DC Vs. Vampires: World War V #12 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 12, November 2025

Considering just how merciless Darkseid’s final assault is upon the combined human and vampire survivors, it should come as no surprise to this mini-series’ audience that Matthew Rosenberg’s narrative for Issue Twelve of “DC Vs Vampires: World War V” races along a truly ferocious pace. Yet whilst some bibliophiles may well be merrily carried along with the likes of Swamp Thing nobly sacrificing himself to help feed Cyborg’s so-called miracle weapon, others may well start scratching their head in wonder as to why Kara Zor-El didn’t just pull the Earth closer to the Sun in the first place.

Indeed, this simple solution, admittedly ably aided by Alfred Pennyworth’s Green Lantern ring and some enormous chains, appears so conveniently sudden that it surely would have occurred to some of DC Universe’s bigger brains well before a treacherous Wonder Woman decides to once again murder every single surviving super-hero on the planet..? “Very clever, Supergirl. The sunrise. It is the one thing I missed, Ollie. We’re both warriors. Did you ever think about what you’d do when your war ended?”

Disappointingly however, the American author also decides to blast his readers with a bucket full of bemusing gobbledygook which luckily spurs “the tyrannical ruler of the planet Apokolips” to foolishly take matters into his own hands. Just how Harley Quinn’s Flash-powered robot works is never actually explained, nor why Alec Holland’s massively mutated alter-ego needs to physically possess Mammoth before nonchalantly walking into the automaton's razor-sharp blender. Instead, any onlookers are just told to trust the memories of the former molecular botanist, and accept that by attaching “billions of microscopic biodegradable shells” to “billions of deadly protein strands”, Swamp Thing will somehow kill the New God’s entire invasion force.

Far less manufactured, though just as frantic, is this publication’s secondary story “Heartland” by Andrew Klein. Featuring the Haunted Tank as its unlikely protagonist, this eight-page plot packs a surprising amount of adrenalin-fuelled action, and also provides an interesting insight into Sergeant Jeb Smith’s exploits during the initial Vampire uprising. Impressively drawn and coloured by French Carlomagno, the yarn has an almost animated cartoon look to it, and should certainly convince many who bought this comic to demand the Light M3 Stuart Tank's adventures continue in its own limited series.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #12 by Otto Schmidt

DC Vs. Vampires: World War V #11 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 11, September 2025

Featuring plenty of perilous partnerships and treacherous double-dealings, as well as some seriously hazardous treks across the Earth’s most inhospitable landscapes, many readers perusing Issue Eleven of “DC Vs Vampires: World War V” were probably exhausted once Matthew Rosenberg’s twenty-four page plot concluded. In fact, by the time a visibly emotional Alfred Pennyworth shockingly sacrifices the highly unreliable Robin to save Humanity’s last chance of a treaty with the surviving super-powered blood-drinkers, quite a few bibliophiles will doubtless genuinely feel as if they’ve been physically battling the New Gods and Darkseid themselves.

Much of this palpable fatigue is arguably created by the publication’s sheer pulse-pounding pace, which doesn’t seem to let up even after the likes of Lois Lane, Steel and the Atom have safely been brought to the Spectre’s secret hideout. Initially, this particular moment of respite appears to be about to get boringly bogged down in exposition as to just how the “tyrannical ruler of the planet Apokolips” can be defeated. However, due to the American author’s use of the utterly zany Harley Quinn, the actual explanation of Nightwing's "great alien-killing machine" is surprisingly delivered rather energetically; “What kind of doctor is she?”

Similarly as entertaining though is Wonder Woman’s escape from the New Gods’ clutches, after cold-bloodedly decapitating the unwisely over-confident Mistress Gilotina in a trial by combat. It’s crystal clear that this mini-series’ heroes would be very wise not to trust the demonic vampire who now claims the crown over all other Nosferatu. But dead Diana’s transformation from a badly beaten plaything of Darkseid back to an arrogant exterminator is quite wonderfully penned, and makes Black Canary’s agreement to work alongside her all the more dangerous for mankind.

Just as successful as this comic’s largely dialogue-driven writing is Otto Schmidt’s pencilling, which appears to go to great lengths to show the audience just how utterly exhausted (and emaciated) any person still alive is. Of particular note is the artist’s tremendous work sketching the sizeable cast’s myriad of faces – all of which show a vast range of emotions, feelings and reactions with just a few simple lines here and there. Furthermore, the Siberian illustrator does a cracking job in Wonder Woman’s aforementioned return to power, with just the Amazonian’s eye slits alone projecting the tremendous damage the mass-murderer could inflict upon any mortal if she was inclined to do so.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #11 by Otto Schmidt

DC Vs. Vampires: World War V #7 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 7, May 2025

Having shockingly thrown Darkseid and his numerous parademons into this mini-series’ already convoluted mix of characters towards the end of its previous instalment, Matthew Rosenberg’s gambit for Issue Seven of “DC Vs Vampires: World War V” arguably appears to consist of him trying to keep his audience busy with pulse-pounding slugfests and adrenalin-fuelled chase-sequences, so that there wouldn’t be any time for the readers to consider just how highly improbable the New God’s sudden appearance within this storyline actually is; “Your planet’s fate was sealed when he learned of its existence. But the timeline was sped up…”

And frankly, this ploy appears to work very well right up until the twenty-four page periodical’s plot comes to a crashing halt with the introduction of the traveller from the Fourth World known as Metron. Indeed, prior to the surviving super-heroes taking stock of their high casualty rate inside the Secret Sanctuary on Rhode Island, any bibliophile flicking through this comic book should have been immediately hooked by its splendidly-penned cocktail involving Robin, Gorilla Grodd, Jade, Green Arrow and Harley Quinn battling all sorts of demonic-looking, extra-terrestrials. 

By far the American author’s biggest hook though must surely be the one-on-one battle between Wonder Woman and the aforementioned ruler of Apokolips. This punch-up sadly soon becomes rather one-sided, after a ferociously-fanged Princess Diana loses her element of surprise. But even then the writing repeatedly holds the attention by suggesting that Darkseid is highly likely to tear the undead Amazon apart at any moment - just as he did with an overly-confident Aquaman earlier.

Helping to keep this book’s whirlwind of death-dealing and narrow escapes thoroughly engrossing is Otto Schmidt, whose panels race along at a neck-breaking speed. Of particular note has to be the illustrator’s ability to suggest the utterly insurmountable size of the parademon army. However, he is also a master of pencilling some wonderful little moments within all the mayhem, like Harley Quinn’s escape from the Vampire Queen - Barbara Gordon, and Mister Miracle’s sorrowful look from his underwater prison cell when he sees a distraught Queen of Atlantis stalking straight towards him and his baby daughter.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #7 by Otto Schmidt

DC Vs. Vampires: World War V #5 - DC Comics

DC VS. VAMPIRES: WORLD WAR V No. 5, February 2025

There can surely be little doubt that Matthew Rosenberg’s revelation towards the end of this twenty-four page publication’s plot had its readers genuinely gasping in revulsion at “the horrifying secret” behind how the vampires were still defeating the human resistance. In fact, many a bibliophile will probably find themselves unable to move along from Green Arrow’s discovery and its “shocking connection to the Speed Force” without at least re-visiting the disturbing scene a couple more times; “They’re doing something with all that food they grow. If they’re not feeding a large group of people. What are they feeding.?”

Impressively though, this eye-opener isn’t the only surprise Issue Five of “DC Vs Vampires: World War V” has in store for its audience, with the comic’s American author clearly still having a few more trump cards tucked up his sleeves. Foremost of these disclosures is probably Big Barda’s sudden emergence from out of a dark, winter night’s sky to absolutely clobber the blood-drinking fiends intent on murdering her husband (and potentially harm their infant baby). To say Jack Kirby’s creation completely annihilates the likes of a heavily-fanged Power Girl and Raven is a massive understatement, and genuinely helps imbue this comic with some truly palpable energy at a time when its other simultaneous story-threads are undeniably dialogue-driven.

Likewise John Constantine’s ill-advised visit upon the convalescing vampire queen, Barbara Gordon, doesn’t pan out quite as some onlookers might have expected – albeit the Hellblazer is seemingly a little too cocksure for his own good when it comes to antagonising Gorilla Grodd. In fact, the anti-hero’s decision to visit the dark heart of the Nosferatu Empire appears suicidally insane straight from the start, largely due to him not actually having anything tangible with which to bargain for his life.

Prodigiously pencilling all these sense-shattering shenanigans is Otto Schmidt, who really imbues Big Barda with all the momentous muscle a member of the New Gods is expected to wield. Furthermore, the Siberian-born artist does an incredible job of capturing Batgirl’s myriad of emotions using just her eyes and mouth - a talent which is particularly impressive considering that the undead creature’s entire body is covered with unsightly burns and blemishes, so it must have been extra hard providing the figure with even the smallest of facial expressions.

The regular cover art of "DC VS. VAMPIRES: WORLD WAR V" #5 by Otto Schmidt

Batman: The Adventures Continue Season Three #7 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON THREE No. 7, October 2023

Packed full of suspicion, intrigue and potential duplicity, there was surely a lot for Bat-fans to enjoy with this second instalment to Alan Burnett and Paul Dini’s “The Offer” storyline. Indeed, the sheer scope of the narrative is beguilingly large, as Bruce Wayne seriously considers Ra’s al Ghul’s suspiciously generous offer to take control of the super-villain’s worldwide organisation whilst simultaneously battling a metropolis-wide incursion by the diabolically deadly Court of Owls.

Furthermore, the inclusion of Poison Ivy, Harley Quinn, Catwoman and Talia al Ghul as potential allies against Gotham City’s nefarious secret society adds plenty of tension between the Dark Knight and his family – especially when Selina Kyle makes it abundantly clear that the burglar would very much like to rekindle her romantic relationship with the Caped Crusader despite the daughter of the Demon's Head declaring she has a similar goal; “If you ask me, when she calls, the only one who’s going to be in trouble is you.”

Happily however, this twenty-page periodical isn’t simply content to weave a sedentary web of conspiracy and double-dealings, but also provides plenty of pulse-pounding action whenever the Talons make a dramatic appearance. These bone-crunching interludes genuinely help spice up the narrative’s pace, and also add an extra plot-thread in the shape of Doctor Kirk Langstrom’s hideous alter-ego, the Man-Bat, who somehow appears to have become an imprisoned pawn of the Court despite the scientist’s promise to his good wife that’ll he’ll never undergo his transmutation again.

By far this book’s biggest success though is arguably the team effort behind it’s artwork. Featuring the illustrations of regular Ty Templeton with Norm Rapmund and Jacob Edgar, as well as colours by Monica Kubina, this comic’s layouts are a visual feast for the eyes. Furthermore, whether it be Harley Quinn literally lopping off an assassin’s head with a bloody scythe once she’s informed the black-garbed ghoul is an ‘undead soldier’ or the Boy Wonder’s repeated looks at Batman whenever his mentor becomes the focus of Selina’s intimate desire, there always seems to be a prodigiously-pencilled panel just around the corner ready to make a reader involuntarily giggle.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON THREE" #7 by Juan Ferreyra

Batman: The Adventures Continue Season Three #6 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON THREE No. 6, August 2023

Walking a somewhat slow, sedentary line with this twenty-page periodical’s plot, Alan Burnett and Paul Dini’s penmanship for Issue Six of “Batman: The Adventures Continue Season Three” probably struck its audience as being more in keeping with one of the animated television series’ films rather than its more fast-paced single episodes. But whilst the majority of the comic’s narrative focuses upon Bruce Wayne uncomfortably enduring a holiday on his own Caribbean retreat and then dining with the love of his life, Talia al Ghul, the writers still manage to inject some enjoyable action-packed moments into their script.

Indeed, the billionaire businessman’s night-time decision to windsurf near a suspiciously shady-looking family yacht absolutely smacks of something Ian Fleming would include in one of his James Bond novels, especially once the “wealthy American playboy” encounters some pistol-firing goons on water bikes and shocking gets swallowed up by a set of giant underwater claws; “Obviously that skirmish with the gunmen wasn’t intended to harm me, but to force me farther out to sea…”

Furthermore, this opening instalment to “The Offer” occasionally throws in a few pulse-pounding panels featuring a seemingly outnumbered Selina Kyle desperately attempting to shake-off an army of faceless pursuers who want her dead. Catwoman’s headlong dash through the sewers of Gotham City and all-too brief encounter with Detective Bullock on a rain-soaked road repeatedly reminds the reader that despite crime supposedly being “at an all-time low” in Batman’s metropolis, there’s clearly something sinister occurring which will doubtless draw the Dark Knight back to his usual stomping ground.

Quite possibly enjoying the opportunity to pencil and colour a decidedly restless Wayne for the vast majority of this publication are Ty Templeton and Monica Kubina, who between them do an excellent job of contrasting the brightly lit eye candy of this book’s tropical resort with that of the grim and decidedly much more deadly home of the Penguin, Black Mask and Esther Valestra. Furthermore, the emaciated appearance of the Demon's Head is decidedly disconcerting, with the leader of the League of Assassins looking suitably elderly and frail for someone who can no longer physically survive being submerged within a life-enhancing Lazarus Pit.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON THREE" #6 by Evan "Doc" Shaner

Batman: The Adventures Continue Season Three #5 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON THREE No. 5, July 2023

Considering the sheer number of anti-heroes permeating this conclusion to Alan Burnett and Paul Dini’s “Crack-Up” narrative, many a bibliophile might find the twenty-page-periodical’s plot a little too rushed. Indeed, the entirety of Amanda Waller’s Suicide Squad are surprisingly easily taken out twice during this particular publication, despite the Wall’s team comprising of some significantly powerful combatants such as Deadshot, Katana, Captain Boomerang and King Shark; “Said he was gonna make his own gang of mindless mercs -- The J-Team!”

This somewhat frustratingly fast-paced storytelling sadly also surrounds the tale’s central character, Straightman, who despite being on the run from the authorities is all-too quickly located by Batman and Robin roasting a pair of rats for his supper down one of Gotham City’s lesser-frequented alleyways. The Joker’s former bodyguard is still depicted as having the strength of several normal men. But that doesn’t stop him somewhat shockingly being taken straight down by the Boy Wonder and a trusty bat-a-rang within moments of the Dynamic Duo trundling up to his location in the Batmobile.

Perhaps therefore this comic’s most impressive moment comes when General Joker launches a full-on frontal assault against the military hospital where Professor Hugo Strange is attempting to save Captain Finley’s “almost unsalvageable” mind. This set-piece initially appears to contain all the elements necessary for some truly memorable pulse-pounding panels, especially once the Clown Prince of Crime has the brain-washed Suicide Squad capture a formidably sized tank for him to use as a command vehicle. However, once again the action is cut frustratingly short by the Bat Family, in order to save plenty of sheet space for a ‘sickeningly sweet’ series of heavily narrated epilogues.

Of course, some within the audience may well argue that this publication is probably worth its cover price just for Ty Templeton’s dynamic pencilling and Monica Kubina’s eye-catching colours. The artists do a cracking job of imbuing the Joker with all the deadly zaniness a reader would expect of Jerry Robinson’s co-creation, as well as include the odd Easter egg within their artwork - not least of which is a spine-chilling Funtime Freddy look-a-like sat on a display shelf in the deserted Pizza Clown Family Restaurant at the start of the book.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON THREE" #5 by Scott Godlewski

Batman: The Adventures Continue Season Three #4 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON THREE No. 4, June 2023

There’s a lot to enjoy inside issue four of “Batman: The Adventures Continue Season Three” as Alan Burnett and Paul Dini’s narrative treads an enthralling line between a nostalgic nod back to the animated series’ televised episode “The Strange Secret of Bruce Wayne” and a genuinely “not-so-funny” backstory to the tragically criminal Straightman. In fact, this second instalment to the writing team’s “Crack-Up” storyline projects such a sentimentally strong atmosphere of heart-breaking tragedy that it would surely be viewed as one of the critically acclaimed cartoon’s most touching tales should it have “originally aired on Fox Kids” back in the early Nineties.

Furthermore, the twenty-page plot arguably does a first-rate job of further incorporating the likes of Harley Quinn’s “least favourite ex-boss” and Task Force X into the Dark Knight’s pulp noir universe, courtesy of a wonderfully well-penned cameo in which Amanda Waller once again shows she’s not adverse to witnessing a tiny, blonde-haired infant being swallowed whole by King Shark if it means making a point; “Oooh! All these bad peoples fighting! This no place for baby! Buh-byeee! Lemme go, bait-breath! I’ll kick out those teeth faster than you can regrow ‘em!”

Ultimately however, it is probably the sadistically selfish behaviour of the Joker who steals the show, as he seeks revenge upon Professor Hugo Strange for “trying to con Pengy, Harv, and me into buying Batman’s secret identity!” Determined to once again give his right-hand man “a booster brain blast to keep our act fresh”, the Clown Prince of Crime will clearly stop at absolutely nothing to get his way, even ordering the memory-addled Captain Finley to cold-bloodedly strangle nurse Gretchen Gallway to death with his bare hands.

Of course none of these scintillating shenanigans would successfully convey quite the impact that they do if not for Ty Templeton’s dynamically-drawn layouts and Monica Kubina’s colours. Between them the artists genuinely bring the horrific trauma of Straightman’s origin to life, as well as add plenty of “Bash” and “Klong!” to the action-sequences when the dynamic duo finally get a lead as to the potential whereabouts of the thief who stole Waynetech’s prototype battle suit, and intercept them at Gotham City's old Eastside Carnival.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON THREE" #4 by Jorge Corona & Sarah Stern

Batman: The Adventures Continue Season Three #2 - DC Comics

BATMAN: THE ADVENTURES CONTINUE SEASON THREE No. 2, April 2023

Pairing up the Dark Knight with the hyper-active Harley Quinn, Alan Burnett and Paul Dini’s narrative for Issue Two of “Batman: The Adventures Continue Season Three” probably pleased the vast majority of the comic’s audience. In fact, in many ways the twenty-page periodical’s plot contains the perfect mix of action, adventure and some intriguing insights into the Caped Crusader’s mysterious past when Cassie Kendall almost “changed the course of Bruce’s life when she was his high school sweetheart.”

Of course, as “Old Flames” progresses it becomes abundantly clear that the billionaire’s strong feelings for the blonde-haired socialite were badly misplaced, as the prolific partygoer seemingly had a string of other lovers during the couple’s relationship, including both Harvey Dent and Harleen Quinzel. But it isn’t until near this publication’s end that ‘the macaroni to Harley’s cheese’ is actually shown as being a cold-blooded criminal who will stop at nothing to rid herself of the restraints imposed upon her two hundred-million-dollar Trust Fund; “I hope you understand that I’m really the victim here.”

Perhaps this book’s biggest asset though lies in its numerous laugh-out-loud moments and double-takes, which should genuinely cause many a bibliophile to guffaw. Foremost of these instances is arguably Harley’s reaction to being thrown from a high-flying helicopter only to then indignantly discover her assailants have anticipated her fall into a skyrise swimming pool by dropping a hand grenade after her. This scene is extremely funny and leads into a series of humorous exchanges between the Joker’s ex-girlfriend and Batman, as the former trained psychiatrist at Arkham Asylum unknowingly keeps upsetting the cowled vigilante by telling him all about Kendall’s apparent disdain for Wayne when she ‘strung him along’ at college.

Helping to make such interactions even more amusing is Kevin Altieri, whose ability to pencil the Dark Knight’s increasing agitation and discomfort with just a narrowing eye slit or clenched fist, is breath-taking. Likewise, the American artist is able to imbue the Gotham City Siren with all the dynamic athleticism a zany gymnast should command, sensationally sketching Quinn cartwheeling, somersaulting and freewheeling from one panel to the next with great aplomb.

The regular cover of "BATMAN: THE ADVENTURES CONTINUE SEASON THREE" #2 by Kevin Altieri

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

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

Supposedly depicting “the story of the Gotham City Sirens’ first sorta true meet-up”, Peter V. Nguyen’s "The Pueo Promise" possibly pleased some within this anthology’s audience with its abundance of “Scooby-Doo” flavoured antics and girl-powered high jinks. But considering that the Honolulu-born writer pens a story featuring the “fourth pillar” in “DC Comics” publishing line there arguably isn’t much for Harley Quinn to do except scowl from the side-lines whilst both Poison Ivy and Selina Kyle take the lion’s share of the tale’s limelight; “Pamela, wake up! We need you in this fight -- Catwoman won’t last long out there…”

Furthermore, due in part to the author’s lavish art style, many a bibliophile would debatably have been utterly bemused as to what is actually going on within this yarn’s narrative, especially towards the end of the adventure when there’s the distinct suggestion the three anti-heroines are battling an army of undead ‘somethings’ who are all under the thrall of some Greek-looking deity. Such a scenario probably made a lot of sense to Nguyen considering his background in Hawaiian folklore. But for those unfamiliar with the Owl Prince and just how the god somehow conjures up ghosts from one moment to the next, the premise of Kyle subsequently having to relocate “roughly two million cats” to Gotham City in order to save the day is a real head scratcher.

Similarly as bizarre, though much more followable, is “Half-Life” by Zac Thompson, which follows the exploits of two survivors eking out a living in a post-apocalyptic Washington Exclusion Zone. Wary of eating radioactive berries, the pair inadvertently wander into the lair of a truly-mutated Chimera and are only saved from a gruesome death by the Swamp Thing bravely allowing himself to be eaten instead.

Pencilled by Andy McDonald, this ten-pager’s artwork definitely provides the futuristic fable with some pulse-pounding pace, as the multi-headed crocodilian crashes through a man-made shelter in its eagerness to consume human flesh, and subsequently slices Alec Holland’s alter-ego to pieces using the aeroplane rotor engine it inexplicably has lodged in its chest. The design of so grotesque a creature really is highly memorable, so it’s something of a shame that the grisly brute is finally only laid low by getting old, and having its mechanical maw defeated by one too many entangling vines.

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

DC Vs. Vampires #12 - DC Comics

DC VS. VAMPIRES No. 12, February 2023

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

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

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

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

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

DC Vs. Vampires #11 - DC Comics

DC VS. VAMPIRES No. 11, January 2023

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

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

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

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

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

DC Vs. Vampires #10 - DC Comics

DC VS. VAMPIRES No. 10, December 2022

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

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

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

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

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

DC Vs. Vampires #9 - DC Comics

DC VS. VAMPIRES No. 9, November 2022

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

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

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

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

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

Harley Quinn #17 - DC Comics

HARLEY QUINN No. 17, September 2022

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

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

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

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

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

Harley Quinn #16 - DC Comics

HARLEY QUINN No. 16, August 2022

Tackling the thorny question as to just how mass-murdering psychopaths are suddenly able to be accepted as (anti) heroes within the “DC Comics” universe by firmly focusing upon “the whole villain origin story” of the Verdict, Stephanie Phillips’ script for Issue Sixteen of “Harley Quinn” must surely have caused the odd bibliophile to question just why they’re now cheering on Joker’s former girlfriend. In fact, the death of hapless police van driver Gary at the hands of the Clown Prince of Crime’s co-dependent via flashback is so heart-breaking that it’s hard to see the cackling, blood-splattered Quinzel as anything other than a notorious, cold-hearted killer.

Intriguingly however, the same cannot arguably be said for Kevin’s homicidal girlfriend, who clearly intended to be the finest member of Gotham City’s Police Department she could be up until she experienced the scale of corruption prevalent within her own team. True, Sam Payne strangles surviving guard Miller to death in his hospital bed without a thought once she realises her Captain is purposely covering for him after he willingly allowed the Maid of Mischief to escape lawful custody.

But such a traumatic event as her innocent partner’s ghastly demise, coupled with the sense of betrayal from the rookie’s superior officer, at least provides some understandable logic as to why the Verdict is now working outside the law so as to slaughter the amoral Justices of the Peace who supposedly work within it. Indeed, the American author’s excellent writing even takes a moment to reflect upon just why this ongoing series’ audience have seemingly taken the former criminal Kevin into their hearts, when he too previously wickedly plagued the metropolis’ population during the Joker War; “You heard me. You’re a hypocrite, Kevin. You used to work for the Joker. Not only do you know how bad he is… But your helped him.”

Perhaps quite surprisingly adding a whole bucket load of blood to these proceedings is Riley Rossmo, who does a tremendous job in imbuing the old Harley Quinn with all the maniacal dynamism a reader might expect from one of Batman’s most popular adversaries. The black, white and red garbed psychologist almost leaps off of the printed page at some points within this publication, especially when she’s hurtling through the streets in a “little red convertible that I stole” or beating the living daylights out of two crooked cops just to “make the escape look believable.”

The regular cover art of "HARLEY QUINN" #16 by Riley Rossmo

Harley Quinn #15 - DC Comics

HARLEY QUINN No. 15, July 2022

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

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

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

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

Harley Quinn #14 - DC Comics

HARLEY QUINN No. 14, June 2022

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

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

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

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

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

DC Vs. Vampires #6 - DC Comics

DC VS. VAMPIRES No. 6, May 2022

Considering the sheer number of super-heroes (and villains) that are depicted dying in a variety of horrible ways throughout this comic, few readers who bought Issue Six of “DC Vs. Vampires” could surely say it didn’t live up to its Burbank-based publisher’s hype of being the mini-series’ “blood-drenched halfway point!” In fact, considering just which top-tier crime-fighters are either dispatched or revealed to be pointy-fanged creatures of the night, it’s arguably somewhat surprising that James Tynion IV and Matthew Rosenberg’s storyline didn’t contain even more bodily mutilation; “We’ve got a problem. Savant and that spider guy are dead. The team seems to have a lot of vampires on it and they’re trying to eat us.”

Foremost of these shocking demises though must be that of the Dark Knight himself, who having earlier gained “the upper hand on the vampires who have infiltrated the Justice League” with just his wits and fighting savvy, is treacherously murdered by the new Vampire King in a genuinely “jaw-dropping moment”. This gut-wrenching betrayal by one of the Bat Family from behind is incredibly well penned, and debatably would have caught the vast majority of this book’s bibliophiles completely off-guard before it takes place.

What follows however, is equally as disconcerting as the likes of Cassandra Cain, Red Hood, Red Robin and Damian Wayne all allow their emotions to get the better of them and unthinkingly throw themselves into a one-sided fight that they surely can never win. In fact, possibly one of this publication’s most impressive moments is how Green Arrow stoically steps up as the group’s new leader, and applies Bruce Wayne’s famous cunning to the situation to ensure that Alfred Pennyworth can at least save a couple of the fledgling vigilantes from a nightmarish fate via a secret submarine.

Equally as enthralling as Otto Schmidt’s dynamically drawn death of Batman, are Simone Di Meo’s pencils covering the ignominious end of the Suicide Squad. Having discovered that the Joker is not the head of the vampiric horde attempting to enslave the world, Amanda Waller is ‘forced’ to detonate several of the team’s head-bombs - with Captain Boomerang’s hapless fate at the hands of Harley Quinn also providing this twenty-two-page periodical with a moment of distinctly dark humour.

The regular cover art of "DC VS. VAMPIRES" #6 by Otto Schmidt

Harley Quinn #13 - DC Comics

HARLEY QUINN No. 13, May 2022

Described by “DC Comics” in this book’s pre-publication synopsis as “a brand new arc… brand new characters… and some all-too-familiar faces from my past who maybe aren’t so happy to see me”, Stephanie Phillips’ grimly violent script for Issue Thirteen of “Harley Quinn” certainly seems to contain plenty of ‘hooks’ with which to ensnare any unsuspecting bibliophile. Sure, the twenty-two page periodical’s plot contains a modicum of zany goofiness when its titular character decides to ‘steal’ a surplus food lorry whilst wearing a pair of roller-skates. But the colourfully-costumed anti-hero’s ‘Robin Hood’ skit still can’t stop the rest of “The Verdict” from being a thoroughly enjoyable insight into Gotham City’s distinctly dark criminal underworld.

Indeed, straight from its start, when a familiarly-garbed homicidal maniac guns her way into Frankie Peterson’s birthday celebration so as to gouge out his eyeball with an ice cream scoop, it is arguably evident that this narrative is going to be a much more serious affair than the American author has previously penned for the ongoing series; “Man, I remember my first mob hit crime scene where you couldn’t tell the guts from the Marinara.”

Furthermore, this adventure also introduces two intriguing cast additions in the shape of inexperienced police officer Jaylin Shaw and the much more streetwise detective called Isaac. Together, these partners in ‘law and order’ do an excellent job in putting across the sheer grisly chaos of the aforementioned mass murder scene, as well as depicting the investigation’s procedural techniques which lead to their erroneous belief that Harleen Quinzel is responsible for wholeheartedly slaughtering a number of the metropolis' “bad people”.

Undeniably assisting Phillips in so macabre a fiction is Riley Rossmo’s artwork, which despite its somewhat ‘cartoony’ look, does a great job in showing the sheer carnage caused by Quinn’s lookalike both during her bullet-spraying mass-assassination, as well as its aftermath, where the Hungry Heart Bar & Grill is so full of blood and body parts that it causes Shaw to be sick outside. In fact, the illustrator’s technique of inserting a flurry of smaller panels inside a much larger picture does a good job in implying just how fast events are moving, even when the subject matter is something somewhat mundane, like a nauseous Jaylin rushing away from the sight of her first mutilation since transferring from Seattle.

The regular cover art of "HARLEY QUINN" #13 by Riley Rossmo