The Thing [2025] #1 - Marvel Comics

THE THING No. 1, July 2025

Described by “Marvel Worldwide” as being “perfect for newcomers and True Believers alike”, Issue One of “The Thing” certainly starts out rather well – thanks largely to Tony Fleec’s script almost immediately transporting the reader to the Negative Zone so they can witness the Fantastic Four battle a gigantic, multi-tentacled space squid. In fact, the only slightly disconcerting element to so sense-shattering a shenanigan is the “critically acclaimed” comic book creator’s decision to suggest that Ben Grimm isn’t really giving the punch-up his very best effort on account of suffering with some serious self-doubts.

Happily however, the titular character’s rather puzzling lack of confidence in his formidable super-strength doesn’t last terribly long, and once the former Yancy Street gang member has showered/slept the American author wastes absolutely no time in getting him neck-deep into this mini-series’ central storyline; “I wouldn’t even be here if it wasn’t for -- It’s my sister Shelly’s kid… We can’t find her.” Such succinctness really does help maintain this twenty-five page periodical’s impressive pace, and also adds an extra element of determination to Benjy’s investigation as he wastes absolutely no time in visiting Josie’s drinking bar for a lead.

Also well worthy of mentioning has to be the multiple Eisner Award-nominee’s ability to surprise his audience with the presence of Melvin Potter’s villainous alter-ego. Initially penned as being unconscious with drink, this classic Daredevil foe doesn’t at first appear to be any sort of threat to one of the world’s biggest hitters. However, despite the Gladiator not even wearing his trademark “wrist-blade thingies”, he’s still sure to make many a bibliophile sit up in shock when the Thing unwisely wakes him from the man's drunken stupor.

Infuriatingly though, what does rather let this publication down is some of Justin Mason’s pencilling. Now there should be little doubt that the Kentucky-born illustrator’s drawing style contains all the ‘raw energy’ which Stan Lee would apparently always look for in his artists. Indeed, many an onlooker will undoubtedly wince whenever a combatant throws a punch in this book. However, some of the panels debatably seem to have been rather rushed, with figures’ faces and expressions appearing awkwardly angular, and Potter in particular appearing far less defined than Grimm’s highly-detailed countenance.

Writer: Tony Fleecs. Artist: Justin Mason & Color Artist: Alex Sinclair

Crypt Of Shadows #1 [Part Two] - Marvel Comics

CRYPT OF SHADOWS No. 1, December 2022

Padding out the middle of this predominantly pedestrian-paced publication is the implausible “Skin Crawl” by Chris Cooper, which sees Doctor Michael Morbius being plagued by a race of “immaterial parasitic beings that feed on fear” which only he can see and hear – at least until an occult investigator enters the fray that is. Apparently able to induce the vampiric physician into an even more murderous blood rage than normal, the unimaginatively named Troids momentarily look set to cause Roy Thomas’ co-creation to launch himself on a chilling, dynamically driven murder-fest. But disappointingly, are then pencilled by Ibrahim Moustafa as being all-too easily defeated by Louise Hastings’ young grandson and an infuriatingly simple spell of revocation.

Far more engaging, and perhaps a storyline which should have been enlarged so as to populate the entire comic book, Chris Condon’s “Down Came The Rain” shows plenty of promise in its initial presentation of Spider-Man and the Human Torch’s unsuccessful infiltration of Siodmak Pharmaceuticals. Boasting a couple of jump scares and a pulse-pounding foot-chase, as well as an amusing appearance by the badass Elsa Bloodstone, it’s highly like many readers will have wished Fran Galan was tasked with pencilling much more than just seven pages – especially when a fast-recovering Peter Parker hints at an insanely-tense fistfight that happened off screen just before this printed escapade begins.

Rounding off Issue One of “Crypt Of Shadows” is the disconcertingly downbeat “Endless Slaughter In The Infinite Swamp” by writer/artist Adam Warren. Essentially a tale-long, no-holds barred gorefest between Laura Kinney and Man-Thing, this ultimately wearisome battle appears to have been contrived simply so the freelancer can repeatedly sketch Wolverine gratuitously slicing through Ted Sallis’ alter-ego without a care in the world for millions of years; “And that, you see, is how the ultimate predator became a vegetarian for the rest of her biologically immortal life.”

Perhaps therefore this comic’s biggest highlight surprisingly lies in Al Ewing’s well-penned linking narration starring the Master of the Mystic Arts’ dead brother, Victor Strange, and a bevy of grotesque undead creatures. Well-drawn by Ramon Bachs, these splash-pages provide an intriguing introduction to each of the anthology’s yarns, and just like Condon’s contribution, probably make the audience wish editor in chief C.B. Cebulski had given this element much more ‘screen time’ rather than include some of the other more sedentary storylines.

Writers: Chris Cooper, Chris Condon & Adam Warren, and Artists: Ibrahim Moustafa & Fran Galan

Iron Man [2020] #9 - Marvel Comics

IRON MAN No. 9, August 2021

It is arguably difficult to fathom just what Christopher Cantwell was aiming at with his sedentary storyline for Issue Nine of Iron Man. For whilst the comic’s twenty-page long plot certainly provides some insights into the “Origin of [Michael] Korvac”, the America author doesn’t seem to paint the “computer technician born on the Blue Area of the Moon” in a particularly sympathetic light. Indeed, it must have been hard for any reader to feel anything but utter contempt for “Adam IV” after the weakling “trades the lives of his fellow species in exchange for a modest position” within the Badoon’s ever-growing Empire.

Sure, the traitor is eventually overcome with remorse for having cold-bloodedly gunned down his fellow prisoners, after his sudden appearance at the doorway to their confinement cell had initially given them a modicum of hope that together they might escape their extra-terrestrial torturers. However, a few crocodile tears in the Year 2997 A.D. hardly demonstrates overwhelming regret at his pusillanimous actions, even if they do lead to Korvac being literally sawn in half by his masters for daring to abandon his duties; “Return to your station, Earthborn. Tend to your precious computer modules and don’t waste my time again.”

Furthermore, this book’s central plot concerning Korvac desperately attempting to convince the original Human Torch as to the benevolent legitimacy of his grand scheme, doesn’t debatably ever appear likely to succeed. Put simply, the villainous megalomaniac wants to “forcibly transform all sentient life into a homogenous consciousness”, so what on Earth makes the autocratic android believe that “one of the first superheroes of the Marvel Universe” would willingly support him in such a death-dealing endeavour..? Little wonder, Jim Hammond violently rejects joining the “coward with delusions of grandeur” just as soon as he learns the “selfish” fiend killed all the Avengers in “a moment of anger!”

Luckily, this publication at least has some proficiently pencilled artwork by Cafu to enjoy. The “Marvel Comics exclusive artist” does a terrific job of bringing across the true horror of Michael’s abhorrent actions, most notably the utter terror in the all-too conscious man’s eyes as he’s cut to pieces by his so-called benefactors on an operating table. Yet even this ability can’t help save a book which for almost its entirety is comprised of its central ‘heavy’ simply spouting his intergalactic nonsense to whichever character happens to be within earshot.

The regular cover art of "IRON MAN" #9 by Alex Ross 

The Amazing Spider-Man #800 [Part One] - Marvel Comics

THE AMAZING SPIDER-MAN No. 800, July 2018

Whereas this eighty-page periodical was almost certainly one of the longest single publications to depict Spider-Man battling the Green Goblin’s alter-ego, it is highly debatable that Dan Slott’s penmanship for “Go Down Singing” will ever be regarded as “the biggest Peter Parker/Norman Osborn story of all time”. For although the “no holds barred” narrative admittedly delivers more than its fair share of plot-twists, shocks and bloody bare-knuckle fisticuffs, it also arguably depicts the former Oscorp owner at his most incompetent, as the human mutate paired with the Carnage Symbiote repeatedly fails to kill the likes of Aunt May and Mary Jane Watson, despite supposedly being both super-humanly strong and skilled in martial arts…

Indeed, if anything, the opening half of Issue Eight Hundred of “The Amazing Spider-Man” appears to demonstrate just how utterly inept the former billionaire industrialist is at realising his revenge, with the Red Goblin somehow managing to be thwarted at each and every turn. Admittedly, the Berkeley-born writer does somewhat contrivingly conjure up all manner of anti-heroic cameos, such as Eddie Brock’s Venom and Otto Octavius, with which to stop the murderous villain’s machinations. But it’s hard to imagine that someone as supposedly determined as Harry’s father wouldn’t have lingered just a few more seconds longer to permanently dispatch Web-head’s one-time fiery-headed wife, or his elderly white-haired doting relation, especially when the likes of Doctor Octopus and “one of Marla’s old spider-slayers” have been neutralised.

Of course, all this lazily manufactured bungling does admittedly result in some seriously dynamic smack downs which clearly helped carry this comic’s 411,480 readers ever onwards through the Eisner-Award winner’s drawn-out, treacle-like plot. In fact, Venom’s return and subsequent battle against an increasingly enraged Osborn is probably one this book’s highlights as the symbiote-powered pair tear ragged chunks out of one another, and in many ways it’s a shame that the titular character arrives at Stark Tower as early as he does; “Y’know, Eddie, you are starting to get on my last nerve! I’m on a freakin’ schedule! You’re killing me here!”

Sadly, far less successful however has to be this celebratory edition’s decision to persistently shift artists with each chapter. Despite the clarity of his colourful breakdowns, Nick Bradshaw’s pedestrian pencilling for “Crawling Through The Wreckage” rather pales in comparison to that of Humbertos Ramos, whose dynamically-packed panels for “Too Many Targets” follow straight on from those of the “Atlantic Canadian” illustrator. Whilst for all his clean-lined competency, Giuseppe Camuncoli’s portrayal of the Red Goblin almost dispatching his entire immediate family within the Alchemax Head Office disappointingly seems to lack the energy needed to show little Normie’s emotional change of heart at the thought that his grandfather has cold-bloodedly just murdered his mother.

Writer: Dan Slott, and Artists: Nick Bradshaw, Humbertos Ramos and Giuseppe Camuncoli

The Amazing Spider-Man #799 - Marvel Comics

THE AMAZING SPIDER-MAN No. 799, June 2018

Undeniably packing plenty of web-swinging bang for its buck, Dan Slott’s script for “The Ties That Bind” was arguably just the sort of action-fest its 192,609-readers were anticipating, considering its plot builds upon the premise that a badly-wounded Spider-Man has previously been overwhelmed by “the Red Goblin’s terrifying power” and resultantly needs “the help of friend and foe alike if he hopes to stop” Norman Osborn. But whilst this third instalment to the Berkeley-born author’s “Go Down Swinging” storyline pays plenty of attention to the likes of Johnny Storm, Silk, Agent Anti-Venom, Miles Morales and even Clayton Cole’s criminal alter-ego Clash, the motivation behind just why Peter Parker has assembled his own ‘Bat-Family’ may well have proved somewhat disconcertingly contrived for the odd perusing bibliophile.

True, as the former “amoral industrialist Head of Oscorp”, Harry’s father is far from the most trustworthy of people, especially now he is wholly merged with the homicidal Carnage Symbiote, so it’s perfectly understandable that the wall-crawler might be a bit dubious as to whether the super-villain will stick “to our bargain” not to harm everyone he cares about, like “the Mary Janes and Aunt Mays of the world”, “as long as you don’t show your pwetty widdle webbed head.” However, the Red Goblin has already disconcertingly lived up to their agreement by allowing the badly beaten Spider-Man to survive their opening encounter, so just why Parker suddenly believes that their deal will be broken and resultantly sends Morales to guard his elderly aunt, the Human Torch to protect Mary Jane, and Cindy Moon to look after “what used to be the Daily Bugle” is perhaps a bit perplexing..?

Equally as annoying is how the Eisner Award-winner deals with the symbiote’s well-known weakness to “fire and sound” so as to enable Osborn’s latest criminal incarnation to survive a withering attack from the combined forces of Storm and Cole. Not unsurprisingly, the assault fails, but rather than provide any sort of explanation as to why it -- it did absolutely nothing” Slott lazily just writes that Norman is now “the ultimate hybrid” with “all of the strengths” and “none of the weaknesses! Ha Ha Ha!”

Fortunately, what this twenty-page periodical is good at demonstrating is Stuart Immonen’s terrific artwork and ability to imbue his figures with precisely the sort of dynamic energy fans of the Canadian penciller have come to expect. Indeed, the illustrator’s double-splash of the Red Goblin defeating Silk and an overly cocky Miles is superbly drawn, as are his later panels depicting Flash Thompson’s ill-fated decision to save the lives of his badly-wounded friends rather than ‘take-out’ this comic’s main antagonist first; “Too easy! Like taking candy from a dead baby.”

The regular cover art of "THE AMAZING SPIDER-MAN" No. 799 by Alex Ross

The Amazing Spider-Man #790 - Marvel Comics

THE AMAZING SPIDER-MAN No. 790, December 2017

It would be interesting to know just how much of the script to Issue Seven Hundred And Ninety of “The Amazing Spider-Man” Christos Gage actually penned, considering that this second instalment to Dan Slott’s “Fall Of Parker” story-arc arguably portrays a rather cowardly, rashly-natured titular character who seems to have far more in common with the hot-headed Johnny Storm than the “owner and operator of a worldwide technology firm” who heroically destroyed the company so as “to keep it out of Doctor Octopus’s hands.”

Admittedly, this twenty-page periodical starts off well enough with Peter sincerely completing his “apology tour” of both staff and consumers. But just as soon as Harry Osborn makes mention of him having to attend the sale of the Fantastic Four’s old headquarters, this comic’s creative couple would have its 52,833 readers believe the former Daily Bugle reporter would actually “bail” on his friend simply so his battered ego can be inflated with fans queuing up for selfies, elderly citizens offering to cook him some “real Italian food”, praise from New York City’s motorists and the adoration of teenagers as he plays ‘hippity-hoppity’ with them; “Strawberry shortcake, cream on top! Tell me the name of your sweetheart! Is it A, B, C--” 

This fainthearted “poo-head Parker” genuinely grates upon the nerves and seems badly at odds with the decidedly determined web-slinger this comic has previously depicted desperately trying to make amends for his past mistakes. However, to make matters worse, "Breaking Point" then also depicts a surprisingly fiery Web-head uncaringly risking the sale of the Baxter Building by refusing to apologise to the Human Torch for selling the place "to some... some condo-flipping finance bro", even though he had promised “to hold onto it… until that day the Fantastic Four are finally back!” Indeed, this book’s version of the web-slinger actually seems eager for “Matchstick” to “bring it”, just so the pair of supposed friends can once again monotonously wreak havoc with their tediously familiar exchange of webbing, flame-balls and insults…

As a result, besides Stuart Immonen’s marvellous pencilling which consistently imbues even the most sedentary of scenes with dynamic life and energy, this publication appears to have had little to offer its audience in October 2017 apart from some intriguing insights into the criminal motivation behind Clash. Enraged by Parker Industries taking the credit for his discoveries and subsequently planning “to sell off the things I invented”, Clayton Cole’s villainous robber cuts a semi-sympathetic figure when compared to other members of Spider-Man’s more nefarious Rogues Gallery, and it’s rather pleasing to see the crooked 'anti-hero' successfully make off with his ‘stolen’ technological gadgets after watching him momentarily aid his nemesis in the deactivation of “a self-recharging power source” capable of taking “out the whole block!”

Plot: Dan Slott, Script: Christos Gage, Penciler: Stuart Immnonen, and Inker: Wade von Grawbadger

The Amazing Spider-Man [2015] #5 - Marvel Comics

THE AMAZING SPIDER-MAN No. 5, February 2016

As Dan Slott has previously said himself “it used to be in the old days that if Peter was having an adventure, he would [simply] web his camera to a wall, take pictures of his fights, and then sell them." In Issue Five of “The Amazing Spider-Man” however, the Diamond Gem Award-winner somewhat disconcertingly has his incarnation of Uncle Ben’s nephew using a Quinjet to deduce that Zodiac’s hacking of S.H.I.E.L.D.'s defences is “just a decoy in order to gain access to your satellite scans”, imperiously co-ordinate a plan of attack which brings every Parker Industries surveillance asset "into play", and incredulously tell the likes of Nick Fury, Mockingbird, the Prowler, the Human Torch and Phil Coulson what to do when the international terrorist group strikes; “Huh. Whaddaya know. Peter Parker in charge. Amazing.”

So authoritarian and “cutting-edge” a wall-crawling crime-fighter must undoubtedly have caught many of this twenty-page periodical’s 79,122 strong audience somewhat off-guard. But fortunately by the time the Berkeley-born writer (and collaborator Christos Gage) has Scorpio initiate an all-out attack upon the British Museum halfway through “Set In Stone” and the former Daily Bugle photographer has activated his state-of-the-art suit, Spidey is once again the smart-mouthed wise-cracking superhero which has become the “flagship character” of “Marvel Worldwide” and the publisher’s “mascot.”

Indeed apart from the Human mutate’s annoyingly crass offer to “pay for any damages… and a new wing” when the institution’s curators plead for their exhibits not to be broken during the melee, Slott’s storyline momentarily resembles something similar to a Roy Thomas “Marvel Team-Up” tale from the Bronze Age of Comics… At least until Steve Ditko’s co-creation suddenly achieves a “nice win” by safely ‘zapping’ all six of the Zodiac Sect leaders with his antitoxin in a single splash panel which defies belief…

Equally as unsatisfactory as the writing team’s characterisation of Spider-Man, is some of this title’s artwork by regular contributor Giuseppe Camuncoli. The vast majority of the Italian’s breakdowns are first-rate, especially the action sequences set within Sir Robert Smirke's famous institution for Antiquities. But every now and then, most notably during Parker’s dismissal of Sajani and sketching of “the new head of the London Facility” Anna Maria, his pencilling appears a little rushed and angularly wooden.

Writer: Dan Slott & Christos Gage, and Penciler: Giuseppe Camuncoli

The Amazing Spider-Man [2015] #3 - Marvel Comics

THE AMAZING SPIDER-MAN No. 3, January 2016

It’s rather hard to work out what was in “fan favourite” Dan Slott’s mind when he penned the narrative for Issue Three of “The Amazing Spider-Man”. For on the one hand “Friendly Fire” depicts an outrageously bold attack upon Nick Fury’s Helicarrier “over the East China Sea” by Scorpio and the rest of the Zodiac. Yet on the other, paints a pretty petty portrayal of Johnny Storm, as the founding member of the Fantastic Four irresponsibly causes “over a hundred thousand in damages” simply because Peter Parker has placed “the Baxter Building… under new management” and Jack Kirby’s co-creation isn’t best pleased about it.

Indeed so contrasting are the tones of the two simultaneous storylines that many of this twenty-page periodical’s 93,848 readers must have been completely bemused as to whether the Berkeley-born writer was trying to tell a genuinely chilling tale of just how deadly S.H.I.E.L.D.’s sectarian opposition are, bearing in mind the affiliation’s sinister leader cold-bloodily murders an imprisoned Leo simply for failing him, or if the Diamond Gem Award-winner was actually attempting to wittily tap into the “triangle… [of] characters who are vying for Pete’s attention” by having a seemingly ‘jealous’ Human Torch almost give away Spider-Man’s secret identity by initiating a disconcertingly childish fist-fight; “You built a new spider-mobile. Without me. You son of --”

Disappointingly the most probable answer is that Slott was trying to achieve both, and in doing so has produced a nauseating narrative which makes the audience yearn for far more Zodiac-based exploits on board Fury’s “signature capital ship” and infinitely less coverage of a Johnny Storm who seems irritatingly close to the impetuous, brash, dislikeable youth of his Sliver Age appearances. In fact the American author’s version of the flaming human mutate is so unappealing it actually comes as a disappointment that the Wall-crawler doesn’t ‘take his head off’, and Harry “Lyman” Osborn magnanimously agrees not bill him “for the damages.”

Incredibly, despite this rather choppy script, Giuseppe Camuncoli still manages to pencil plenty of eye-candy throughout this comic book. The Italian artist’s designs for Gemini, Aries and Taurus, as well as their boss Scorpio, are disturbingly ominous-looking. Whilst the sheer sense of dynamically-charged chaos during the Zodiac’s “all-out war” against S.H.I.E.L.D., as well as Spider-Man’s destructive duel with his so-called fiery friend, is entirely palpable via the illustrator’s energetic panels.

The variant cover art of "THE AMAZING SPIDER-MAN" No. 3 by Gabrielle Dell'otto

All-New Invaders #2 - Marvel Comics

ALL NEW INVADERS No. 2, April 2014

There’s something vaguely unsatisfying about Issue 2 of “All New Invaders”; a sense that none of the expectations generated by this title’s exciting opening edition are actually met. Indeed in many ways there’s a real ‘step backwards’ feel to the book, as a lot of its content actually concentrates on events which took place before those of the previous issue.

This aura of disappointment frankly starts with the comic’s cover by Mukesh Singh, which is a disconcertingly awkward looking illustration of the bombastic Tanalth standing in triumph over the broken bodies of Captain America, the Winter Soldier and the original Human Torch; the latter of which seems to have obtained arms the length of which would rival an orang-utan. Any artwork depicting a book’s titular super-heroes being both so brutally bowed and beaten is going to be a depressing sight. But it is the composition of Singh’s artwork, such as the bright red boot of ‘Cappy’ oddly jutting out from beneath the dark green cape of the Kree High-Elite, which jars the eye.

In fact there’s a good deal of this comic book’s artwork which appears somewhat off key and as such actually caused me to believe that the title’s main artist had changed between issues. Certainly the opening few pages capturing the action of a night-time fire-fight between James Barnes and the Kree in the streets of Vienna are below the usual standard of Steve Pugh. Bizarrely the British artist’s illustration work during the Invaders battle against the Pursuer in Blaketon, Illinois isn’t all that much of an improvement either, with the eight-page action-sequence containing poorly detailed figures, oddly exaggerated limbs and an increasingly podgy Tanalth.

Perhaps most displeasing though is the outcome to the comic’s climatic confrontation between the former World War Two freedom fighters and the arrogant, overbearing and overconfident leader of the Kree Purser Corps. Writer James Robinson has Captain America describe Tanalth as being “…on a par with Ronan from the look of [her] powers and invulnerability” so defeating the Kree High-Elite was always going to be a tough challenge for a trio armed with just a shield, a bionic arm and the ability to produce some seemingly non-effective flames. But to have a battle which has technically spanned two issues, suddenly just end with Tanalth simply flying off for no other reason than she can is extremely disappointing; especially as moments before the aloof Kree warrior was threatening the heroes with a slow painful death after they finally caused her some momentary discomfort.

The variant cover art of "ALL-NEW INVADERS" No. 2 by Salvador Larocca

All-New Invaders #1 - Marvel Comics

ALL-NEW INVADERS No.1, March 2014

As something of a devoted fan of the late Seventies “Marvel Comics Group” title “The Invaders” this was really something of a ‘must-buy’ comic book as it advertised the return of the original roster as created by Roy Thomas and Sal Buscema. Admittedly however the cover by Mukesh Singh is not the most enticing of illustrations as it depicts a painfully grim-faced Captain America, an unnervingly smiley Sub-Mariner and a grotesquely distorted Human Torch.

Fortunately British comic book artist Steve Pugh provides the artwork for the interior of the issue and very nice it is too. There’s a real sharp clean look to his pencils which works especially well with his drawing of the Human Torch and the somewhat oversized Kree Amazonian, Tanalth the Purser. However it is most definitely his ‘flash back’ panels showing the Invaders tackling Baron Wolfgang von Strucker and Hela, Norse Goddess of Death, during the Second World War which really provide a visual treat. Ably assisted by the subtly muted colouring of GURU-eFX.

Besides being well-drawn, Issue One of the “All-New Invaders” is also very well written, with James Robinson telling the story through the eyes (and mind) of Jim Hammond, the original Human Torch. Indeed such is the intimacy that one shares with the world’s first synthetic human, as he walks through the quiet town of Blaketon, eating pie and sipping coffee, that the interruption to his meanderings by a sudden Kree attack is all the more rude and impactive. I certainly found myself being quietly content simply reading about the mechanic going for a spot of lunch and enjoying Pugh’s detailed artwork.

Obviously such an idyllic lifestyle was never going to exist for long but the British writer really produces a shock moment with the appearance of Tanalth and the slaughter of Hammond’s garage-owning boss. It is really very easy to take an immediate dislike to the over-muscled Kree warrior, and Robinson makes it easier still by giving her an atrociously over confident and overbearing personality. In fact I can’t recall disliking a villain so quickly and so intensely, and became surprisingly desperate to see the Human Torch give Tanalth the beating her hubris so clearly deserved.

Equally I’ve not felt that a super-hero needed to get such a dramatic and final come-uppance as Major Liberty does when he feels the withering fatal touch of Hela. So much for the arrogance and excessive pride of a former history teacher who can summon up the ghosts of past American patriots.