Space Ghost #8 - Dynamite Entertainment

SPACE GHOST No. 8, December 2024

For any fans of the “Hanna-Barbera Productions” mid-Sixties “American Saturday-morning superhero animated television series”, David Pepose’s introduction of the mass-murdering Metallus at the start to Issue Eight of “Space Ghost” probably did live up to young Jace’s claim that “this is like every Birthday and Christmas rolled into one.” In fact, the American author manages to cleverly establish an incredibly dark tone to this comic, by initially showing its titular character openly enjoying himself battling a supposedly nameless band of deep-space pirates, only to suddenly discover he is actually facing the former “War Captain of the Galactic Federation” who murdered Dax's entire family on the planet Vector.

This shocking revelation genuinely reverberates throughout the twenty-two page periodical, predominantly by it transforming a slightly overconfident cosmic vigilante into an arguably unthinking, reckless avenger, who just repeatedly hurls himself physically at his arch-nemesis without any plan of action. Such blind anger should really strike home to this book’s audience just how much pain and hurt the costumed crusader still carries for his lost loved ones, as well as making it incredibly clear just how different this ongoing series’ storytelling tone is from the old aforementioned cartoons shown on the CBS network approximately sixty years ago. 

Equally as intriguing as this publication’s plummet into the depth’s of Space Ghost’s rage is its depiction of his adolescent sidekicks - who together also provide a notable lesson in being a tad too self-assured in one’s own abilities. The notion that Robo-Trooper A-X-8’s severed head could still pose a severe threat to the children doesn’t enter the mind of Jace, who even rebukes his sister for suggesting such a thing. However, it soon becomes clear that Metallus is using his damaged droid for his own purposes, and demonstrates that just like Dax, the young wannabe heroes have acquired an unhealthy does of hubris following their recent victories; “Yes -- I’ve been aware of your clumsy intrusions ever since you reactivated my loyal soldier.”

Undoubtedly helping to add even more captivating drama to all these proceedings is penciller Jonathan Lau and colorist Andrew Dalhouse. Together, the creative team genuinely deliver some stand-out moments within this magazine, such as when Space Ghost is startled to hear the Iron General’s machines voicing precisely the same ‘mantra’ as they did when destroying his own planet, and the very evident anguish etched across the central protagonist’s face whenever he sees General Metallus.

Writer: David Pepose, Artist: Jonathan Lau, and Colorist: Andrew Dalhouse

Space Ghost #7 - Dynamite Entertainment

SPACE GHOST No. 7, November 2024

Definitely managing to keep this ongoing series’ storylines refreshingly different, David Pepose’s twenty-two page plot for Issue Seven of “Space Ghost” must surely have thoroughly entertained the comic’s audience back in November 2024 with its heartfelt spotlight upon Blip. True, Jan and Jace's pet primate is admittedly changed into an English-speaking animal for the vast majority of this publication in order to help facilitate its readers understanding him. But such is the American author’s convincing delivery of the Creature King’s nefarious Encephala-Ray, that few onlookers won’t be convinced by the Robo Corp built beam’s temporary transformation; “Don’t worry, old friend -- You’ve taken care of me long enough. Now it’s my turn to take care of you.” 

In addition, this book’s basic narrative of “our human heroes” being imprisoned upon a mysterious planet where its intriguingly eclectic menagerie of beasts rule with an iron paw proves incredibly enthralling; especially once it becomes clear that the titular character’s powerful wrist gauntlets are apparently no longer functioning. Coupled with the disconcerting notion that the cosmic vigilante is rapidly degenerating into some sort of lesser-functioning sub-human, and events really do not look too bright for “Hanna-Barbera Productions” costumed creation.

Furthermore, Blip isn’t simply depicted as being some all-powerful protagonist either. But rather still a somewhat physically frail Capuchin monkey who very much needs the help of a badly-battered Jace, as well as a sizeable slice of luck, to succeed in toppling the tower housing the aforementioned Encephala-Ray. This vulnerability arguably makes the tiny sidekick’s mission all the more exciting, and genuinely suggests the possibility in the mind’s eye that the little fellow could actually fail at any moment.

Lastly, it’s difficult to find any fault with Jonathan Lau’s artwork for this periodical, with “the resident artist at Dynamite Entertainment for more than a decade” appearing to take a page out of Jack “King” Kirby’s notebook when it comes to quickly creating a wealth of varied and colourful extra-terrestrial life-forms. Indeed, the first splash page to feature the so-called Creature King upon his throne, surrounded by multi-eyed monsters and a wooden cage filled with ragged-looking people, instantly establishes that the Space Ghost has landed on a world unlike any other he has so far encountered.

The regular cover art of "SPACE GHOST" #7 by Francesco Mattina

Space Ghost #6 - Dynamite Entertainment

SPACE GHOST No. 6, October 2024

Whilst many within this comic’s audience may well disagree with the New Jersey-based publisher’s claim that its narrative ‘ratchets up the tension’, Issue Six of “Space Ghost” certainly shines a disconcertingly dark spot on the dysfunctionality of the titular character’s relationship with young Jace following “the shattering events” of the ongoing series’ previous instalment. In fact, for the vast majority of this twenty-two page periodical, the hero’s former side-kick spends most of his time simply sat in shadows scribbling down just how miserable he feels inside a handwritten journal; “I should consider myself lucky that he didn't cut us loose after everything that happened. After what I did to Zorak.”

Fortunately for those readers who enjoy a good fist-fight though, David Pepose at least appears to try to keep this book from being too bogged down with the boy’s feelings of worthlessness, by pitting “Hanna-Barbera Productions” creation against the utterly mad Moltar. This fire-obsessed maniac genuinely brings a palpable sense of deadliness to the publication’s proceedings, and actually appears perfectly capable of besting Dax’s costumed alter-ego if the cosmic vigilante isn’t too careful.

The American author also does a first-rate job in penning a reasonably straightforward scheme for his villain-of-the-piece to achieve, courtesy of the fire-proof fanatic’s strangely polite verbal agreement with the evil Doctor Xander Ibal, and this resultantly allows him to spend a good portion transforming the leader of the Magma Men into a much more rounded antagonist than perhaps that seen during the 1966 animated cartoon television show. Furthermore, the massively destructive desperado, who seemingly likes nothing better than to stand in the middle of a large-scale lava eruption, is clearly capable of using his brains as well as brawn, when scientifically “calculating the melting temperatures” of Space Ghost’s force fields. 

Similarly as successful in adding a genuine feeling of heat to this comic are Jonathan Lau’s layouts. The artist appears particularly good at pencilling plenty of convincing lava discharging all over the place, as well as showing how somewhat bulky and cumbersome Moltar is when walking around the likes of Contra Industries in his garishly coloured, somewhat ill-fitting costume. Perhaps the illustrator’s finest moment though comes somewhat quietly towards the end of this book, when he tucks away a truly endearing, emotional embrace between Jace and Dax into a bottom corner panel.

The regular cover art of "SPACE GHOST" #6 by Francesco Mattina

Space Ghost #5 - Dynamite Entertainment

SPACE GHOST No. 5, September 2024

It’s probably fair to say that David Pepose’s storyline for Issue Five of “Space Ghost” may well appear a little rushed for a twenty-two page conclusion to a much-hyped “impossible battle”. Indeed, despite the comic’s intoxicating pace and adrenalin-fuelled action sequences, some readers may well feel that the titular character defeats both Zorak and the alien’s fanatical Cult of Lokar a little too easily for their liking; “I know you’re scared, son -- But you saved us all. If you hadn’t stepped in, I’d be dead…”

These doubts as to just how convincingly this comic’s plot plays out arguably begins almost from the start too, when Hanna-Barbera Productions’ cartoon creation quickly kneels in supplication before his arch-nemesis, and fully co-operates with the multi-limbed lunatic’s plan to open the universe up to the feeding frenzy of a gigantic extra-dimensional locust deity. Now admittedly, at the time the Dokarian is about to horribly kill Jan and Jace in a vacuum chamber if his orders aren't obeyed. But Dax’s submission is so startlingly swift, that he appears to instantly give up the fight without any thought as to the fact he’s surrendering the lives of the entire galaxy for the sake of just two people.

Similarly as sudden and unpersuasive though is debatably young Jace’s decision to quit being a sidekick because he zaps Zorak just before the maniac can fatally stab Space Ghost in the back with a blade. It’s clear this moment has a dramatic impact upon the ordinarily happy-go-lucky boy, and in many ways is really well-penned by this book’s author. However, it’s certainly not the first time the lad has blazed away at his opponents with a laser gun, including the escaped convicts who recently beat him semi-senseless, so just why this particular death affects him so very badly is a bit unclear – and resultantly seems somewhat forced for theatrical effect.

By far this publication’s best element therefore is Jonathan Lau’s phenomenal pencilling, which does a fantastic job in showing just how desperate the situation becomes once the central protagonist unwisely chooses to aid his long-time opponent. Furthermore, the artist does a great job in showing just how physically undersized and underpowered the children actually are when it comes to tussling with their much larger, adult captors.

The regular cover art of "SPACE GHOST" #5 by Francesco Mattina

Space Ghost #4 - Dynamite Entertainment

SPACE GHOST No. 4, August 2024

Many a reader may well feel that publisher “Dynamite Entertainment” were probably being overly-boastful when they announced that “danger and excitement expand like a supernova” inside this particular twenty-two page periodical. But David Pepose’s storyline for Issue Four of “Space Ghost” absolutely nails it, blending high-octane action with a seriously disconcerting twist that sees poor Jan, Jace and Blip battling for their very lives against their masked mentor’s greatest enemy; “We couldn’t stay behind -- There were hostages on Grax-3. But I swear to you… We didn’t know it was him."

Leading this palpable assault upon the audience’s senses has to the introduction of the mentally-deranged mass-murderer Zorak, whose terrifying penchant for mutilating hapless humans establishes the character as being a million miles away from the goofy-looking animated space mantis voiced by Don Messick during the late Sixties. Indeed, this modern-day incarnation of the Dokarian is enthrallingly ruthless, and completely captures all the attention whenever he makes an appearance – whether that be hacking a fallen prison warden to death with a homemade hand-scythe, or fervently leading his army of fanatical Zorathian warriors to a hollow victory over some defenceless scientists.

Just as good though, is arguably the Guardian of the Spaceways’ fisticuffs with the wonderfully envisaged Titanor. This huge, cyclopean robot makes for a truly menacing foe, who quickly establishes that he won’t be quickly beaten by the hero’s famous all-powerful energy bands. In fact, for once it momentarily looks like Space Ghost’s occasional hubris may well have got the better of the super-powered protagonist, as he is forced to quite literally dig deep so as to overcome the seemingly invincible metallic might of his opponent.

Similarly as successful as Pepose’s prodigious penmanship is also Jonathan Lau’s lavish layouts. Whether it be projecting Zorak’s sheer insanity straight off of the printed page, or showing the total desperation of his perilous predicament in the jawline of an increasingly bruised Dax, the “exclusive illustrator” does a first-class job. Furthermore, due to the downtrodden look sketched into their demeanour, many a reader will doubtless sense the sheer terror emanating from Jan and Jace as the two children inadvertently fall straight into the Harbinger of Slaughter’s death-dealing claws.

The regular cover art of "SPACE GHOST" #4 by Francesco Mattina

The Terminator #1 - Dynamite Entertainment

THE TERMINATOR No. 1, October 2024

Announced by its New Jersey-based publisher at San Diego Comic-Con, this “blockbuster Dynamite series” clearly had a lot to live up to when it first hit the spinner rack in late October 2024. And fortunately for those numerous fans of James Cameron/Gale Anne Hurd’s billion-dollar franchise, Declan Shalvey’s script for Issue One of “The Terminator” definitely delivers. Indeed, few of this twenty-two page periodical’s readers won’t come away from devouring the book without feeling something for poor Harper and his beloved wife Penny, following their rollercoaster of a ride through adulthood together.

To begin with however, the “acclaimed” creator’s storyline seemingly suggests “Out Of Time” will follow an entirely different route, with an aged woodlander apparently enjoying a spot of fishing in the large pond situated just away from his family’s log cabin. This idyllic moment of peace is then ruined by the old-timer hooking a piece of metal, which appears to be part of a long-destroyed T-800, and nonchalantly throwing it to the side of his boat as he stares into the silently still water. Of course, the potential for such a set-up is for one of Skynet's first cybernetic organisms to suddenly come racing up out of the depths, overturn the poor man’s boat, and mercilessly murder him. But rather cleverly, the Irish author subverts such expectations with a much grander overall storyline.

In fact, for many a bibliophile this comic’s flashback sequence, showing a much younger Harper and Penny fleeing the Pacific Motel in 1979, is just as mesmerizingly penned as Shalvey’s more current plot-thread set in Alaska. True, the newly-wedded couple’s flight from their shadowy stalker has already started, due to the frightening figure murdering both their parents in the recent past. Yet the sheer, pulse-pounding sense of desperation depicted in these scenes as the pair pack some suitcases and charter a small plane to safety is still truly palpable; “This psycho has managed to find us wherever we run to. Always nipping at our heels.”

Most definitely adding to this book’s momentum are artists Luke Sparrow and (Colourist) Colin Craker. Together the duo proficiently provide both the tale’s leading cast with bags of empathy, and should subconsciously cause the odd reader to legitimately mourn with Penny when the elderly woman realises the T-800 has finally killed her husband. In addition, the sheer sense of exhilaration emanating from the panels depicting the flesh-covered endoskeleton desperately attempting to tear his targets from out of a moving aircraft, is quite literally breath-taking.

The regular cover art to "THE TERMINATOR" #1 by Declan Shalvey

Space Ghost #3 - Dynamite Entertainment

SPACE GHOST No. 3, July 2024

Filled full of family feuding, near-fatal feminine wiles, and a bucket load of diabolical double-dealing, David Pepose’s storyline for Issue Three of “Space Ghost” should have ticked plenty of boxes with its audience upon the comic’s release in July 2024. Indeed, besides the titular character making a somewhat dubious decision to listen to his two understandably naïve sidekicks rather than trust in his own experience as a veteran crime-fighter, there isn’t much wrong with the award-winning writer’s twenty-two page plot at all; “Ten million credits has a way of illuminating one’s priorities, young lady.”

Foremost of these successes is arguably the well-fleshed out villain-of-the-piece, the seductive Widow, who completely captures the audience’s attention with her super-slick deadliness whenever the immoral madame appears. Able to mentally control the killer tentacles of numerous Venusian Spider Plants, as well as “manipulate any [other] botany in the vicinity”, the inter-galactic criminal conveys a persistent, genuinely palpable sense of peril for anyone foolish enough to stand in her way – and that includes both the titular character, as well as his masked entourage.

Likewise, the comic contains some truly gratifying emotional moments, where the likes of Dax, Jan and Jace all take a good look inside themselves to establish just what is the most important thing in their lives. This reflection upon what motivates them is especially important for Space Ghost's young female ward, who so impresses the treacherous Widow with her level-headedness that she is offered “a life of untold power” if the girl agrees to leave her blindsided mentor behind, and betray him to Robo-Corp.

Quite definitely also adding to this book’s beguiling storytelling is artist Jonathan Lau, who quite brilliantly gets the tome off to a pulse-pounding pace by pencilling a wonderfully-dynamic gun-fight between the main protagonists and a horde of blaster-toting Lizard Slavers. In many ways it’s actually a pity that this laser-fest doesn’t carry on for a bit longer. But the sheer ‘noise’ this ferocious fracas creates in the Mind’s Eye then contrasts really well with the need for stealth and absolute silence later on, when the heroes need to quietly infiltrate Robo-Corp’s Central Mainframe via a network of access corridors.

The regular cover art of "SPACE GHOST" #3 by Francesco Mattina

Space Ghost #2 - Dynamite Entertainment

SPACE GHOST No. 2, June 2024

It’s probably a safe bet that many a reader of David Pepose’s twenty-two page plot for Issue Two of “Space Ghost” wasn’t expecting the American author to take them on a genuinely emotional journey back to when the “Hanna-Barbera Productions” animated super-hero was just plain old family-doting father Dax. However, not only does the former crime reporter impressively do just that, he also manages to pen an enjoyably pulse-pounding central storyline which sees the mysterious titular character recruit recent orphans Jan and Jace as his unlikely sidekicks; “If we do this, you follow my lead -- There’s no room for recklessness.”

Admittedly, some critics might point out that all this publication’s harrowing loss of immediate family members does somewhat smack of Bob Kane’s origin for Batman and Robin - especially when it results in the cowl-clad protagonist asking his new found adolescent helpers to don their own colourful costumes and face masks. But whereas the Dark Knight’s grounded backstory is inescapably entwined with the seedy streets of downtown Gotham City, this ‘fresh take’ on the intergalactic crime fighter heavily leans into all things science fiction, including a seemingly unstoppable energy creature.

In addition, this comic intriguingly shows Jan and Jace rescuing Space Ghost from both a gruesome death and his own inner demons, as opposed to the all-powerful vigilante saving them. This delightful nod to the children’s talents neatly highlights that the kids’ relationship with their mentor won’t be boringly one-sided, and that they’ll actually be bringing certain specialisms of their own to the partnership. Furthermore, Pepose even somehow manages to give the cybernetically-enhanced monkey Blip a moment in the spotlight, by having the pet “organ grinder” masterfully fire a pair of particle cannons at an increasingly formidable opponent. 

Just as successful as this book’s sense-shattering script is Jonathan Lau’s artwork and Andrew Dalhouse’s colours. Together the pair of creatives do a masterful job in depicting poor Dax with all the haunting gravity a bibliophile might expect of a man who instantly loses his beloved family and wife during a devastatingly evil attack upon their planet. The “exclusive penciller at Dynamite Entertainment" is also exceptional when it comes to showing just how much fun the younger cast are having during their adventure, even when the pressure on them to succeed is dangerously high.

The regular cover art of "SPACE GHOST" #2 by Francesco Mattina

Space Ghost #1 - Dynamite Entertainment

SPACE GHOST No. 1, May 2024

Announced by “Dynamite Entertainment” in December 2023, this opening issue to an “action-packed series” penned by David Pepose clearly built up a solid fanbase when it was first published some sixteen weeks later - becoming the thirteenth best-selling title of the month according to “ICv2.com”. True, the “award-winning writer” doesn’t spend much time at all explaining just why poor space colony Omicron has become the target of mass-murdering space pirates. But that’s just part of this twenty-two page periodical’s initial hook, as its largely bewildered audience are only fed the odd scrap of information whilst the adrenalin-fuelled action continues to ramp itself up.

Furthermore, the entire story is arguably told from the somewhat naïve viewpoint of adolescents Jan and Jace Keplar. This wholly innocent perspective genuinely adds some extra “KATHOOOM” to proceedings, as every threat, curse and weapon discharge appears even more calamitous through their eyes. Indeed, due to the pair of children witnessing the horrific demise of their hapless father shortly after this comic starts, the entire publication appears to take both the young antagonists, as well as the utterly enthralled audience, on a serious rollercoaster ride packed full of dramatic physical exertions and excruciating emotional trauma.

In addition, to make matters even more intriguing, the “former crime reporter” seems to keep the titular character well in the shadows for a significant portion of his book. This actually does generate some enjoyable doubt within the mind of the reader that perhaps this particular incarnation of “Hanna-Barbera Productions” creation might be a little darker than that seen on the small screen during his animated cartoon series in the Sixties. It also quite nicely helps sell the suggestion that the two kids don't even know just who their would-be rescuer is – making their headlong flight from the caped super-hero straight into the hands of some corrupt Galactic Patrolmen even more believable.

Lastly, the pulse-pounding pencils of Jonathan Lau are well worth mentioning, seeing as his layouts do a truly stellar job in depicting all the chaos and fear filling the children’s previously perfect world. In particular, the “superstar artist” clearly knows how to sketch someone throwing a formidably-strong punch straight into an opponent’s side or a corrupt cop getting roasted alive by a spaceship's engine blast; “Not after you spend the next six months in traction!”

The regular cover art of "SPACE GHOST" #1 by Francesco Mattina

Unbreakable Red Sonja #1 - Dynamite Entertainment

UNBREAKABLE RED SONJA No.1, October 2022

Whilst author Jim Zub made it clear in August 2022 that he intended to push Red Sonja to her “breaking point with intense physical and emotional tolls” during this “new epic” series, it probably never occurred to many of the sword and sorcery adventurer’s fans that this would include the Hyborian Age warrior suffering a seriously heavy hangover throughout its opening instalment. Indeed, it’s arguably difficult to recollect Roy Thomas’ co-creation ever being so violently sick or as utterly unconscious due to her drinking alcohol, as the Eisner Award-nominee depicts her within this twenty-two-page periodical; “Shut your dog hole! I can count my own drinks, you mutts!”

Furthermore, up until the moment when “our scarlet-haired hero” completely passes out down a dingy alleyway, such substantial swigging doesn’t seem to even help progress this publication’s puzzling plot either, with the Hyrkanian warrior repeatedly needing to suddenly sober up whenever her wits are needed. This inebriated inconsistency initially suggests that perhaps the "She-Devil with a Sword" was actually toying with her initial drinking companion before the ill-thinking paramour unwisely attempted to steal her purse. Yet shortly after the “sword-master” has angrily stomped away from a market-place prophet, she is once again assailed by the ravages of her seven-flagon strong binge.

Perhaps therefore this comic’s most persuasive hook surprisingly lies at its very start when Red Sonja doesn’t even appear. Instead, the reader is introduced to a group of prospective treasure hunters forging through some long-forgotten halls and encountering a deadly wall of ever moving sand which literally cuts the hand from one of them who momentarily touches it. This exploration sequence is utterly riveting, and with the suggestion that a painful death lurks within every shadow, it debatably comes as a major disappointment when the group are lethally whittled down to just its sorceress within a score of panels.

Illustrator Giovanni Valletta must also be congratulated for making this dungeon delving devilry a riveting experience, due to the freelancer’s prodigious ability to pencil the arrogant confidence of the thieves being eroded away by the dangers facing them. In addition, once "one of Dynamite's flagship stars" does take up her blade at this publication’s very end, there can be little doubt just how great her prowess with a sharp steel edge is, as the artist dynamically draws her clashing with a giant, zombie-like creature of vapour and flesh.

The regular cover art of "UNBREAKABLE RED SONJA" No. 1 by Lucio Parrillo

Red Sonja: Age Of Chaos #6 - Dynamite Entertainment

RED SONJA: AGE OF CHAOS No.6, June 2020

Essentially consisting of one publication-length pitched battle between Red Sonja and Purgatori, this concluding instalment to Erik Burnham’s marvellous six-issue mini-series must surely have left its readers breathless on account of its sense-shattering shenanigans. Indeed, the “Dynamic Entertainment” pre-print press release for this particular comic declaring it to be a sensational confrontation between a “literal she-devil” and the “She-Devil with a Sword” is absolutely spot on, as the pair savagely batter one another with talons and blade for almost the entirety of the twenty-age periodical.

Enjoyably though, this flurry of supernatural-powered fisticuffs doesn’t lead to a senseless array of blood-soaked set pieces designed to pad out this book to its conclusion. But rather presents a nicely-paced number of opportunities for members of this title’s extensive cast to make one last impact upon the titanic tussle taking place over Kulan Gath's amulet; “Don’t seem to be healing, which means I’m about to go away for a while. But Smiley and I hold a grudge. So before we go, we have a present for you… Take the power and use it to shove that sword into whatever hole you feel like…”

These ‘cameos’ are admittedly somewhat restricted to simple depictions of Jade, Sakkara, Catherine Bell and Chasity relocating back to their proper place in the planet’s timeline. However, the likes of Evil Ernie and Lady Demon make a real contribution to the comic’s narrative, both reminding its audience as to precisely why the Hyrkanian warrior’s victory is so fundamental to the world’s survival, as well as Sonja’s motivation for disconcertingly wishing her sorcerous arch-nemesis to be resurrected from the dead into an already rotting cadaver.

Adding an astonishing amount of palpable energy and dynamism to these pulse-pounding proceedings are Jonathan Lau’s incredibly dramatically-drawn layouts. Barely a panel has been pencilled which doesn’t in some way contain a painful reminder to any perusing bibliophile that a mere mortal is facing off against an extremely powerful vampiric creature of evil, and so by the end of the pair’s fraught fight, all of its observers are probably almost as physically tired from scrutinising the intense action-packed conflict as Roy Thomas’ co-creation clearly is having fought throughout it.

The regular cover art of "RED SONJA: AGE OF CHAOS" No. 6 by Lucio Parrillo

Red Sonja: Age Of Chaos #5 - Dynamite Entertainment

RED SONJA: AGE OF CHAOS No. 5, July 2020

For those readers who enjoy an abundance of decapitations or grisly bodily dismemberments inside their comic books, Erik Burnham’s script to Issue Five of “Red Sonja: Age Of Chaos” must have entertained them enormously with its seemingly endless carousel of sword-hacking and arm-ripping shenanigans. In fact, many within this twenty-page periodical’s audience would probably struggle to recall another title the safe side of a Teen-rated publication which contains quite so many flying heads and severed limbs as the “Minnesotan writer” manages to weave throughout this mini-series’ particular instalment.

Happily however, such graphic violence isn’t simply gratuitous nonsense either, and actually helps progress a truly pulse-pounding plot which predominantly focuses upon the titular character’s headlong dash across the Great Desert of the East towards a long-hidden temple in order to “resurrect an infamous Necromancer.” True, Chasity’s shocking beheading doesn’t surprisingly keep the “half-breed” vampire out of the action for too long, but the gruesome demise of Red Sonja’s travelling companion certainly spurs the Hyrkanian warrior on to some truly breathtakingly brave moments whilst fighting “a newly powered Purgatori”.

In addition, the death of Brian Pulido’s mohawked co-creation, alongside that of Jade, provides the hilarious Evil Ernie with two ready-made puppets with which to claim Kulan Gath’s highly-sought after talisman. Indeed, the green-glowing drones’ attack upon Purgatori and Sonja produces some of this comic’s most memorable actions sequences, including a genuine laugh-out-loud moment when the “She-devil with a Sword” unflinchingly dispatches her resurrected friend with a merciless sword-swipe much to Chasity’s chagrin; “Just make it fast, huh? And then put that amulet on my corpse… Geez, didn’t take much convincing…”

Imbuing this book’s impressive “Chaos! library of characters” with plenty of animated life, even those which are noticeably Undead, is artist Jonathan Lau, whose pencilling goes a great way to depicting the sheer speed of the events which Burnham has penned. One moment Red is furiously fighting off a frenzied horde of blood-drinking thralls, and then in the next a revitalised Jade is making more martial art moves against Lucifer’s bride-to-be than the human eye can possibly follow before the four thousand year-old vampire-sorceress has her limbs vividly torn out from their sockets.

The regular cover art of "RED SONJA: AGE OF CHAOS" No. 5 by Alan Quah

Death-Defying 'Devil #5 - Dynamite Entertainment

DEATH-DEFYING 'DEVIL No. 5, December 2019

Initially appearing, for all intents and purposes, as an issue-long punch-up between this comic’s titular character and Lucifer himself, Gail Simone’s script for this final instalment to her “Death-Defying Devil” mini-series probably caught a fair few of the book’s readers off-guard with its subtle shift in focus away from the fisticuffs. In fact, the American author’s script for this twenty-two page periodical rather cleverly brings some clarity to much of this title’s lengthy story-line, as it becomes increasingly clear that Bart Hill’s battle “to protect the residents of the Winslow House from the evil that wants their home” was never really about the physical fighting, but more about him building up an unassailable bond of trust with the buildings numerous tenants.

Of course, that doesn’t mean for a second that the costumed crime-fighter doesn’t spend a fair proportion of this publication trading blows with the personification of evil, or rather reeling from a veritable torrent of flesh-rending claw-swipes, hoof-stomps and bone-cracking grapples. However, arguably the real action actually takes place on the haunted dwelling’s main porch, as Satan’s son tries to shatter the strong sense of loyalty the vulnerable inhabitants have developed for the masked vigilante by offering them their heart’s deepest desire in return for just three words - “I rebuke him.”

Such emotional turmoil really is at the heart of this wonderfully penned piece, with each member of Simone’s supporting cast seeming to have an awful lot to gain by making a deal with the devil, and it genuinely appears that at any moment one of the residents will finally give in to the ‘once in a lifetime’ opportunity. Indeed, just as a badly bloodied Bart haplessly lies at the feet of his apparently victorious, horned opponent and all appears lost, it is the solidarity of Staff Sergeant Crouse, Roberto, Yolanda, Mister Tubbins, and Miss Thomas which ultimately wins through to send an impotent Mister Bedlam and his weakened father straight back to Hell.

Providing this comic with plenty of dynamically-drawn action-packed panels, as well as prodigiously portraying the internal struggles upon the pained faces of this comic’s “good people”, is Walter Geovani. The Brazilian visual artist really does help imbue “Devilson” with all the haughty arrogance and overconfidence a bibliophile would expect from Satan’s offspring, and the wicked creature’s eventual disbelief at being outplayed at his own deceitful game is undoubtedly the highlight of this book.

The regular cover art of "DEATH-DEFYING 'DEVIL" No. 5 by Inhyuk Lee

Red Sonja: Age Of Chaos #4 - Dynamite Entertainment

RED SONJA: AGE OF CHAOS No. 4, April 2020

Packing his narrative’s twenty pages with plenty of pulse-pounding pugilism, Erik Burnham’s storyline for Issue Four of “Red Sonja: Age Of Chaos” must surely have catered for all the varied tastes of this mini-series’ audience, whether they be fans of the titular character, Chastity Marks, Evil Ernie, or Purgatori. For despite this particular instalment of the Minnesota-born writer’s epic collaboration between Roy Thomas’ co-creation and some of the more supernatural inhabitants of the “Chaos! Comics” universe arguably starting off a little slowly as the She-devil with a sword surveys the streets of Kor, the sheer slug-fest which quickly follows her meandering does a first-rate job of incorporating all of this publication’s leading cast in its senseless slaughter.

Indeed, from the moment Red Sonja and her “punk rock fan turned vampire” companion startle the sorcerer Barent within his somewhat secluded “place of business” and unleash the ghost of the long-dead seer Xoret upon the tiny viewing room’s occupants, this book’s delightfully fast-paced action-sequences simply won’t let its readers off of the hook until its excellently-penned cliff-hanger when the couple are depicted being hotly pursued by a horde of the ravenous undead across the narrowest of ravine crossings; “I can hold off a mob of vampires long enough for you to dump some blood on the thing. Wait? -- How much blood?”

Easily this comic’s highest highlight however, is Evil Ernie’s utterly fantastic dust-up with Purgatori “hundreds of miles to the west”. This truly is a no-holds barred brutalisation as the ghoulish psychotic killer tries his absolute best to go toe-to-toe with Sakkara, and eventually discovers that even being armed with an enormous zombie dragon is not going to give him the edge needed to overcome Lucifer’s one-time winged consort. Crammed with some genuinely funny banter, as well as plenty of back-chat from Smiley the Psychotic Button, Fairchild’s fight delivers some savage edge-of-the-seat moments, and provides the “Dynamite Entertainment” resident artist, Jonathan Lau, with the opportunity to pencil some stunningly dynamic panels, most notably that of Purgatori being swallowed whole by Ernie’s flying beast and then her tearing the putrefying creature asunder from the inside out in an attempt to be free of its unholy stomach.

The regular cover art of "RED SONJA: AGE OF CHAOS" No. 4 by Lucio Parillo

The Boys: Dear Becky #1 - Dynamite Entertainment

THE BOYS: DEAR BECKY No. 1, April 2020

What with Amazon Prime's Television adaptation of “The Boys” having recently been greenlit for a second season, admirers of Garth Ennis and Darick Robertson’s “world where superheroes exist” probably weren’t all that surprised when the duo announced in January 2020 that they were going to produce a comic which would “focus on Becky Butcher, the wife of Billy Butcher, whose death sets off the events of the series’ original ninety-issue run.” But having “never intended to do more with The Boys” for so long, its arguably clear from the Holywood-born writer’s narrative for Issue One of “The Boys: Dear Becky” that the collaborative partnership were somewhat short on ideas when it came to bringing this “fresh material to the new readers as well as a treat for the original fans.”

To begin with absolutely nothing at all happens within this twenty-two page periodical until half-way through when a somewhat inebriated Hughie Campbell finally staggers home during the night and opens a mystery parcel sat waiting for him upon the kitchen table. Up until this point, all the multiple Eisner Award-winner pens is expletive after expletive, as his limited cast desperately try and verbalise every colourful metaphor known to humankind during an incredibly protracted, dialogue-heavy drinking session; “Ye’re no’ in any rush, then. Last one? What’ll we drink to?”

Disappointingly however, even this sudden change of pace is hardly for the better, as Ennis’ penmanship more than lives up to this comic’s “mature” rating, by depicting a hapless ten-year old boy having his tongue gratuitously cut out by the leader of the Boys with a razor blade in a restroom. So shocking a scene, absolutely thick with oily slicks of blood and the child’s anguished screams, is genuinely harrowing to read, yet appears to pale in its impact upon "Wee Hughie" when compared to the character’s paralysing realisation that the supposedly long-dead Butcher is directly addressing him through the pages of Becky’s diary.

As a result perhaps this book’s only saving grace is the excellent artwork of Russ Braun, whose marvellously clean-lined pencilling makes even the laborious discourses in McCluchs public house, and then later on the beach, bearable. In fact, it is clear from the former “Walt Disney” animator’s lay-outs just why Nick Barucci, “Dynamite Entertainment” CEO and publisher, publicly declared his delight that the illustrator would “return to draw the series too.”

Written by: Garth Ennis, Illustrated by: Russ Braun, and Coloured by: Tony Avina

Death-Defying 'Devil #4 - Dynamite Entertainment

DEATH-DEFYING 'DEVIL No. 4, November 2019

Having finally started to ‘rationalise’ the utterly bizarre happenings occurring within Winslow House with her script to Issue Four of “Death-Defying Devil”, Gail Simone probably felt a little hard done by that this title was only the three hundred and forty-seventh best-selling comic book in December 2019. True, the GLAAD Media Award-nominee’s slightly choppy narrative still lurches in between the modern day world and a universe populated by a little girl’s demon-infested flights of fancy. But at least the publication’s 2,867 readers are shown just why the child who “died when she should have lived” is haunting the residential building, even if the twenty-two page periodical doesn’t explain how the dearly departed Mika is doing it.

In addition, the Oregon-born writer also includes a rather fun nod to “Dungeons & Dragons” fans everywhere by transforming the titular character into a steely-thewed barbarian, and thrusting him into a mass battle against an entire army of Frost Goblins almost single-handedly. This sense-shattering sequence really forms the central core of this comic, and aside from its superb portrayal of a brutally bloody battle atop a frozen mountain top, also contains some much-appreciated cameos from Masquerade, the Black Terror and the Green Llama; “So we are a company, you see, not a solitary guest. Perhaps you’ve heard of them? They’ve killed enough of your kind.”

Somewhat surprisingly, for those gore fans not sated by this scene’s graphic depiction of severed heads, dismemberment and splattering of brains, Simone then later repeats Bartholomew Hill’s apparent predilection for gratuitous violence, by having the costumed crime-fighter mercilessly butcher a number of hot-headed demons with his infamous razor-sharp boomerangs. To be fair, this modern-day, street-level skirmish is probably far closer to the original concept of the “public domain Golden Age character” than the vast majority of this mini-series’ plot has produced so far. Yet it is still somewhat disconcerting to witness a so-called super-hero gleefully decapitate hoodlums, even when they’re torch-waving, red-skinned demons.

Helping inject this book’s outlandish storyline with some dynamically-drawn action and just the odd bucket of blood, is Walter Geovani, who alongside colorist Adriano Augusto, does a prodigious job illustrating Daredevil’s peculiar exploits. The “Brazilian visual artist” seems especially talented at pencilling large formations of warriors, and as a result there is a genuine feeling of great scale to his representation of Bart’s aforementioned confrontation with the vile Goblin King.

The regular cover art of "DEATH-DEFYING 'DEVIL" No. 4 by Inhyuk Lee

Warlord Of Mars Attacks #1 - Dynamite Entertainment

WARLORD OF MARS ATTACKS No. 1, June 2019

It's hard to imagine that many readers of this twenty-two page periodical disagreed with Jeff Parker’s pre-publication proclamation that “John Carter meeting the Mars Attacks! Martians may sound insane…” For whilst this convoluted crossover by “Dynamite Entertainment” supposedly “works” in the mind of the Burlington-born writer, his script for Issue One of “Warlord Of Mars Attacks” makes absolutely no sense whatsoever as it opens up with the green-skinned ‘Moonheads’ successfully breaching the outer defence barrier of Helium, subsequently depicts the self-destruction of the Red Martian City-state of the Fourth Planet, and then disconcertingly concludes with modern-day Doctor Edgar Norman suddenly sticking a gun to the back of Ramon’s head during an all-out extra-terrestrial invasion of California, so as to ensure the Jet Propulsion Laboratory visitor drives his car to Arizona rather than his mother’s underground bomb shelter.

Admittedly, all of the action set upon Barsoom is definitely both fast-paced and pulse-pounding, especially when Dean Kotz enthusiastically pencils the American Civil War veteran leaping aboard a Martian saucer, skewering its occupants with a single sword thrust and then blasting the rest of his adopted home’s invaders with the flying object’s laser guns. But even this sense-shattering sequence debatably disappoints due to being bogged down with some truly dire dialogue as the hideously cruel aliens stiltedly shout “It’s the mighty destroyer of our kind — The Warlord John Carter!” upon first seeing the dashing titular character, and Edgar Rice Burrough’s lead protagonist supposedly sums up his heartfelt affections for his soon-to-be-dead wife, the Princess Dejah Thoris, with the farewell “You are the strongest woman in all creation…”

Just as clumsily penned is Parker’s narrative portraying the Insight Lander’s safe arrival upon the surface of northern Mars from its Pasadena-based control area. Transmitted live across the television network, the scientists quickly discover that a local contest winner has easily befuddled the operation’s so-called security by simply swiping his roomie’s visitor pass and that their unmanned mission has been detected by the “power-hungry little green men.” This bizarre sequence of dialogue-heavy events arguably makes little sense and badly jars with all the aforementioned action, until it inexplicably culminates with hundreds of the Martian’s death-dealing saucers descending upon the Earth in order to blow up as many planes, buildings, cars and people as the diminutive space invaders can target; “It’s just an incredible co-incidence of timing, Dave.”

The regular cover art of "WARLORD OF MARS ATTACKS" No. 1 by Dave Johnson

Red Sonja: Age Of Chaos #3 - Dynamite Entertainment

RED SONJA: AGE OF CHAOS No. 3, March 2020

Repositioning this comic’s numerous cast within the Hyborian Age like some sort of Chess Grandmaster, Erik Burnham’s script for Issue Three of “Red Sonja: Age Of Chaos” will surely have pleased both fans of the “Chaos! Comics” Characters and the She-Devil with a sword alike. Indeed, considering that the Bemidji-born writer somehow manages to provide some of Brian Pulido and Steven Hughes’ best-loved co-creations with plenty of intriguing ‘screen time’ inside a single twenty-page periodical, this particular publication proves just how well a ‘monster mash-up’ can be penned when its writer enjoys “an extensive back and forth” with the book’s editor over story ideas.

Foremost of these enthralling ‘hooks’ is that by bringing Evil Ernie, Jade and Purgatori back to Robert E. Howard’s well-developed fictional setting, none of the super-powered beings are actually as powerful as they would be in the modern age. This levelling of the playing field clearly helps Red Sonja hold her ground against the likes of the half-vampire Chasity, and even Lady Demon up to a point, but also provides the rest of this mini-series’ ensemble with some much needed vulnerability, especially when all they are faced with is a handful of sword-wielding Hyperboreans; “Perhaps this is too much to ask of you. After all, look at how much effort it took for you to slay these few who attacked.”

In addition, Burnham adds something of an extra twist to this comic’s narrative, by actually suggesting that some of its combatants might not necessarily want to return to the present day, having “taken a shine to the savage world as an easy place to indulge their dangerous natures.” Such an innovative, motivational sub-plot seems to prove particularly appealing to a certain four-thousand year-old blood-drinking sorceress, whose opportunity to lead the ancient empire of Khitai and mould “her people over the centuries [to] make them strong” rather than simply rule a Shanghai crime family, is as captivating as Mistress Hel’s subsequent manipulation of Jade is undoubtedly perilous.

Adding some extra pizzazz to this publication’s pulse-pounding proceedings are Jonathan Lau’s illustrations, which truly help depict the utter barbarity of some of this book’s participants. Whether it be Evil Ernie delightfully spying a dragon’s corpse amidst the grisly cadavers of so many dead Vikings, or Purgatori’s gratuitous, limb-scattering skirmish with a group of rough-looking Northmen, the American artist is clearly at the top of his pencilling game throughout this comic.

Writer: Erik Burnham, Artist: Jonathan Lau, and Colorist: Andrew Dalhouse

Black Terror #5 - Dynamite Entertainment

BLACK TERROR No. 5, February 2020

There can surely be little doubt that Max Bemis’ penmanship for Issue Five of “Black Terror” will unquestionably catch a few fans of Richard E. Hughes’ co-creation completely off-guard, whether they were anticipating a somewhat hostile reaction to the pharmicist's long-overdue visit to his beloved “slip up”, Myrna, or Robby’s evident anger at a seventy-four year-old Bob Benton finally coming to see him having ignored his ‘cloned’ son for most of the heavily bearded, drug-taking deadbeat’s life; “When you despise everything around you, near-invulnerability ain’t no blessing. Thanks, Pops.” In addition, this twenty-two page periodical packs a conclusion which is not only shockingly sad in the extreme, but will irrefutably cause those who witness it to yearn for the far less emotionally complicated days of the Golden Age of Comics…

To begin with however, the New Yorker’s narrative commences with a fairly bog-standard scene depicting “the cosmonaut unaged” returning “to find the love of his life withering away” as a white-haired spinster living in a somewhat unremarkable abode. Romantically stage-managed, with artist Ruairi Coleman imbuing the titular character with all the innocent-faced, sweet-smiling charm of a bespectacled Clark Kent, this tenderly-pencilled introduction provides the tale with so totally disarming an opening, that it isn’t until the female science fiction novelist suddenly offloads upon her former lover with decades of pent-up angst that it becomes clear the American author is actually going to take his audience on quite the poignant passage.

Benton’s interaction with his petulant offspring is similarly infused with impassioned speeches concerning the unfairness of life and a modicum of physical conflict. Yet whereas Bob’s poor relationship with Myrna is clearly based upon the sense of betrayal the woman feels at being abandoned by the Black Terror’s alter-ego upon giving birth, the costumed vigilante’s connection to his son is swiftly revealed to be one of almost equals, where both men are constantly struggling with anxiety and depression on account of the losses they have suffered. This bond eventually leads to this comic’s fateful finale, as a world-weary war-veteran implores his super-powered spawn to take over his infamous crime-fighting mantle.

Such word-heavy, dialogue driven sequences doesn’t mean that this publication is entirely devoid of pulse-pounding pace though, as Bemis still somehow manages to crowbar in a fantastically ultra-violent flashback sequence into the mix. In fact, Doctor Disgusting’s bizarre experimentation upon his nemesis’ reproductive system, and the Nazi scientist’s subsequent horribly drawn-out demise in a laboratory fire, would undeniably have been the highlight of this tale if not for this book’s final page…

The regular cover art of "BLACK TERROR" No. 5 by Rahzzah

Red Sonja: Age Of Chaos #2 - Dynamite Entertainment

RED SONJA: AGE OF CHAOS No. 2, February 2020

Publicised as a comic book within which “Red Sonja is fully made to understand her victory over Kulan Gath not only led to the invasion of her world by a whole new kind of evil, but may cause time itself to end”, Erik Burnham’s script for Issue Two of “Red Sonja: Age Of Chaos” undoubtedly does it job. Yet having simply packed this twenty-page periodical with Lady Demon’s disinteresting explanatory dialogue as to how the end of the world happened and “Mankind is done”, it is hard to imagine that many perusing bibliophiles who encountered this word-heavy title upon their local spinner rack, subsequently took it to the counter as part of their ‘Pull List’.

For starters the comic opens with Chasity somewhat swiftly providing the Hyborian Age heroine with a recap as to the events in this mini-series’ previous instalment, and simultaneously touches upon the titular character’s own past adventures in modern day New York City; “A long story. Suffice it to say that magic has complicated my life more than once.” Unfortunately however, just as soon as this re-tread of old events has concluded, the “Minnesotan writer” then decides that Lucifer's red-skinned consort will simply deliver more of the same for the majority of the book, by subjecting the reader to an almost blow-by-blow account of Bad Kitty’s involvement in the build-up to the “punk rock fan turned vampire” getting “stuck in Fantasyland!”

To make matters worse though, the American author additionally blames this situation upon Red Sonja, because the warrior defeated Kulan early in the dark-hearted sorcerer’s career, rather than just repeatedly opposed him whilst the villainous magician “spread his evil for years to come.” This plot’s premise therefore debatably makes no sense whatsoever, as all Roy Thomas and Barry Windsor Smith’s co-creation did was logically decide to “dispose of Garth’s amulet where no mortal could reach it” by hurling it into the sea. There was no 'divine intervention' or prevailing sense of foreboding that this act “broke the cycle and changed all time.” It simply seemed like the best means to prevent Vammatar’s husband from returning to plague the planet once again.

Of course, all this elucidation on the part of Burnham’s penmanship doesn’t mean that Jonathan Lau lacks the opportunity to pencil some truly pulse-pounding panels packed full of ferocious fighting moves. Chasity tearing apart a couple of hapless vampires alone is debatably the highlight of this book. But even some superb ‘punch-ups’ between Lady Demon, the she-devil with a sword, and a Mohican-haired assassin can’t help maintain a continuous sense of momentum throughout essentially a publication long discourse.

The regular cover art of "RED SONJA: AGE OF CHAOS" No. 2 by Lucio Parrillo