutely packed full of some sense-shattering Fifth Edition-inspired shenanigans. But also contains some genuine ‘laugh-out-loud’ moments, such as when the party’s pointy-eared wizard successfully goes toe-to-toe with a Half-Ogre sorcerer; “You motherf****r! I’m going to rip off your d*ck and kick it into the sun! Who the f**k plays an Abjurer? Seriously!”

Disappointingly though, the same praise cannot arguably be heaped upon this comic’s first few scenes as Rick attempts to locate “a dimension where the Dungeons & Dragons paradigms are real” following Jerry’s unfortunate destruction of the fuming-mad scientist’s fantasy gaming simulator. Sure, there’s undoubtedly some fun to be gleaned from the family’s friction over this turn of events. However, there’s an incredible amount of word balloons to be navigated before a somewhat familiar-looking “smarmy little dice-deucing megalomaniac” of a Dungeon Master finally transports the central cast literally into the heat of battle.

Fortunately, this publication’s penmanship improves dramatically once Morty’s father surprisingly leads his family against a pair of truly massive Ogres, and with some satisfaction witnesses both his wife and children successfully overcome the super-strong monsters. This action-sequence really is enthrallingly written, and contains plenty of moments of genuine concern, courtesy of the alternative world’s visitors all being vulnerable to death should they tragically receive a fatal wound.

Suffering somewhat similarly to this comic’s storyline, Troy Little’s artwork inside Issue Three of "Rick And Morty Verses Dungeons & Dragons" is also debatably a game of two halves. The Canadian cartoonist’s pencilling prior to the lead characters’ transforming themselves into their role-playing alter-egos looks decidedly off-point when compared to the illustrator's much more detailed panels later on in the book. In fact, there’s such a marked contrast between the quality of the drawing, that some bibliophiles may well have found themselves checking the comic’s creators to see whether someone else was responsible for the early layouts.

Written by: Patrick Rothfuss & Jim Zub, Art by: Troy Little, and Colors by: Leonardo Ito

Rick And Morty Verses Dungeons & Dragons: The Meeseeks Adventure #1 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS: THE MEESEEKS ADVENTURE No. 1, February 2022

Whilst there are arguably few followers of the animated television series “Rick and Morty” who haven’t fast become fans of the blue-skinned humanoids universally known as Mister Meeseeks, Jim Zub’s decision to pen an oversized one-shot starring them somehow battling their way through Gary Gygax’s role-playing game probably had many of them scratching their heads in utter bemusement. Indeed, this comic’s opening perhaps unsurprisingly just depicts the short-lived ‘task completers’ as mindless Djinn successfully achieving the physical burdens metered out to them by a couple of fairly unimaginative, low-level thieves; “Carry that sack of loot back to town.”

Happily however, “The Meeseeks Adventure” soon shows just how badly misused a Meeseeks Box can be when Crinious Ravenscry takes a shine to her partner-in-crime’s brand new, Keltar-leather boots and asks for her own pair. The sheer hilarity which then ensues is tremendously well-penned by the Canadian author, and debatably few within this book’s audience will be able to stifle a genuine belly laugh as Blodgette Blaggard fights to keep his footwear intact – at least until the shocking moment when the determined Meeseeks turns murderously homicidal so as to achieve his goal.

The rogue’s disconcertingly brutal downfall really is incredibly impactive, and establishes an increasingly dark-humoured theme which eventually turns the lonely Meeseeks into such a dangerous killer, that even a trio of die-hard adventurers ultimately turn their back on the now foul-smelling, heavily-bearded creature before it leads their increasingly battle-weary party to a ghastly end. This ‘snowball effect’ makes for an enthralling read, especially once the bulbous headed creature summons an army of his own people and, following a tremendous attack upon an adult Blue Dragon, subsequently storms Castle Kludgemire in an effort to seize the King’s crown.

Delightfully, the Joe Shuster Canadian Comic Award-winner’s thirty-page script is made all the more amusing by some terrific tongue-in-cheek pencilling by Troy Little. The cartoonist does a tremendous job of showing each individual Mister Meeseeks wearing their respective hearts upon their sleeves, so as to ensure each member of “the cobalt-coloured death” all display their own unique personalities. In addition, the animator seems to have the perfect sense of timing when it comes to a character being ‘dispatched’, with both the demises of Ravenscry and the Castle’s Royal Guardsman doubtless catching many a bibliophile completely off-guard.

Written by: Jim Zub, Art by: Troy Little, and Colors by: Leonardo Ito

Rick And Morty Verses Dungeons & Dragons #2 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS No. 2, September 2018

Packed full of Kobolds, Bugbears, Gnolls, Displacer Beasts and even the occasional chest trap, it’s quite clear from Issue Two of "Rick And Morty Verses Dungeons & Dragons" that co-writer Jim Zub was indeed allowed to “open a Pandora’s Box of insane adventure material and iconic creatures from the granddaddy of all tabletop role-playing games” when he was asked to pen this comic’s narrative by “IDW Publishing”. But whilst this mesmerising twenty-four page tome definitely does justice to Gary Gygax’s fantasy world, it is perhaps its handling of Rick Sanchez and his obsessive power gaming which really captures the spirit of this crossover limited series.

In fact the characterisation of Morty’s grandfather is arguably indistinguishable from that depicted on the ‘adult animated sitcom’, with the crackpot scientist initially appearing to be solely dedicated to helping his dysfunctional family enjoy some increasingly dark dungeoneering, only to later reveal that the entire computer-generated escapade is simply another of his infamous ego trips; “I’m still figuring out the rules here, but even I can tell that you’re cheating dad.” This underlying motivation really encapsulates the “mad science-making grandpa”, and his desperate need to be the best at whatever he does no matter the cost.  

Of course, having been called out for being “an all-powerful immortal” wizard, Rick strikes out on his own and soon demonstrates just how insanely superior he has made his virtual avatar by nonchalantly defeating a skeletal dragon and its ghastly minions single-handedly. However, once triumphantly sat upon his throne as Dungeon Master, Sanchez soon realises that he’s missing out on the sense of achievement only attained by defeating genuine challenges with his family, and subsequently skulks back to Mudville’s local tavern to join them in a quest against some “Spriggan in the woods north of town.”

Troy Little’s contribution to these tongue-in-cheek trials and tribulations also cannot be overstated, with the Canadian cartoonist capturing the look and feel of both the television show and the fighting frenzy of an underground lair crammed full of sword-wielding Kobolds with great aplomb. Indeed, one of this comic’s highlights is the way the artist lays out the exploits of the adventurers as their monstrous encounters increase in toughness, along with the injuries they receive whilst battling them.

Written by: Patrick Rothfuss & Jim Zub, Art by: Troy Little, and Colors by: Leonardo Ito

Rick And Morty Verses Dungeons & Dragons #1 - IDW Publishing

RICK AND MORTY VERSES DUNGEONS & DRAGONS No. 1, February 2019

Promising a “crossover with one of the biggest fantasy franchises in the world” when “Oni Press” and “IDW Publishing” first announced in April 2018 that they were joining forces to craft a four-issue limited series entitled “Rick And Morty Verses Dungeons & Dragons”, this opening twenty-page periodical must have landed well with fans of either franchise when it appeared approximately four months later. Indeed, Patrick Rothfuss and Jim Zub’s narrative for “Rick Rolling” seemingly captures both the enigmatic energy of co-creator Justin Roiland’s animated world and the tabletop role-playing game with consummate ease; “I’m your D&D sh-uuuuurp- Sherpa, Morty. I know this game inside and out. All the modules. I made a Bard back in the old days, Morty.”

Foremost of these irresistible hooks has to be the excellent characterisation of Rick Sanchez’s always agitated grandson, whose endless quest to “get laid” suddenly throws the youth headlong into a hobby mall packed full of Gary Gygax’s most famous old school publications. Desperate to win the adoration of shop girl Annika, the fourteen-year-old frantically tries to unsuccessfully get his head around the contents of the Player’s Handbook within the space of a few hours, and subsequently finds himself asking for his maniacal grandfather’s assistance to build him “a brain-hat… And learn Dungeons & Dragons!”

Of course, having sought to teach Morty using the tried and tested method of rolling dice with a group of fellow (aged) adventurers, Rick decides the best thing to do is reconfigure the Roy arcade machine at Blips and Chips in order to provide Smith with a virtual venture. This action-packed sequence is arguably the highlight of the comic, as Morty somewhat impressively hacks his way through a countryside packed full of the Undead until he 'critically fumbles' and inadvertently skewers Sanchez with his double-handed sword.

Adding enormously to this book’s palpable sense of humour is Troy Little’s artwork, which manages to capture both the television cartoon’s aesthetic, as well as the reckless dynamism of Rick’s impulsive scientific shenanigans, with prodigious aplomb. The Canadian artist’s illustrations are especially noteworthy inside this comic’s Director’s Cut Edition, where the Prince Edward Island-born penciler’s work-in-progress pages are fascinatingly printed directly alongside Rothfuss and Zub’s original scripts.

The regular cover art of "RICK AND MORTY VERSES DUNGEONS & DRAGONS" #1 by Troy Little